November 12, 2024 • 53 mins
D&A Live - Season 3, Episode 46 "Artist: Young MC". Hosted by Danny & Althea. Tonight's guest is artist Young MC. D&A Live is aired live from Paradise Studios NY via the Strong Island Entertainment Network. www.strongisland.com
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#DAlive #Enjetic #Althea #Live #TV #Radio #TalkShow #Music #HipHop #Rap #Arts #Entertainment #StrongIslandTV #StrongIsland #LongIsland #Nassau #Suffolk #Brooklyn #Queens #NewYork
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:13):
I'm and I'm out there and we all ding a
live baby.
Speaker 2 (00:18):
What's going on?
Speaker 3 (00:18):
Everybody? You already know? Man's your boy, DJ and the
Jetty here with the lovely there.
Speaker 2 (00:23):
There you go.
Speaker 1 (00:23):
Okay, let's do a shout out first. We're gonna do
a happy birthday shout out. Go ahead to the talented
Charles Hamilton.
Speaker 2 (00:31):
Happy happy birthday to you.
Speaker 1 (00:34):
Okay, that's a if anything. I also wanted to shout
out our sponsors, okay, and that would be Yanvs. Maver
Global Distribution, natural Born Clothing Brand, The Height Magazine, Villain,
and Seleptwoods.
Speaker 2 (00:53):
We love you guys. If anything.
Speaker 1 (00:55):
Also, I wanted to remember we had Chris Caffrey from
Ant Siberian Orchestra on the show last week and it
was phenomenal and you know, we enjoyed it so much,
and I just am so excited because December first, Danny
and I are going to go see them, so we're
gonna be able to take some video and have a
(01:16):
really good time over there. We're not doing the DNA
show from there, because this is going to be that
one night that I'm going to enjoy. Okay, Okay, yeah,
I know he was thinking, you know, we're gonna do
the show.
Speaker 2 (01:25):
No no, no, no, no no no, We're not doing the show.
Speaker 1 (01:28):
We are just going to once in a lifetime going
to go out as a couple and go to a nice,
beautiful concert.
Speaker 2 (01:36):
And I can't wait to go see them. So that's going.
You have no idea how excited I am.
Speaker 4 (01:42):
So.
Speaker 1 (01:44):
I also wanted to give a shout out always to
Chris Milo, Miss Jay and Howie and Debbie and California.
I know you're watching to my boy Barry.
Speaker 2 (01:56):
Over here in New York. I'm gonna see them actually week.
It's so exciting.
Speaker 1 (02:02):
And also to because I wanted to know Chris Milo.
He's at like sixty thousand views right now. He just
keeps on pushing, pushing with that song at his Battla.
That's that Latin pop song, and I'm so proud of him.
But enough about that. What we got coming up, we're
gonna be busting a move. Okay, So when we come back,
(02:25):
we're gonna be with the legendary Young MC. So sit back,
watch the commercial break and be amazed by mister Young
and c there we go.
Speaker 5 (02:38):
Exactly, nod, nod, go like a vesta. But you do this,
(03:04):
he does no, No, don't be that.
Speaker 6 (03:06):
It's been I think about you all the time. But
it's been two years now since Salas so you in
no Salista, I gotta let no, Daddy never gone. You
(03:37):
know what I want you? I gotta.
Speaker 7 (03:46):
Why do you tell me what.
Speaker 4 (03:50):
You know?
Speaker 6 (03:53):
I said, you.
Speaker 7 (03:55):
Charge you better get your feel better.
Speaker 2 (03:58):
For shidn't know everybody would.
Speaker 3 (04:01):
Again, he doesn't care, because you know, the energy.
Speaker 6 (04:03):
Is about the laws of the so much chick check for.
Speaker 2 (04:06):
The money and ship chake up for the money. Check
check up for the money.
Speaker 6 (04:17):
DNA in the house.
Speaker 8 (04:19):
Make sure you check out the radio station at what mister.
Speaker 2 (04:22):
And the miskits on. Let's go.
Speaker 3 (04:57):
And we're back, ladies, gentlemen back.
Speaker 1 (05:00):
So please welcome our next guest, mister mister wonderful himself,
Young MC, to the show.
Speaker 3 (05:09):
Welcome to DNA Live, My brother.
Speaker 4 (05:12):
How you doing.
Speaker 2 (05:13):
I just love that wall, I really do well.
Speaker 4 (05:16):
I like it too.
Speaker 2 (05:19):
I love that well.
Speaker 1 (05:20):
I'm like, yeah, could we get it close up to
that because I like that? Okay, So anyway, welcome to
the show.
Speaker 4 (05:26):
Thank you.
Speaker 1 (05:27):
Yeah, because all those plaques are like from a I mean,
he is a Grammy Award winner.
Speaker 2 (05:33):
You've been thirty five years in the game.
Speaker 4 (05:36):
Yeah, a little bit longer than that, but yeah, yeah
I started. I got signed in eighty seven, so and
I was doing stuff before that. So yeah, holy cow, Yeah,
I know it's a lot of time.
Speaker 2 (05:47):
Yeah that whoa. Okay, So.
Speaker 1 (05:51):
The one thing I wanted to start with because I did,
you know, I did my little research, okay, but I
found very interesting because everybody has like the little path
in life, right, everybody has a little something that directs them,
you know, changes their life, right. And I heard about
the story about him in his rhymes trying to remember
(06:13):
your rhymes.
Speaker 2 (06:14):
And a plastic bag.
Speaker 4 (06:16):
Yes, I was. I mean, I started rhyming when I
was eleven, so we're talking to me at twelve maybe thirteen,
And I got my head full of whatever you know,
I'm doing in school, and a lot of time is
it going by between me writing the rhymes and me
doing them, and a lot of times something brand new
that I want to perform or say over a beat
(06:37):
was you know, I just wasn't in the memorize. And
even to this day, I still read him. Even if
I have a memorized I'll go in the studio and
read him because to me. It sounds like you have
more confidence when you do that. So but at that age,
I'm running around with a plastic bag pulling rhymes out
doing them and it would be fine in you know,
certain places or whatever. But I remember doing a block
party and it was a shootout and I dropped my
(06:59):
bag and ran and they went back to the neighborhood
hoping to find it, and someone had gotten it and
said that they had read the rhymes, said that they
liked it. But I need to study my rhymes. So
that's that's one of the stories. But literally, I was
probably about twelve or thirteen years old.
Speaker 1 (07:14):
When that happened, even but that kind of like changed
his stetty dope.
Speaker 9 (07:18):
Actually, that's such a because usually, you know, you got
a lot of people too, man like young young grappers
and stuff like that.
Speaker 3 (07:25):
They always try to just freestyle the lyrics of.
Speaker 9 (07:27):
For the off of the dome, you know, because everybody
always says is freestyling, but the real term is off
the dome, off the head, you know. So usually you
see that, right, I think that's so cool how you
writing rhymes even if yon memory, you still had the
plastic bag with you and you read over the rhyme
because I.
Speaker 4 (07:46):
Mean to me, you know, it took me twenty years,
almost twenty years after being signed for me to be
comfortable saying, Okay, I'm gonna use a rhyme in dictionary
because it used to be like, oh, everything's got to
be or get off the dome or whatever. But especially
having gone to college and all the words I read
and knowing whatever, it's not that the words are not
in my vocabulary. It is that all the words are
(08:09):
not in my mind at the moment that I'm writing
that rhyme. So Ramen dictionary will give you, you know,
some some selections and I'll know what everything is, but
it's not something that I'll be able to pull all
those words out at the same time. And especially if
you're going into two three, four syllable rhymes and you're
going beyond two two lines rhyme and you're going to
four lines rhymen, eight lines rhymen. It's it just helps
(08:30):
me construct a lot better. And my from my Adrenaline
Flow album in eight I pretty much changed my my
my rhymen style from then on, you know, to where
everything I have very few two line rhymen couples everything
is at least four, if not eight, eight bars rhymen.
Speaker 1 (08:46):
That's so cool, I know, that's what I was just
fascinated by that story because I'm like, you know it
it changed his perspective about learning and you know, and
remembering his words, you know, you know that event in
his life. You know, I think we all go through
a path, that something takes us in a different direction
than we were expecting to go.
Speaker 4 (09:07):
But and by the way, that story happened in Queens.
So I don't know if you guys know, I grew
up in Queen's. I grew up in like two eleventh
Street and one or ninth Avenue in yes Hollis. Jmster
J got his haircut at the at the corner Davy
d that I did my first demo was about five
blocks away. He had done lethal Weapon and if you
(09:29):
remember suck MC's Dave cut the record down to the bone,
that was Davy DMX. That's who I've done my first
demo with. David Reeves. Shout out to him. So everybody,
since they know me as a West Coast artist, thinks
that that's where I learned the rhyme.
Speaker 1 (09:42):
No.
Speaker 4 (09:43):
I grew up in New York I went to Hunter
College High School, went to PS one thirty four is
fifty nine. You know the road that took the number
two bus, the F, the N and the six train.
Speaker 2 (09:55):
Oh my god.
Speaker 4 (09:57):
I mean so I definitely had my West Cost pedigree.
But I see the station is called Strong Island, so
I got to represent act like that didn't happen.
Speaker 1 (10:08):
I mean, well, I'm a queen's girl too. But I
lived in Jackson Heights right by the Guardian Airport.
Speaker 4 (10:17):
Okay, right there. No, but I mean I mean going
to school, the train would pass by you, you know.
I mean, yeah, that would be the F, the the
E and the F would pass by you.
Speaker 2 (10:27):
Yeah, oh my god, that is too fun, you know what.
No offense.
Speaker 1 (10:30):
But you know, there's a lot of good people in
the music industry because I remember back in the day,
it was I used to see Kid.
Speaker 2 (10:39):
And play.
Speaker 1 (10:41):
L Friends right, L Cool, J Marky because they were
all in Queens. Believe it or not, they were all
in Queens and they were at the clubs. Because I
used to work in clubs like Twitter and the dba's
and stuff. So there was this couple of clubs that
were in Queens and they also were the Palladium in
New York City.
Speaker 4 (11:02):
Oh wow. Yeah. And the irony of it is that
the New York clubs I was too young to get in.
So by the time I went to college I left
in eighty seven, I was eighteen. I had never been
in most of the clubs in New York, but a
lot of the artists that I knew had been or whatever.
But when I got to LA, I was able to
get into the clubs, and then I was performing in
a lot of them, too, So I knew the LA
(11:23):
scene a lot better than I would ever known the
New York citnes.
Speaker 2 (11:26):
Wow, you're a nineteen sixty seven baby like me.
Speaker 4 (11:30):
Yes, that's mayor of sixty seven. Good year, Good Vintage.
I ran into a dude that I just did a
show with and he was born in sixty six, and
he's like, he's British guy and said good Vintage. And
I'm like, yeah, good vintage.
Speaker 2 (11:47):
You got that right. So you went to the University
of South California, Southern California.
Speaker 1 (11:52):
Yes, right, So again another thing, he was delivered a
recording contract to his dorm room.
Speaker 2 (12:00):
Tell us about that.
Speaker 4 (12:03):
All right, this goes back to New York. This would
have been the summer of nineteen eighty seven, so probably
starting in May or so. There's a record store, famous
record store called Rock and Soul, New York City, thirty
fourth Street and seventh Avenue and Jetic you probably know
about that store. The basement of that store was where
(12:23):
where you know, where things happened. You know, they would
sell electronics on the top floor. You go downstairs and
the records were there. And I remember going into that
basement or going into that store. And for instance, I
was a DJ, DJ my own prom but when deaf
Jam started coming out with record releases, I would buy
every record on deaf Jam just because it had the
you know, I bought Cookie Puss, you know what I mean,
(12:45):
just because I had the death label. So there was
a dude name there named Eric, and when I got back,
when I got back to New York in this summer
of eighty seven, he had said, Okay, let's try and
make a demo. I have this record company, small record
company that you know, guys that I know, and make
a demo and see if we can get you signed.
So we made a demo. Nothing ever happened of it.
(13:05):
But Eric also knew the guys at Delicious Vinyl. So
I'm flying back to California to go to college in
August of eighty seven, and he says, well, I know
these guys, Mike and Matt, they have this record label.
You should talk to them. So I literally get on
the phone with Mike and Matt that run Delicious Vinyl,
and I say probably four verses, and all four verses
(13:27):
ended up making the album, ironically, but I literally I
probably read them knowing me. But I said four verses
to them, and a week later they sent me a
contract in the mail. I had no lawyer, insane, but
I was taken eighteen credits and I was in student government,
the student Senate, and I was representing the campus apartments,
(13:48):
the student campus apartments, so student Senate was students from
different places, some from the dorms, some from different business
school whatever. I went to the law school representative of
the students, ended a guy named Dave Simon. Shout out
to Dave Simon and Phil Clement from student Senate, and
handed him the contract and I said, could you look
this over for me. He's not a lawyer, but he
(14:10):
knows more about law than I do. You know. I
ended up signing the contract and within I mean I
graduated in May of eighty nine. By then I had
put out a couple of singles locally, and the Busting
Move literally came out finals week of senior year.
Speaker 1 (14:25):
Yeah.
Speaker 2 (14:25):
Wow, is that insane?
Speaker 9 (14:27):
That is you know, I just got to say that's
amazing because you know what's cool though, Man, you see
a lot of people right is this.
Speaker 3 (14:34):
I love that you were in college.
Speaker 6 (14:36):
You know what I mean?
Speaker 3 (14:37):
You you have such a great What did you study
in college?
Speaker 4 (14:41):
Economics? I have a bachelor's degree in economics minor and
data processing, which is the equivalent of like computer science.
So I was learning like basic and Fortran and co
Baal and all those languages before computers really got deep.
And then and then then I had microeconomics was on specialty.
I liked small you know, small economic structures. That was
my thing.
Speaker 2 (15:02):
Very smart, very impressive.
Speaker 5 (15:04):
Yeah.
Speaker 9 (15:05):
I love it too, because you know, a lot of
times people want to give the MC as being you know,
they try to downplay like our intelligence sometimes when it
comes to that, and just having somebody that basically on
the show, that's so hey, you know, kids, it's cool
to go to college.
Speaker 3 (15:20):
It's cool to go inside education.
Speaker 4 (15:23):
I can expand on that a little bit, and I've
said this before, but I think it's worth reiterating. I've
never written my college degree down on a job application, right.
But what it's done is that it's allowed me to
always have choices that I was never put in a
position where I was up against the wall, like, oh
my god, if I don't do this, I won't eat.
That's number one. Number two, if I'm dealing with a
(15:45):
record executive or anybody across the table, most likely I
was as educated as they were, or at least they
knew that I had more education than someone that they
were used to dealing with. So before the money, before
the money came along, they knew I wouldn't be desperate
to do something stupid. And then when the when the
money came along, they figured that I wouldn't be doing
something to blow it so I'd have to take a
(16:06):
stupid deal or sell my publishing for nothing or whatever.
So that's it's put me into good positions, but also
it's hurt a little bit because you know, there's a
lot of people that only want to do business with
people that can take advantage of and if it looked
like they weren't being able to take advantage of me, then,
I mean, I get that deal. So it's like, you know,
you take the good with the bad.
Speaker 3 (16:22):
I guess in that respect, that's true.
Speaker 9 (16:24):
I was I was actually telling her about that too.
A lot of times they're trying to get it over somebody.
A lot of times they pass more on the person.
Speaker 4 (16:33):
There's a lot of people in this business that want
to keep doors closed or if you can see into
the door, not let you in, because most everybody is
very insecure about their position, so they figure the more
people come in, the more people that have the opportunity
to take their position away from them. So they'd rather
keep you locked down. So that's that, and I've seen
that over decades of time that that's that's been the case.
Speaker 1 (16:54):
But do you you do see the difference between the
music industry back then and now, you know, I mean, I.
Speaker 4 (17:02):
Mean, I do that. I mean that there are some differences,
but there's still a lot of similarities. They still, you know,
they still want to get the artist that hasn't done
anything before, that has no foothold, that has no knowledge,
that has no backing, so they can get as much
out of them and by the time that artist gets
smart or gets in a position of power, then they
you know, go on to the next one and they
break that one. So everybody usually if they come out
(17:25):
with with a hit record on their first album, they
end up in a lawsuit either a lawsuit before the
second one, and they sign a deal for the second album.
That's kind of like unrealistic. There's no way that anybody
make money on it. So they can kind of set
you up to not sell as many records. You didn't.
You didn't sell as many records, so we got to
get rid of you, and and you know, so that's
that's usually what happens.
Speaker 2 (17:45):
And that's you know, that's what I hate about the
music industry. It's they're just so you know, it has
its cons and it has as.
Speaker 1 (17:52):
Good well yeah, but all I'm saying is is just
that sometimes they just you know, it used to be
about talent, right, It used to be more about talent,
not about how many clicks or how many followers.
Speaker 2 (18:04):
It was about actual talent.
Speaker 9 (18:06):
Well that's why they always as you look at the
if you look at the old school, man, the old school,
like Eric said, man, he's still been doing it forever.
So He's like, that's that s diffence between young guys
now and our generation is that we have a fan
base forever because we got to engage with our fans.
These kids are just TikTok stars and that's it. They're
(18:26):
gone for like the next the next day, you know,
but it is Yeah, but you said you may bust
the move correct, you said you may bust the move
back in your your senior like the.
Speaker 1 (18:39):
Five Wait, let me get with her. No, no, don't
let him fuck, don't let him talk. I got my
bullet points here.
Speaker 2 (18:45):
Okay, okay.
Speaker 1 (18:46):
Because the last two years of his of him completing
the university, he wrote to locks, wild Thing and Funky
col Ma Gina Wow.
Speaker 4 (18:59):
Versus of so. I presented four verses of each song.
Three verses of wild Thing made the final cut and
two a little over two verses of Funky Komadina made
the final cut for its own love you know, basically
my best friend in the music business. Both of us
have even you know, learned to appreciate each other more
as time has gone on, because we realized that we're
(19:24):
we're kind of responsible for each other's careers, like me
obviously writing for him, but also him when he was
blowing up. I had an opportunity to watch him right
and you know, only recently now doing like the Drink
Champs interview and all these other stuff that I'm able
to talk about it. But I was able to watch
him blow up while I was worried about what would
happen with my record, and the places he would go,
(19:45):
the people he would talk to, the doors that were opened,
and then saying, Okay, you know, when I get there,
I'm going to do this, this and this, and a
lot of it, you know, turned out to be true.
And I literally see him more than I see most
of my friends. You know that I that I have
locally for the simp the fact that you know, I
do at least thirty to forty shows with him a year,
you know where you know, they consider us a good package.
(20:09):
So it's been it's been a you know, it's been
it's been a it's been a good ride and just
just period. To have a friend for thirty eight years,
let alone a coworker or a colleague for that length
of time, you can't. You can't, you know, scoff at that,
because that's very rare.
Speaker 1 (20:24):
You knew what it is it's because you also you
you you.
Speaker 2 (20:28):
What do you call that?
Speaker 1 (20:29):
You meshed together very well. And it's so uplifting too
to see that, Like when one person sees another person
doing good right and you know, you see where they're
going and it's not competition, it's not you know, rivalry
or anything. It's pure elation and pure happiness, you know
(20:51):
what I'm saying, to see them succeed.
Speaker 4 (20:54):
Look, if you are around someone that's successful, you can
either hate on them or you can learn from them.
So I took that as an opportunity to learn from
what Tone was doing. But even more so in the
you know, as as it's become more public that I
co wrote the songs. I've been asked to perform his songs.
And I'll never perform his songs. I wouldn't have been
(21:15):
you know, I just have no no desire to those
are his songs. And and even we'll pay you more
if you do his songs. It's like, why those are
his songs? If I want, if I want, you know,
more songs for me, I'll make more songs for me.
But those those are his. And that's just that's just
how it is.
Speaker 1 (21:31):
Now talking about that one of my favorites obviously from
you is bust the Move, Yes, ma'am, that's.
Speaker 2 (21:39):
My that's my go to.
Speaker 1 (21:40):
I mean, I was doing the dishes before with that, right,
wasn't I. I was in the kitchen and I'm like, Woney,
you got it, and he's like, okay, baby, we got
another hour.
Speaker 2 (21:51):
Don't worry. He's going to be on, you know, because
I'm excited.
Speaker 1 (21:55):
But where did the where did the lyrics from that
particular song come from?
Speaker 4 (22:01):
It was, and it's so funny. That song was a
legitimate flow of consciousness. I wrote that thing in under
ninety minutes and I called it make I called it
make that move. No rhyme in dictionary, no nothing. The
interesting thing is I rhyme the first four lines of
that song, and when I first envisioned it, I wanted
the whole thing to be four line couplets, and that
(22:23):
was the only four lines and the whole song of rhyme.
Everything changed, you know, next day's function, high class lunch,
and everything took that cadence for the rest of the song,
you know. So it was definitely I kind of shifted
on the fly, and it's worked. But it's interesting because
now that first four lines of busting Move is kind
of how I write everything.
Speaker 1 (22:43):
That that is one of the most iconic songs in
the music industry.
Speaker 3 (22:50):
In the game.
Speaker 2 (22:50):
Yeah, you know what I'm saying that is just to
feel fortunate.
Speaker 4 (22:54):
It's a lot of its right place, right time. But
I feel definitely feel fortunate. You know.
Speaker 1 (22:58):
I mean that that song to me, I mean, you
could be a country star, a rock star, whatever, you know,
you could be in any genre. But that's the type
of song that plays and everybody knows it.
Speaker 4 (23:10):
Yeah, you know, yeah, I would agree with that.
Speaker 2 (23:14):
Everybody knew that song.
Speaker 1 (23:15):
It was just like you know, there are just very
few in between songs that you hear it, you know
who sings it. Okay, I won't be able to tell
you what year it was, maybe eighty seven.
Speaker 4 (23:29):
Oh what buston it was eighty nine. I got signed
exactly eight.
Speaker 1 (23:34):
I was off by two years. That's not too bad,
only two years. But can we play that song?
Speaker 10 (23:41):
Can we just put that on right now?
Speaker 11 (24:00):
This here's a tempo. All the fellers try to do
what those ladies tell us. Get shot down because you're
over Zealers play hard together. Females get jealous, okayse party
go to a party desubstantially crud to showing body. It
took walks by you wish you could section up, but
say in another wall like it was a point that stuff.
Next day's function high class puncheon food is served in
your stone called bungeon us. It comes star people start
(24:22):
to dance, but then there ain't so much unially split
your pants. A girl starts walking, God starts walking since
down next to you and starts talking exact She want
to dance because he likes the cruise to come on fast.
Speaker 2 (24:31):
So and just bust the moon, Just brust the move.
You for a mission, and.
Speaker 11 (24:50):
You're wishing someone to kill your lonely contrition, looking for
loving all the wrong places. No fine girls, just ugly
faces from frustration. First inclination is to become a one
can leave the situation. But every dark tunnel has a
light of hope. So don't hang yourself with a celliman throat.
Moody's showing so you're going, couldn't care. Let's see about
the by door blowing here it against doctors to start
(25:11):
the sheld in this spot. A fine woman sitting in
your row. She's dressed in the yellow. She says hello,
come sitting next to.
Speaker 12 (25:16):
Me, your fine fellow.
Speaker 2 (25:17):
Have you run over there without.
Speaker 7 (25:18):
A second to lose?
Speaker 2 (25:19):
And what comes next?
Speaker 8 (25:20):
Hey, bust the move, just bust the move.
Speaker 2 (25:38):
In the city, ladies look pretty.
Speaker 11 (25:40):
Guys tell tropes so they can see witty, tell a
funny joke just to get some plane. Then they try
to make a move and she says, no way, girls
of faking goodness.
Speaker 7 (25:47):
Second, they want a man who wins home.
Speaker 11 (25:49):
The bacon got no money, and you got no cars,
and you got no woman, And there you are, girls,
is atistick manif it you're listening and looking for a
man makes the mo about to mistake the lion of
the beast proper taking a tat that a brother where
the money can beat their man. So when let meat
your stolen, everything you have is.
Speaker 7 (26:05):
Yours and I stolen.
Speaker 11 (26:06):
Hard girl runs up with something to prove.
Speaker 8 (26:08):
So don't just stand there, bust the moves.
Speaker 10 (26:18):
Money.
Speaker 11 (26:25):
Bring it down for me. Fellas, your best friend Harry
(27:00):
has her brother Larry in five minutes from now, he's
gonna marry.
Speaker 7 (27:03):
He's open.
Speaker 12 (27:04):
You can make it there if you can.
Speaker 11 (27:05):
Because in the hormonia, you'll be the best man. You
say me, don't check your lobido and wrote to the
turn to your new tux.
Speaker 4 (27:11):
Feed up.
Speaker 11 (27:11):
The bride walks down to the start the wedding, and
there's one more girl you won't be getting. See you
stop thinking, then you stop clicking. A bride made looks
and things that you're wining that you kind of do.
Speaker 6 (27:20):
So she wins back.
Speaker 11 (27:21):
And now you're feeling really fund because the girl is
dashing receptions, jumping bases, pumping. Look at the girl and
your heart starts stumping and says she want to dance
to a different group. Now you don't want to do
gee bust the move?
Speaker 2 (27:39):
Just what's the move? Oh?
Speaker 3 (28:10):
Sorry, okay, I.
Speaker 2 (28:16):
Could have I could have been that girl with the blacks.
Speaker 1 (28:21):
That could have been me. You don't know that was
me in a different life. Are you kidding me? You
have no, because my heart is beaten. You have no
idea with that song, it brings back suchat you know,
like these songs like his bring back such great memories,
you know of a certain period of time when life
(28:42):
was good, the music was good, the people were good.
I mean, you know, thank you very much, sir, that's
all I gotta say.
Speaker 4 (28:48):
You're very welcome.
Speaker 2 (28:49):
That's all I got to say because I was busting
a move.
Speaker 1 (28:53):
He was like, okay, honey, sit down, but okay, you
want to go along with this because I'm like really tired.
Speaker 2 (29:00):
Now I almost broke a hit right there.
Speaker 4 (29:05):
That's the thing. Well, you're moving, You're moving along with
people that were doing stuff thirty what thirty five years ago?
So that's the thing, is like you've aged the video
hasn't So yeah, I.
Speaker 1 (29:14):
Know because if I try to bust a move like
those girls on the video, I would not be able
to walk the next step runner.
Speaker 2 (29:21):
Nah, I would have to take my jarrettole.
Speaker 3 (29:24):
Oh goodness.
Speaker 2 (29:25):
Okay, but anyway, let's let's let's move on. Shall we
go ahead? Okay, so explain to.
Speaker 1 (29:31):
Me because you know what you were also talking about. Yeah,
because I was watching every video, every interview that you did,
but one that particular song was on for forty weeks
on Billboard forty weeks.
Speaker 4 (29:47):
So yeah. Usually how it works is they work a
record for six to eight weeks, maybe most twelves. You're
talking three three months that they give a record a
chance to get out, get on the charts, go up peak,
and then by the time that you know, two to
(30:07):
three months is up. They come with the next single,
the Bust to Move. We had video play first, and
from MTV and other outlets playing the video, we got
record sales. And then from those two things there was
enough of a buzz to get radio. We never had
all three at the same time. So even though the
record only got to number seven on the pop charts.
Speaker 2 (30:28):
It was still there for forty weeks.
Speaker 4 (30:30):
It was there for forty weeks. Outlast of my second single,
outlast of my third single, third single came went, and
Bust and Move was still there. So it was. It
just was one of those things where, for some reason,
either people didn't get sick. I think people didn't get
sick of it because it never got to the point
where there was so much saturation and all those you
(30:50):
know there was there weren't impressions from so many different
entry points. A friend of mine had it and played
it in his you know, in their house or in
their car. Oh I saw the video. Oh I heard
it on a on a radio station or in a
mixed show. But it wasn't at the point where they
were jamming it down your throat in every in every medium.
And I think that helped me, especially long term. It's
(31:11):
it's it's I've never really heard anybody talk about it
like it was played, so they were sick of it.
They may have heard it a lot, but they heard
it a lot over extended period of time. And I
think that's helped me. And four verses.
Speaker 1 (31:23):
Yeah, and I wanted to say something because you know
when you go when you go to like a wedding,
you always.
Speaker 2 (31:30):
Hear the electric Slide, right.
Speaker 1 (31:33):
You always hear money Money by Billy Idol, right, and
they always hear bus to Move.
Speaker 2 (31:41):
I always hear.
Speaker 1 (31:41):
It, no matter what wedding it is or whatever. That
is one of the songs that will always be played.
Speaker 3 (31:50):
I put that on my playlist like when I.
Speaker 9 (31:51):
Have to do when I really know I have to
do a party or something like that, I always make
sure I mix it in nice, very cool.
Speaker 1 (31:59):
But I also like funky call Me. That's a good
one too. Okay, Oh okay, I'm sorry. So also I
wanted you to speak about Okay, Okay, this was interesting too, Okay,
the AI character.
Speaker 4 (32:14):
Oh my gosh, there we go. Okay, So that that
that I mean, in hindsight, thinking about it, that's really
come about because I had a lot of a lot
of time just reflecting during COVID Couldn't Tour. Wasn't really
as motivated to write as I, you know, should have been.
Was doing a lot of gaming, was doing you know,
(32:35):
just my head. My head was just in different places.
But but the gaming in particular was interesting because there's
you know, different characters in this cosplay and that kind
of stuff. But but I would listen to music and
you know, producers have producer tags or label tags, and
you hear that at the beginning of each of their tracks.
So I'm like, okay, what if I had that. I
(32:56):
was thinking, you know, calling a label disco theory, like, okay,
what if I have the disco theory voice? But then
I fully animated it so that voice would literally be
like it would would answer what was going on in
the song, either talk about lyrics or arrangement or you know,
something like that. And then I worked with a graphics company.
We're able to come up with a good character look,
(33:19):
and then we use ai to to uh to you know,
mimic the voice and and you see it in the video.
And it's just been it's been a cool thing. And see,
even in terms of creating music, writing music knowing that
I will, I can rely on the AI character to
fill in a certain spot or do a certain thing
that is just really interesting. It almost sounds like a
(33:39):
hype man or high person with so so, and it's
a cool thing. And because it went from there being
no AI in certain music to like the AI creating music,
and they didn't go anywhere in between where it could
be like a tool and it would can be like sprinkled.
So that said, let me just let me just try
that and see what's up. And and I feel that
(34:00):
people have been hearing me and hearing my voice and
hearing me do music for thirty five plus years, so
it's not like I'm some new kid coming out, you know,
trying to shove a eye on you. I'm like, no,
this is something I'm going to incorporate into the new
stuff I'm doing. Let's see how it turns out. And
I really have enjoyed.
Speaker 1 (34:16):
Yeah, it's pretty cool because a lot of people, you know,
I don't mind inject and it kind of enhances it
a little bit, you know, because the parts that you
might not have or not sure what you want to incorporate,
you could just put the AI in and it you know,
it takes it on a different level.
Speaker 10 (34:34):
Yeah.
Speaker 4 (34:35):
Well, you know, the character's name is disco Teresa, and
we made a whole look and that was a whole
process in and of itself, and then we're able to
animate it with the voice and everything like that. So
just knowing that that's an element that can be put
in in certain places, it's more like I use that
character to kind of build around what I'm doing, as
opposed to, you know, saying, oh, I have an empty spot,
(34:56):
let me just throw it in. I'm like, okay, we'll
be good to insert here and then I'll do this around,
you know, do this around the character. And that's been
fun performing it has been a blast.
Speaker 1 (35:06):
So and I want to get to one more one
more little tidbit here. Yes, I want you to tell
everybody about your last drink.
Speaker 4 (35:17):
Oh my gosh. Okay, so this is the clarification because
my wife had told me and and other friends this
is the last time that someone had passed me a bottle.
So the last alcoholic drink I've taken, because I've taken
a sip of wine or champagne or something like that,
you know, but the last time that a man passed
(35:37):
me a bottle or I was passed a bottle, was
a cipher, if you will. We were backstage and it
was the late Shock gen rest his soul and we
were toasting Tupac and that was a lot. And it's
not something where I did that so I could have
this story to tell, but that you normally, someone would
pass a bottle and I would say, passed by me,
(35:57):
you know, give it to the next person, and it's
like yo yo. He would even you know, Shock looked
at me. He's like, yo, young, this this for Parc.
I'm like, okay, I'll take the drink because I don't
even know if I had done that in front of
them before, but I'm there and that was the that
was the vibe, and that's what That's what it was
so telling that so it's only I'm reflecting on the
period of time between when I got signed and Delicious
(36:20):
in nineteen eighty seven and when Buster Move came out
in nineteen eighty nine. A lot of people, you know, think,
because Bustin Move was the first time they heard from me,
was that the was like that that was the first
thing I've ever ever did. And it was literally eighteen
to twenty months of me hustling in LA, doing all
the local LA stuff, drawing up the driving up the
hill in Alvarado to kDa, you know, learning all about
(36:44):
LA and LA artists, and also going through the infancy
of LA hip hop. And I was someone that came
from New York, but I embraced LA hip hop because
they embraced me. You know, I'm telling people love New York,
but you know, New York is going to be. If
I stayed in New York, you probably would never have
heard of me because I was too far back in line,
and I was too much of a young kid, and
there was so many people that were putting out records,
(37:06):
you know, and they have to sound a certain way,
and you gotta, you know, rap with a certain style
or make a certain type of song. A lot of
the songs that I made it delicious, I wouldn't have
been able to make if I stayed.
Speaker 11 (37:14):
In New York.
Speaker 4 (37:15):
So I treasured New York for what it gave me
in terms of my creativity, but I really treasured the
West Coast for what allowed me to do with my career.
Speaker 1 (37:25):
Is there anything now that you look back and say
that you would have done differently, or you believe everything
that happened.
Speaker 4 (37:32):
This This is how I answered that question. And it's
not a dodge. I look at life like a sweater.
So if you ask me what string am I going
to pull to make a better sweater? What says that
if I pull that string, it doesn't pull a sweater apart?
Speaker 2 (37:44):
There you go.
Speaker 4 (37:46):
Whatever whatever negative thing may have happened, that may have precipitated,
you know, precipitated five positive things. So instead of me
saying to changed this one thing that, you know, even
going through that negative experience may have given me the
backbone want to go through you know, run through a
wall for something else. So I take it as it is.
Speaker 2 (38:04):
I love this guy, I really do. I just love him.
Speaker 1 (38:06):
I want to eat, you know, I want to have
him over to eat, you know, like to dinner and stuff.
We can chill, I can, I can pass him a bottle,
you know, But before that, because before I want to
ask him a couple more questions. But of course I
want to get to his new song. Okay, it's called
fun Part, and got the video for it, so, uh,
(38:27):
mister producer man, can you please put it on?
Speaker 2 (38:29):
Thank you very much.
Speaker 7 (38:49):
Somebody just discos tennis off the serve with it.
Speaker 2 (39:01):
I'm gonn navigate the swirt with it.
Speaker 7 (39:02):
Put it down with.
Speaker 12 (39:03):
A nan of a bruit with it online with the
rhyme of a bird with it, having bad meals when
you're scratching up the court with it. Some say that
I got a lot of nerve with it. I'm making
sure that you get what you deserve with it. Wake
you up that you're not discerned with the country, the city,
the burst with it. Just crank discovery. Yeo to this
and every ye listen to the vision coming from a vision.
(39:24):
Every yo, this is normal.
Speaker 1 (39:25):
Rise.
Speaker 2 (39:25):
This is not imagine every No, I just want to
make a legend. Every yell.
Speaker 12 (39:29):
It comes through your every year. Yeah, we take it
care of ye. Bring the whole crew like an aircraft.
Carry yell to your brick wall.
Speaker 10 (39:35):
Let me break it.
Speaker 12 (39:36):
Be the barrier the hit the floor of the more
of the marriage.
Speaker 13 (39:38):
But this see if the fun parmer the place where
the fun stun start one time one ramyo with one
hot sun down to the time when the sun starts start.
Speaker 7 (39:47):
This here's the fun part.
Speaker 13 (39:48):
This, here's the fun parmer, the place where the fun
starts one time, one roma on.
Speaker 7 (39:53):
One hot sun down in the time when the sun
starts start. This here is the fun part.
Speaker 12 (39:58):
Yeah, front part is the name of the lyric straight smash.
And you know what when you hear it, you hear
it no sample. So when they need to clear it,
even if you can't see it, you can feel it
in your spare. It's like frame hot when you're getting
need not frightening it. So when they need to fir it,
you sam baby, let me pay your name. It like
a car drives better when.
Speaker 2 (40:17):
You steer it.
Speaker 12 (40:18):
Just fine reality or practicality, but for what you know,
when you can show your personality, the individual with individuality,
you just make fun your mentality.
Speaker 7 (40:27):
Because this is the fun parpret the place for the
mon stops start.
Speaker 6 (40:31):
What not what rod w one.
Speaker 7 (40:32):
Hot sundown from the time when the sun stopstarn. This
here's the fun part. This is the fun part, the
place where the fun stops start.
Speaker 13 (40:41):
Not what rhyme with one hot sun down and the
time when the sun stops starn.
Speaker 7 (40:46):
This here is the fun.
Speaker 12 (40:47):
Just crank just every yoke to this scenari Yo, listen
to the vision coming from a vision.
Speaker 7 (40:52):
Never yo, this is no mobrage.
Speaker 12 (40:53):
This is not imagine every no I just want to
make a legend every yo.
Speaker 2 (40:57):
It comes through every yo. Yeah, we take it carevery.
Speaker 7 (40:59):
Ya from the whole crew like an aircraft.
Speaker 12 (41:02):
Heavy until you break wall and we break it through
the berry and then the floor.
Speaker 2 (41:05):
The more the merry you.
Speaker 13 (41:06):
Because this is the front punker, the place for the
mon stone start one not one round one hunt sun
death from the town when the sun stop start.
Speaker 7 (41:15):
This here's the fun part. This, here's the fun punker,
the place for the monstone start one one rod, one
hunk sun death to the tip when the sun stop start.
This is the fun part.
Speaker 11 (41:26):
Yeah like that.
Speaker 2 (41:45):
And we out like that? Do we out like?
Speaker 7 (42:06):
Do we out like?
Speaker 2 (42:29):
I like that? Oh I'm doing it again. I'm sorry.
Speaker 1 (42:33):
I'm sorry it was I just got one thing to say.
Speaker 2 (42:38):
Yes, if you ever, you know, you ever need a
replacement for her one start.
Speaker 4 (42:43):
Right, never right.
Speaker 2 (42:45):
Fun part I'm just saying.
Speaker 4 (42:49):
Interesting is that, Not not to get too much behind
the curtain, but there's a setting in the speech program
that would sound a bit more natural, like it goes
and stay right. So this is the setting below the
natural sounding speech pattern. Because I wanted it to sound
more robotic. I wanted it to sound more like you know,
(43:10):
like like like like your GPS, than than actually having
a conversation that was intense. That was intentional on my
part because I want to kind of go, you know,
move move ahead. If I'm gonna you know, make advances
with it in you in future times, then then I
might do something. But at least to start, I wanted
it to be like this, to just see what kind
of rhythm I could get out of that kind of
(43:31):
out of out of that kind of setting with the AI.
Speaker 2 (43:33):
So well in two miles please make.
Speaker 3 (43:37):
As so silly, but listen like I want to. Man,
You've made good music that just makes you feel good man.
And what I love about it.
Speaker 9 (43:45):
What I love about it is that you know, it's
just authentic and you could feel it's.
Speaker 4 (43:54):
The funny, the funny part with with with no No
pun intended. This song came up out of a conversation
I was having with a DJ friend of mine and
we were, you know, just kind of reflecting on music
that was out and you knew this stuff in my career,
and he said, you know, Marv, it's like, what I
like about your music is that you know, you don't
try and preach to people. You don't try and beat
(44:16):
people over the head with stuff. You just quit your
stuff out there and get to the fun part. I'm like,
that's a song. And literally the next morning I wrote
a version a half of it and went on and
I knew what I wanted to track to sound like.
And it's something organic that really came together that people
are resonating with because a lot of the music I
feel and this is and I've had this a lot
(44:37):
of discussions were creative people like this. The more you
try to say with the song, the less you say
with the song, because a lot of times people are
using the music as an escape because they don't want
to hear a whole bunch of opinions or you know,
or whatever. They want to just have something that they
can group you to kind of let their mind escape with.
And that's what I that's what I pride myself on providing.
(45:00):
You know, I've learned that that that's that's something as
a as a musician, as an artist that does music
that a lot of people like. The crosses a lot
of lines that you can, you know, put people in
good moods. And that's what I saw about the move
do Yeah. I mean so why would I want to
recreate that?
Speaker 1 (45:15):
Yeah, I know, because my legs are still hurting me
right now from but I just like fun part yeah
kind of voice. I can do it, I can do it.
Speaker 9 (45:27):
I love my thing is I loved about that the
ai was dope And when I like.
Speaker 2 (45:32):
That, don't you think it looked like me without the hair? Yeah?
Speaker 9 (45:39):
I liked what I liked the vat though, is you
bought that Cali vibe.
Speaker 2 (45:44):
And the lower rides going down like this?
Speaker 4 (45:48):
I'm like, yeah, because a lot I've heard a lot
of people say that genres have gone away, that a
lot of stuff that we can be considered regional isn't
as regional. That track ten fifteen years ago, probably fifteen
years ago would be like, that's a that's a straight
(46:08):
West Coast track. And I feel that in the back
of my mind. Having said that, there are pop artists
and and you know, artists that are appealing to a
wide range that would have a track that sounded just
like that, and they wouldn't call it a you know,
a West Coast track because the music has just really mean,
you know, what's a rhythmic song as opposed to a
pop song. These days, it used to really have a
(46:30):
distinction twenty years ago, and that distinction really isn't there now.
So something that I'm thinking is going really edgy West coast.
A lot more people will accept it. And I'm looking
at the radio stations playing it, and we have a
lot of stuff in the in the south and the
east and the Midwest, and and we're getting some traction,
more traction on the West coast, but it's not as
West Coast centric as the sound of the track would
(46:52):
make you would lead you to believe.
Speaker 1 (46:54):
Yeah, And you know what, you know, what I like
about him is that he's He's like the epitome of
their are very few individuals that, no matter how many
decades go by, you can still pack a house. He
could still make people move and feel that joy, that
(47:14):
sensation when they hear the songs.
Speaker 9 (47:17):
You know what's funny now, I mentioned your name to
my father, right because my father does did musically back
in the day, and he said, you have an icon.
I'm having an icon on here because no, because he
when I learned, when he taught me a lot about
hip hop, you you're.
Speaker 3 (47:37):
Like one of the first records he actually really like played.
Speaker 4 (47:40):
I see irony of it because I came along at
a time when people, you know, the rappers are just
getting comfortable cursing in the records, because that was a
shift that happened between you know, the late eighties going
into you know, early nineties. So I'm coming out with
NWA ghetto Boys, you know, and and the gangster rap
stuff was starting. So there were a lot of kids
that were around that time whose parents would not let
(48:03):
them listen to, you know, explicit lyrics. Mine was was
a record that didn't have a sticker, and the stickers
were very prominent. You'd know if a record had curses
in it or not just from that black and white sticker.
Mine didn't have it. So a lot of parents would
be like, Okay, you can listen to him that. And
I've had kids come up to me saying, that's the
reason why I'm one of the first that they got
into because that I was one of the few that
(48:26):
their parents, you know, their parents let them listen to.
Speaker 1 (48:28):
Yeah, you know, I can understand these you know, I
can understand a curse word here and there, but it
doesn't really make the song any better, you know, in
my opinion.
Speaker 2 (48:38):
It depends.
Speaker 3 (48:39):
I always feel like when you've cursed on a couple
of years.
Speaker 9 (48:42):
But I feel like when an artist curses, it more
kind of like expresses how like they're feeling and stuff
like that at that moment of time.
Speaker 4 (48:48):
That's the thing. If it's too much, if it's cursing
all the time, you can't tell what the what the
what the meaning is behind it. You can't tell if
it's for anger or to emphasize a point or to
bring you know, to bring attention to a certain section
or something like that. If they do it all the time,
you just think, Okay, they just talk like that, and
they just okay, well I need a syllable to get
through this world. Let me say the word and I'm good.
Speaker 8 (49:10):
Yeah.
Speaker 4 (49:10):
So and for me, I came up at a time
where everything, oh boy, everything that I did, I wanted
a chance for it to be on the radio. Right,
So I don't want I didn't want radio to make
the excuse, well, you cursing this record. So we weren't
even worried about a clean version. We're just not going
to put it on. And I'm just gone with that
my whole career. And then I thought it's like, just
(49:32):
like I wouldn't change my name, Why am I going
to change my approach? Why would I change my style
and just start cursing all over the place just because
everybody else does it.
Speaker 1 (49:41):
Now, let me tell you, you know how many records we have,
you know, because people submit their music to our statement,
You know how many people we have had to turn away?
And I always tell them the block the what is it?
Like somebody once said to us, when you submit music
to a radio station or whatever, always be prepared to
have an a cappella version, a radio version, and an
(50:02):
edited version. So this way it can you know, you
can put it to where it can go. If there's
other stations that accept explicit content, you got it, but
us we don't accept it. So I always tell them
you got a clean, medio eded version, send it our way, right.
Speaker 2 (50:20):
That's you know, there's just I like the game.
Speaker 9 (50:23):
I like your approach though the way you thought about it,
You're like, why am I going to sit here and
curse on the record and we already know it's not
going to get on the radio right where I can
just And also.
Speaker 4 (50:31):
That's been once again, that's been my approach since I started,
since I started rhyming. I mean, I literally picked up
a mic in like nineteen seventy seven, you know. So
it's like and I remember I had a Gosh, this
will date me, but I I had a wrap. I
talked about the Ayatola and I ran it round it
with with asshole. I'm in a backyard and somebody smacked
(50:57):
me because their mother was there, you know what I mean?
And this is what this is. This is a and
so I'm thinking, you know, as I'm going on with it,
and then you see rappers Delight happen, and you see
run DMC you know happen. You hear Sucker mcs, and
you hear rock Box and and all those things on
the radio, and there's there's they're not cursing in it.
And my goal was to be on the radio s
even writing wild thing, there's no cursing in it. So
(51:18):
why why why would it start now? And you know
people talk about keeping it real, It's like me not cursing,
is me keeping it real? Yeah? It's always been my approach.
And also I like the challenge to say, okay, if
I if I know these dirty words can't be my vocabulary,
what other words can I put in my vocabulary to
make my songs you know, appealing, compelling, you know, so
(51:40):
that I like like.
Speaker 2 (51:42):
I got words. Believe me, I can find words.
Speaker 4 (51:45):
I can imagine.
Speaker 1 (51:47):
You don't need right, I can find words at any
given time. Don't worry. You don't need nasty words. I
can give them to you anyway. I don't know what
just happened.
Speaker 2 (52:00):
I'm here so just you know if we you know,
thank him for coming on the show.
Speaker 3 (52:06):
Thank you so much for coming on the show.
Speaker 4 (52:07):
Man, Thank you, thank you guys for having me. This
was definitely fun, and I thank you for playing the
new stuff. Please, if anybody wants to check me out,
follow me. It's young MC eighty nine on Instagram, trying
to get my followers up, and I'm gonna keep going.
Next next year is gonna be a big year.
Speaker 9 (52:23):
Well listen, I'm here to keep on pushing that record
and keep trying to make that record hit the charts.
Speaker 3 (52:27):
Brother, you got my support.
Speaker 4 (52:29):
G thank you. Jy a lot here.
Speaker 1 (52:32):
I'm just gonna squeeze on over here because my mic
just went out, but I want you to say thank
you very.
Speaker 2 (52:38):
Much for coming on our show.
Speaker 4 (52:42):
You're very welcome for having me. You got your money.
Speaker 2 (52:46):
Please please go out and purchase fun part Bye m
see there you go.
Speaker 4 (52:54):
It's on all the DSPs, the videos on the YouTube channel,
trying to get some tracks. We charted in Billboard moving up.
So things are you know, things are good. Things are.
Things are definitely good with it. I thank you for
the spotlight on it and the video looked good on
your station.
Speaker 9 (53:08):
Absolutely no, thank you so much and definitely appreciate you
a lot.
Speaker 2 (53:13):
And say goodbye to everybody.
Speaker 9 (53:15):
Good bye everybody, see bye everybody.
I'm and I'm out there and we all ding a
live baby.
Speaker 2 (00:18):
What's going on?
Speaker 3 (00:18):
Everybody? You already know? Man's your boy, DJ and the
Jetty here with the lovely there.
Speaker 2 (00:23):
There you go.
Speaker 1 (00:23):
Okay, let's do a shout out first. We're gonna do
a happy birthday shout out. Go ahead to the talented
Charles Hamilton.
Speaker 2 (00:31):
Happy happy birthday to you.
Speaker 1 (00:34):
Okay, that's a if anything. I also wanted to shout
out our sponsors, okay, and that would be Yanvs. Maver
Global Distribution, natural Born Clothing Brand, The Height Magazine, Villain,
and Seleptwoods.
Speaker 2 (00:53):
We love you guys. If anything.
Speaker 1 (00:55):
Also, I wanted to remember we had Chris Caffrey from
Ant Siberian Orchestra on the show last week and it
was phenomenal and you know, we enjoyed it so much,
and I just am so excited because December first, Danny
and I are going to go see them, so we're
gonna be able to take some video and have a
(01:16):
really good time over there. We're not doing the DNA
show from there, because this is going to be that
one night that I'm going to enjoy. Okay, Okay, yeah,
I know he was thinking, you know, we're gonna do
the show.
Speaker 2 (01:25):
No no, no, no, no no no, We're not doing the show.
Speaker 1 (01:28):
We are just going to once in a lifetime going
to go out as a couple and go to a nice,
beautiful concert.
Speaker 2 (01:36):
And I can't wait to go see them. So that's going.
You have no idea how excited I am.
Speaker 4 (01:42):
So.
Speaker 1 (01:44):
I also wanted to give a shout out always to
Chris Milo, Miss Jay and Howie and Debbie and California.
I know you're watching to my boy Barry.
Speaker 2 (01:56):
Over here in New York. I'm gonna see them actually week.
It's so exciting.
Speaker 1 (02:02):
And also to because I wanted to know Chris Milo.
He's at like sixty thousand views right now. He just
keeps on pushing, pushing with that song at his Battla.
That's that Latin pop song, and I'm so proud of him.
But enough about that. What we got coming up, we're
gonna be busting a move. Okay, So when we come back,
(02:25):
we're gonna be with the legendary Young MC. So sit back,
watch the commercial break and be amazed by mister Young
and c there we go.
Speaker 5 (02:38):
Exactly, nod, nod, go like a vesta. But you do this,
(03:04):
he does no, No, don't be that.
Speaker 6 (03:06):
It's been I think about you all the time. But
it's been two years now since Salas so you in
no Salista, I gotta let no, Daddy never gone. You
(03:37):
know what I want you? I gotta.
Speaker 7 (03:46):
Why do you tell me what.
Speaker 4 (03:50):
You know?
Speaker 6 (03:53):
I said, you.
Speaker 7 (03:55):
Charge you better get your feel better.
Speaker 2 (03:58):
For shidn't know everybody would.
Speaker 3 (04:01):
Again, he doesn't care, because you know, the energy.
Speaker 6 (04:03):
Is about the laws of the so much chick check for.
Speaker 2 (04:06):
The money and ship chake up for the money. Check
check up for the money.
Speaker 6 (04:17):
DNA in the house.
Speaker 8 (04:19):
Make sure you check out the radio station at what mister.
Speaker 2 (04:22):
And the miskits on. Let's go.
Speaker 3 (04:57):
And we're back, ladies, gentlemen back.
Speaker 1 (05:00):
So please welcome our next guest, mister mister wonderful himself,
Young MC, to the show.
Speaker 3 (05:09):
Welcome to DNA Live, My brother.
Speaker 4 (05:12):
How you doing.
Speaker 2 (05:13):
I just love that wall, I really do well.
Speaker 4 (05:16):
I like it too.
Speaker 2 (05:19):
I love that well.
Speaker 1 (05:20):
I'm like, yeah, could we get it close up to
that because I like that? Okay, So anyway, welcome to
the show.
Speaker 4 (05:26):
Thank you.
Speaker 1 (05:27):
Yeah, because all those plaques are like from a I mean,
he is a Grammy Award winner.
Speaker 2 (05:33):
You've been thirty five years in the game.
Speaker 4 (05:36):
Yeah, a little bit longer than that, but yeah, yeah
I started. I got signed in eighty seven, so and
I was doing stuff before that. So yeah, holy cow, Yeah,
I know it's a lot of time.
Speaker 2 (05:47):
Yeah that whoa. Okay, So.
Speaker 1 (05:51):
The one thing I wanted to start with because I did,
you know, I did my little research, okay, but I
found very interesting because everybody has like the little path
in life, right, everybody has a little something that directs them,
you know, changes their life, right. And I heard about
the story about him in his rhymes trying to remember
(06:13):
your rhymes.
Speaker 2 (06:14):
And a plastic bag.
Speaker 4 (06:16):
Yes, I was. I mean, I started rhyming when I
was eleven, so we're talking to me at twelve maybe thirteen,
And I got my head full of whatever you know,
I'm doing in school, and a lot of time is
it going by between me writing the rhymes and me
doing them, and a lot of times something brand new
that I want to perform or say over a beat
(06:37):
was you know, I just wasn't in the memorize. And
even to this day, I still read him. Even if
I have a memorized I'll go in the studio and
read him because to me. It sounds like you have
more confidence when you do that. So but at that age,
I'm running around with a plastic bag pulling rhymes out
doing them and it would be fine in you know,
certain places or whatever. But I remember doing a block
party and it was a shootout and I dropped my
(06:59):
bag and ran and they went back to the neighborhood
hoping to find it, and someone had gotten it and
said that they had read the rhymes, said that they
liked it. But I need to study my rhymes. So
that's that's one of the stories. But literally, I was
probably about twelve or thirteen years old.
Speaker 1 (07:14):
When that happened, even but that kind of like changed
his stetty dope.
Speaker 9 (07:18):
Actually, that's such a because usually, you know, you got
a lot of people too, man like young young grappers
and stuff like that.
Speaker 3 (07:25):
They always try to just freestyle the lyrics of.
Speaker 9 (07:27):
For the off of the dome, you know, because everybody
always says is freestyling, but the real term is off
the dome, off the head, you know. So usually you
see that, right, I think that's so cool how you
writing rhymes even if yon memory, you still had the
plastic bag with you and you read over the rhyme
because I.
Speaker 4 (07:46):
Mean to me, you know, it took me twenty years,
almost twenty years after being signed for me to be
comfortable saying, Okay, I'm gonna use a rhyme in dictionary
because it used to be like, oh, everything's got to
be or get off the dome or whatever. But especially
having gone to college and all the words I read
and knowing whatever, it's not that the words are not
in my vocabulary. It is that all the words are
(08:09):
not in my mind at the moment that I'm writing
that rhyme. So Ramen dictionary will give you, you know,
some some selections and I'll know what everything is, but
it's not something that I'll be able to pull all
those words out at the same time. And especially if
you're going into two three, four syllable rhymes and you're
going beyond two two lines rhyme and you're going to
four lines rhymen, eight lines rhymen. It's it just helps
(08:30):
me construct a lot better. And my from my Adrenaline
Flow album in eight I pretty much changed my my
my rhymen style from then on, you know, to where
everything I have very few two line rhymen couples everything
is at least four, if not eight, eight bars rhymen.
Speaker 1 (08:46):
That's so cool, I know, that's what I was just
fascinated by that story because I'm like, you know it
it changed his perspective about learning and you know, and
remembering his words, you know, you know that event in
his life. You know, I think we all go through
a path, that something takes us in a different direction
than we were expecting to go.
Speaker 4 (09:07):
But and by the way, that story happened in Queens.
So I don't know if you guys know, I grew
up in Queen's. I grew up in like two eleventh
Street and one or ninth Avenue in yes Hollis. Jmster
J got his haircut at the at the corner Davy
d that I did my first demo was about five
blocks away. He had done lethal Weapon and if you
(09:29):
remember suck MC's Dave cut the record down to the bone,
that was Davy DMX. That's who I've done my first
demo with. David Reeves. Shout out to him. So everybody,
since they know me as a West Coast artist, thinks
that that's where I learned the rhyme.
Speaker 1 (09:42):
No.
Speaker 4 (09:43):
I grew up in New York I went to Hunter
College High School, went to PS one thirty four is
fifty nine. You know the road that took the number
two bus, the F, the N and the six train.
Speaker 2 (09:55):
Oh my god.
Speaker 4 (09:57):
I mean so I definitely had my West Cost pedigree.
But I see the station is called Strong Island, so
I got to represent act like that didn't happen.
Speaker 1 (10:08):
I mean, well, I'm a queen's girl too. But I
lived in Jackson Heights right by the Guardian Airport.
Speaker 4 (10:17):
Okay, right there. No, but I mean I mean going
to school, the train would pass by you, you know.
I mean, yeah, that would be the F, the the
E and the F would pass by you.
Speaker 2 (10:27):
Yeah, oh my god, that is too fun, you know what.
No offense.
Speaker 1 (10:30):
But you know, there's a lot of good people in
the music industry because I remember back in the day,
it was I used to see Kid.
Speaker 2 (10:39):
And play.
Speaker 1 (10:41):
L Friends right, L Cool, J Marky because they were
all in Queens. Believe it or not, they were all
in Queens and they were at the clubs. Because I
used to work in clubs like Twitter and the dba's
and stuff. So there was this couple of clubs that
were in Queens and they also were the Palladium in
New York City.
Speaker 4 (11:02):
Oh wow. Yeah. And the irony of it is that
the New York clubs I was too young to get in.
So by the time I went to college I left
in eighty seven, I was eighteen. I had never been
in most of the clubs in New York, but a
lot of the artists that I knew had been or whatever.
But when I got to LA, I was able to
get into the clubs, and then I was performing in
a lot of them, too, So I knew the LA
(11:23):
scene a lot better than I would ever known the
New York citnes.
Speaker 2 (11:26):
Wow, you're a nineteen sixty seven baby like me.
Speaker 4 (11:30):
Yes, that's mayor of sixty seven. Good year, Good Vintage.
I ran into a dude that I just did a
show with and he was born in sixty six, and
he's like, he's British guy and said good Vintage. And
I'm like, yeah, good vintage.
Speaker 2 (11:47):
You got that right. So you went to the University
of South California, Southern California.
Speaker 1 (11:52):
Yes, right, So again another thing, he was delivered a
recording contract to his dorm room.
Speaker 2 (12:00):
Tell us about that.
Speaker 4 (12:03):
All right, this goes back to New York. This would
have been the summer of nineteen eighty seven, so probably
starting in May or so. There's a record store, famous
record store called Rock and Soul, New York City, thirty
fourth Street and seventh Avenue and Jetic you probably know
about that store. The basement of that store was where
(12:23):
where you know, where things happened. You know, they would
sell electronics on the top floor. You go downstairs and
the records were there. And I remember going into that
basement or going into that store. And for instance, I
was a DJ, DJ my own prom but when deaf
Jam started coming out with record releases, I would buy
every record on deaf Jam just because it had the
you know, I bought Cookie Puss, you know what I mean,
(12:45):
just because I had the death label. So there was
a dude name there named Eric, and when I got back,
when I got back to New York in this summer
of eighty seven, he had said, Okay, let's try and
make a demo. I have this record company, small record
company that you know, guys that I know, and make
a demo and see if we can get you signed.
So we made a demo. Nothing ever happened of it.
(13:05):
But Eric also knew the guys at Delicious Vinyl. So
I'm flying back to California to go to college in
August of eighty seven, and he says, well, I know
these guys, Mike and Matt, they have this record label.
You should talk to them. So I literally get on
the phone with Mike and Matt that run Delicious Vinyl,
and I say probably four verses, and all four verses
(13:27):
ended up making the album, ironically, but I literally I
probably read them knowing me. But I said four verses
to them, and a week later they sent me a
contract in the mail. I had no lawyer, insane, but
I was taken eighteen credits and I was in student government,
the student Senate, and I was representing the campus apartments,
(13:48):
the student campus apartments, so student Senate was students from
different places, some from the dorms, some from different business
school whatever. I went to the law school representative of
the students, ended a guy named Dave Simon. Shout out
to Dave Simon and Phil Clement from student Senate, and
handed him the contract and I said, could you look
this over for me. He's not a lawyer, but he
(14:10):
knows more about law than I do. You know. I
ended up signing the contract and within I mean I
graduated in May of eighty nine. By then I had
put out a couple of singles locally, and the Busting
Move literally came out finals week of senior year.
Speaker 1 (14:25):
Yeah.
Speaker 2 (14:25):
Wow, is that insane?
Speaker 9 (14:27):
That is you know, I just got to say that's
amazing because you know what's cool though, Man, you see
a lot of people right is this.
Speaker 3 (14:34):
I love that you were in college.
Speaker 6 (14:36):
You know what I mean?
Speaker 3 (14:37):
You you have such a great What did you study
in college?
Speaker 4 (14:41):
Economics? I have a bachelor's degree in economics minor and
data processing, which is the equivalent of like computer science.
So I was learning like basic and Fortran and co
Baal and all those languages before computers really got deep.
And then and then then I had microeconomics was on specialty.
I liked small you know, small economic structures. That was
my thing.
Speaker 2 (15:02):
Very smart, very impressive.
Speaker 5 (15:04):
Yeah.
Speaker 9 (15:05):
I love it too, because you know, a lot of
times people want to give the MC as being you know,
they try to downplay like our intelligence sometimes when it
comes to that, and just having somebody that basically on
the show, that's so hey, you know, kids, it's cool
to go to college.
Speaker 3 (15:20):
It's cool to go inside education.
Speaker 4 (15:23):
I can expand on that a little bit, and I've
said this before, but I think it's worth reiterating. I've
never written my college degree down on a job application, right.
But what it's done is that it's allowed me to
always have choices that I was never put in a
position where I was up against the wall, like, oh
my god, if I don't do this, I won't eat.
That's number one. Number two, if I'm dealing with a
(15:45):
record executive or anybody across the table, most likely I
was as educated as they were, or at least they
knew that I had more education than someone that they
were used to dealing with. So before the money, before
the money came along, they knew I wouldn't be desperate
to do something stupid. And then when the when the
money came along, they figured that I wouldn't be doing
something to blow it so I'd have to take a
(16:06):
stupid deal or sell my publishing for nothing or whatever.
So that's it's put me into good positions, but also
it's hurt a little bit because you know, there's a
lot of people that only want to do business with
people that can take advantage of and if it looked
like they weren't being able to take advantage of me, then,
I mean, I get that deal. So it's like, you know,
you take the good with the bad.
Speaker 3 (16:22):
I guess in that respect, that's true.
Speaker 9 (16:24):
I was I was actually telling her about that too.
A lot of times they're trying to get it over somebody.
A lot of times they pass more on the person.
Speaker 4 (16:33):
There's a lot of people in this business that want
to keep doors closed or if you can see into
the door, not let you in, because most everybody is
very insecure about their position, so they figure the more
people come in, the more people that have the opportunity
to take their position away from them. So they'd rather
keep you locked down. So that's that, and I've seen
that over decades of time that that's that's been the case.
Speaker 1 (16:54):
But do you you do see the difference between the
music industry back then and now, you know, I mean, I.
Speaker 4 (17:02):
Mean, I do that. I mean that there are some differences,
but there's still a lot of similarities. They still, you know,
they still want to get the artist that hasn't done
anything before, that has no foothold, that has no knowledge,
that has no backing, so they can get as much
out of them and by the time that artist gets
smart or gets in a position of power, then they
you know, go on to the next one and they
break that one. So everybody usually if they come out
(17:25):
with with a hit record on their first album, they
end up in a lawsuit either a lawsuit before the
second one, and they sign a deal for the second album.
That's kind of like unrealistic. There's no way that anybody
make money on it. So they can kind of set
you up to not sell as many records. You didn't.
You didn't sell as many records, so we got to
get rid of you, and and you know, so that's
that's usually what happens.
Speaker 2 (17:45):
And that's you know, that's what I hate about the
music industry. It's they're just so you know, it has
its cons and it has as.
Speaker 1 (17:52):
Good well yeah, but all I'm saying is is just
that sometimes they just you know, it used to be
about talent, right, It used to be more about talent,
not about how many clicks or how many followers.
Speaker 2 (18:04):
It was about actual talent.
Speaker 9 (18:06):
Well that's why they always as you look at the
if you look at the old school, man, the old school,
like Eric said, man, he's still been doing it forever.
So He's like, that's that s diffence between young guys
now and our generation is that we have a fan
base forever because we got to engage with our fans.
These kids are just TikTok stars and that's it. They're
(18:26):
gone for like the next the next day, you know,
but it is Yeah, but you said you may bust
the move correct, you said you may bust the move
back in your your senior like the.
Speaker 1 (18:39):
Five Wait, let me get with her. No, no, don't
let him fuck, don't let him talk. I got my
bullet points here.
Speaker 2 (18:45):
Okay, okay.
Speaker 1 (18:46):
Because the last two years of his of him completing
the university, he wrote to locks, wild Thing and Funky
col Ma Gina Wow.
Speaker 4 (18:59):
Versus of so. I presented four verses of each song.
Three verses of wild Thing made the final cut and
two a little over two verses of Funky Komadina made
the final cut for its own love you know, basically
my best friend in the music business. Both of us
have even you know, learned to appreciate each other more
as time has gone on, because we realized that we're
(19:24):
we're kind of responsible for each other's careers, like me
obviously writing for him, but also him when he was
blowing up. I had an opportunity to watch him right
and you know, only recently now doing like the Drink
Champs interview and all these other stuff that I'm able
to talk about it. But I was able to watch
him blow up while I was worried about what would
happen with my record, and the places he would go,
(19:45):
the people he would talk to, the doors that were opened,
and then saying, Okay, you know, when I get there,
I'm going to do this, this and this, and a
lot of it, you know, turned out to be true.
And I literally see him more than I see most
of my friends. You know that I that I have
locally for the simp the fact that you know, I
do at least thirty to forty shows with him a year,
you know where you know, they consider us a good package.
(20:09):
So it's been it's been a you know, it's been
it's been a it's been a good ride and just
just period. To have a friend for thirty eight years,
let alone a coworker or a colleague for that length
of time, you can't. You can't, you know, scoff at that,
because that's very rare.
Speaker 1 (20:24):
You knew what it is it's because you also you
you you.
Speaker 2 (20:28):
What do you call that?
Speaker 1 (20:29):
You meshed together very well. And it's so uplifting too
to see that, Like when one person sees another person
doing good right and you know, you see where they're
going and it's not competition, it's not you know, rivalry
or anything. It's pure elation and pure happiness, you know
(20:51):
what I'm saying, to see them succeed.
Speaker 4 (20:54):
Look, if you are around someone that's successful, you can
either hate on them or you can learn from them.
So I took that as an opportunity to learn from
what Tone was doing. But even more so in the
you know, as as it's become more public that I
co wrote the songs. I've been asked to perform his songs.
And I'll never perform his songs. I wouldn't have been
(21:15):
you know, I just have no no desire to those
are his songs. And and even we'll pay you more
if you do his songs. It's like, why those are
his songs? If I want, if I want, you know,
more songs for me, I'll make more songs for me.
But those those are his. And that's just that's just
how it is.
Speaker 1 (21:31):
Now talking about that one of my favorites obviously from
you is bust the Move, Yes, ma'am, that's.
Speaker 2 (21:39):
My that's my go to.
Speaker 1 (21:40):
I mean, I was doing the dishes before with that, right,
wasn't I. I was in the kitchen and I'm like, Woney,
you got it, and he's like, okay, baby, we got
another hour.
Speaker 2 (21:51):
Don't worry. He's going to be on, you know, because
I'm excited.
Speaker 1 (21:55):
But where did the where did the lyrics from that
particular song come from?
Speaker 4 (22:01):
It was, and it's so funny. That song was a
legitimate flow of consciousness. I wrote that thing in under
ninety minutes and I called it make I called it
make that move. No rhyme in dictionary, no nothing. The
interesting thing is I rhyme the first four lines of
that song, and when I first envisioned it, I wanted
the whole thing to be four line couplets, and that
(22:23):
was the only four lines and the whole song of rhyme.
Everything changed, you know, next day's function, high class lunch,
and everything took that cadence for the rest of the song,
you know. So it was definitely I kind of shifted
on the fly, and it's worked. But it's interesting because
now that first four lines of busting Move is kind
of how I write everything.
Speaker 1 (22:43):
That that is one of the most iconic songs in
the music industry.
Speaker 3 (22:50):
In the game.
Speaker 2 (22:50):
Yeah, you know what I'm saying that is just to
feel fortunate.
Speaker 4 (22:54):
It's a lot of its right place, right time. But
I feel definitely feel fortunate. You know.
Speaker 1 (22:58):
I mean that that song to me, I mean, you
could be a country star, a rock star, whatever, you know,
you could be in any genre. But that's the type
of song that plays and everybody knows it.
Speaker 4 (23:10):
Yeah, you know, yeah, I would agree with that.
Speaker 2 (23:14):
Everybody knew that song.
Speaker 1 (23:15):
It was just like you know, there are just very
few in between songs that you hear it, you know
who sings it. Okay, I won't be able to tell
you what year it was, maybe eighty seven.
Speaker 4 (23:29):
Oh what buston it was eighty nine. I got signed
exactly eight.
Speaker 1 (23:34):
I was off by two years. That's not too bad,
only two years. But can we play that song?
Speaker 10 (23:41):
Can we just put that on right now?
Speaker 11 (24:00):
This here's a tempo. All the fellers try to do
what those ladies tell us. Get shot down because you're
over Zealers play hard together. Females get jealous, okayse party
go to a party desubstantially crud to showing body. It
took walks by you wish you could section up, but
say in another wall like it was a point that stuff.
Next day's function high class puncheon food is served in
your stone called bungeon us. It comes star people start
(24:22):
to dance, but then there ain't so much unially split
your pants. A girl starts walking, God starts walking since
down next to you and starts talking exact She want
to dance because he likes the cruise to come on fast.
Speaker 2 (24:31):
So and just bust the moon, Just brust the move.
You for a mission, and.
Speaker 11 (24:50):
You're wishing someone to kill your lonely contrition, looking for
loving all the wrong places. No fine girls, just ugly
faces from frustration. First inclination is to become a one
can leave the situation. But every dark tunnel has a
light of hope. So don't hang yourself with a celliman throat.
Moody's showing so you're going, couldn't care. Let's see about
the by door blowing here it against doctors to start
(25:11):
the sheld in this spot. A fine woman sitting in
your row. She's dressed in the yellow. She says hello,
come sitting next to.
Speaker 12 (25:16):
Me, your fine fellow.
Speaker 2 (25:17):
Have you run over there without.
Speaker 7 (25:18):
A second to lose?
Speaker 2 (25:19):
And what comes next?
Speaker 8 (25:20):
Hey, bust the move, just bust the move.
Speaker 2 (25:38):
In the city, ladies look pretty.
Speaker 11 (25:40):
Guys tell tropes so they can see witty, tell a
funny joke just to get some plane. Then they try
to make a move and she says, no way, girls
of faking goodness.
Speaker 7 (25:47):
Second, they want a man who wins home.
Speaker 11 (25:49):
The bacon got no money, and you got no cars,
and you got no woman, And there you are, girls,
is atistick manif it you're listening and looking for a
man makes the mo about to mistake the lion of
the beast proper taking a tat that a brother where
the money can beat their man. So when let meat
your stolen, everything you have is.
Speaker 7 (26:05):
Yours and I stolen.
Speaker 11 (26:06):
Hard girl runs up with something to prove.
Speaker 8 (26:08):
So don't just stand there, bust the moves.
Speaker 10 (26:18):
Money.
Speaker 11 (26:25):
Bring it down for me. Fellas, your best friend Harry
(27:00):
has her brother Larry in five minutes from now, he's
gonna marry.
Speaker 7 (27:03):
He's open.
Speaker 12 (27:04):
You can make it there if you can.
Speaker 11 (27:05):
Because in the hormonia, you'll be the best man. You
say me, don't check your lobido and wrote to the
turn to your new tux.
Speaker 4 (27:11):
Feed up.
Speaker 11 (27:11):
The bride walks down to the start the wedding, and
there's one more girl you won't be getting. See you
stop thinking, then you stop clicking. A bride made looks
and things that you're wining that you kind of do.
Speaker 6 (27:20):
So she wins back.
Speaker 11 (27:21):
And now you're feeling really fund because the girl is
dashing receptions, jumping bases, pumping. Look at the girl and
your heart starts stumping and says she want to dance
to a different group. Now you don't want to do
gee bust the move?
Speaker 2 (27:39):
Just what's the move? Oh?
Speaker 3 (28:10):
Sorry, okay, I.
Speaker 2 (28:16):
Could have I could have been that girl with the blacks.
Speaker 1 (28:21):
That could have been me. You don't know that was
me in a different life. Are you kidding me? You
have no, because my heart is beaten. You have no
idea with that song, it brings back suchat you know,
like these songs like his bring back such great memories,
you know of a certain period of time when life
(28:42):
was good, the music was good, the people were good.
I mean, you know, thank you very much, sir, that's
all I gotta say.
Speaker 4 (28:48):
You're very welcome.
Speaker 2 (28:49):
That's all I got to say because I was busting
a move.
Speaker 1 (28:53):
He was like, okay, honey, sit down, but okay, you
want to go along with this because I'm like really tired.
Speaker 2 (29:00):
Now I almost broke a hit right there.
Speaker 4 (29:05):
That's the thing. Well, you're moving, You're moving along with
people that were doing stuff thirty what thirty five years ago?
So that's the thing, is like you've aged the video
hasn't So yeah, I.
Speaker 1 (29:14):
Know because if I try to bust a move like
those girls on the video, I would not be able
to walk the next step runner.
Speaker 2 (29:21):
Nah, I would have to take my jarrettole.
Speaker 3 (29:24):
Oh goodness.
Speaker 2 (29:25):
Okay, but anyway, let's let's let's move on. Shall we
go ahead? Okay, so explain to.
Speaker 1 (29:31):
Me because you know what you were also talking about. Yeah,
because I was watching every video, every interview that you did,
but one that particular song was on for forty weeks
on Billboard forty weeks.
Speaker 4 (29:47):
So yeah. Usually how it works is they work a
record for six to eight weeks, maybe most twelves. You're
talking three three months that they give a record a
chance to get out, get on the charts, go up peak,
and then by the time that you know, two to
(30:07):
three months is up. They come with the next single,
the Bust to Move. We had video play first, and
from MTV and other outlets playing the video, we got
record sales. And then from those two things there was
enough of a buzz to get radio. We never had
all three at the same time. So even though the
record only got to number seven on the pop charts.
Speaker 2 (30:28):
It was still there for forty weeks.
Speaker 4 (30:30):
It was there for forty weeks. Outlast of my second single,
outlast of my third single, third single came went, and
Bust and Move was still there. So it was. It
just was one of those things where, for some reason,
either people didn't get sick. I think people didn't get
sick of it because it never got to the point
where there was so much saturation and all those you
(30:50):
know there was there weren't impressions from so many different
entry points. A friend of mine had it and played
it in his you know, in their house or in
their car. Oh I saw the video. Oh I heard
it on a on a radio station or in a
mixed show. But it wasn't at the point where they
were jamming it down your throat in every in every medium.
And I think that helped me, especially long term. It's
(31:11):
it's it's I've never really heard anybody talk about it
like it was played, so they were sick of it.
They may have heard it a lot, but they heard
it a lot over extended period of time. And I
think that's helped me. And four verses.
Speaker 1 (31:23):
Yeah, and I wanted to say something because you know
when you go when you go to like a wedding,
you always.
Speaker 2 (31:30):
Hear the electric Slide, right.
Speaker 1 (31:33):
You always hear money Money by Billy Idol, right, and
they always hear bus to Move.
Speaker 2 (31:41):
I always hear.
Speaker 1 (31:41):
It, no matter what wedding it is or whatever. That
is one of the songs that will always be played.
Speaker 3 (31:50):
I put that on my playlist like when I.
Speaker 9 (31:51):
Have to do when I really know I have to
do a party or something like that, I always make
sure I mix it in nice, very cool.
Speaker 1 (31:59):
But I also like funky call Me. That's a good
one too. Okay, Oh okay, I'm sorry. So also I
wanted you to speak about Okay, Okay, this was interesting too, Okay,
the AI character.
Speaker 4 (32:14):
Oh my gosh, there we go. Okay, So that that
that I mean, in hindsight, thinking about it, that's really
come about because I had a lot of a lot
of time just reflecting during COVID Couldn't Tour. Wasn't really
as motivated to write as I, you know, should have been.
Was doing a lot of gaming, was doing you know,
(32:35):
just my head. My head was just in different places.
But but the gaming in particular was interesting because there's
you know, different characters in this cosplay and that kind
of stuff. But but I would listen to music and
you know, producers have producer tags or label tags, and
you hear that at the beginning of each of their tracks.
So I'm like, okay, what if I had that. I
(32:56):
was thinking, you know, calling a label disco theory, like, okay,
what if I have the disco theory voice? But then
I fully animated it so that voice would literally be
like it would would answer what was going on in
the song, either talk about lyrics or arrangement or you know,
something like that. And then I worked with a graphics company.
We're able to come up with a good character look,
(33:19):
and then we use ai to to uh to you know,
mimic the voice and and you see it in the video.
And it's just been it's been a cool thing. And see,
even in terms of creating music, writing music knowing that
I will, I can rely on the AI character to
fill in a certain spot or do a certain thing
that is just really interesting. It almost sounds like a
(33:39):
hype man or high person with so so, and it's
a cool thing. And because it went from there being
no AI in certain music to like the AI creating music,
and they didn't go anywhere in between where it could
be like a tool and it would can be like sprinkled.
So that said, let me just let me just try
that and see what's up. And and I feel that
(34:00):
people have been hearing me and hearing my voice and
hearing me do music for thirty five plus years, so
it's not like I'm some new kid coming out, you know,
trying to shove a eye on you. I'm like, no,
this is something I'm going to incorporate into the new
stuff I'm doing. Let's see how it turns out. And
I really have enjoyed.
Speaker 1 (34:16):
Yeah, it's pretty cool because a lot of people, you know,
I don't mind inject and it kind of enhances it
a little bit, you know, because the parts that you
might not have or not sure what you want to incorporate,
you could just put the AI in and it you know,
it takes it on a different level.
Speaker 10 (34:34):
Yeah.
Speaker 4 (34:35):
Well, you know, the character's name is disco Teresa, and
we made a whole look and that was a whole
process in and of itself, and then we're able to
animate it with the voice and everything like that. So
just knowing that that's an element that can be put
in in certain places, it's more like I use that
character to kind of build around what I'm doing, as
opposed to, you know, saying, oh, I have an empty spot,
(34:56):
let me just throw it in. I'm like, okay, we'll
be good to insert here and then I'll do this around,
you know, do this around the character. And that's been
fun performing it has been a blast.
Speaker 1 (35:06):
So and I want to get to one more one
more little tidbit here. Yes, I want you to tell
everybody about your last drink.
Speaker 4 (35:17):
Oh my gosh. Okay, so this is the clarification because
my wife had told me and and other friends this
is the last time that someone had passed me a bottle.
So the last alcoholic drink I've taken, because I've taken
a sip of wine or champagne or something like that,
you know, but the last time that a man passed
(35:37):
me a bottle or I was passed a bottle, was
a cipher, if you will. We were backstage and it
was the late Shock gen rest his soul and we
were toasting Tupac and that was a lot. And it's
not something where I did that so I could have
this story to tell, but that you normally, someone would
pass a bottle and I would say, passed by me,
(35:57):
you know, give it to the next person, and it's
like yo yo. He would even you know, Shock looked
at me. He's like, yo, young, this this for Parc.
I'm like, okay, I'll take the drink because I don't
even know if I had done that in front of
them before, but I'm there and that was the that
was the vibe, and that's what That's what it was
so telling that so it's only I'm reflecting on the
period of time between when I got signed and Delicious
(36:20):
in nineteen eighty seven and when Buster Move came out
in nineteen eighty nine. A lot of people, you know, think,
because Bustin Move was the first time they heard from me,
was that the was like that that was the first
thing I've ever ever did. And it was literally eighteen
to twenty months of me hustling in LA, doing all
the local LA stuff, drawing up the driving up the
hill in Alvarado to kDa, you know, learning all about
(36:44):
LA and LA artists, and also going through the infancy
of LA hip hop. And I was someone that came
from New York, but I embraced LA hip hop because
they embraced me. You know, I'm telling people love New York,
but you know, New York is going to be. If
I stayed in New York, you probably would never have
heard of me because I was too far back in line,
and I was too much of a young kid, and
there was so many people that were putting out records,
(37:06):
you know, and they have to sound a certain way,
and you gotta, you know, rap with a certain style
or make a certain type of song. A lot of
the songs that I made it delicious, I wouldn't have
been able to make if I stayed.
Speaker 11 (37:14):
In New York.
Speaker 4 (37:15):
So I treasured New York for what it gave me
in terms of my creativity, but I really treasured the
West Coast for what allowed me to do with my career.
Speaker 1 (37:25):
Is there anything now that you look back and say
that you would have done differently, or you believe everything
that happened.
Speaker 4 (37:32):
This This is how I answered that question. And it's
not a dodge. I look at life like a sweater.
So if you ask me what string am I going
to pull to make a better sweater? What says that
if I pull that string, it doesn't pull a sweater apart?
Speaker 2 (37:44):
There you go.
Speaker 4 (37:46):
Whatever whatever negative thing may have happened, that may have precipitated,
you know, precipitated five positive things. So instead of me
saying to changed this one thing that, you know, even
going through that negative experience may have given me the
backbone want to go through you know, run through a
wall for something else. So I take it as it is.
Speaker 2 (38:04):
I love this guy, I really do. I just love him.
Speaker 1 (38:06):
I want to eat, you know, I want to have
him over to eat, you know, like to dinner and stuff.
We can chill, I can, I can pass him a bottle,
you know, But before that, because before I want to
ask him a couple more questions. But of course I
want to get to his new song. Okay, it's called
fun Part, and got the video for it, so, uh,
(38:27):
mister producer man, can you please put it on?
Speaker 2 (38:29):
Thank you very much.
Speaker 7 (38:49):
Somebody just discos tennis off the serve with it.
Speaker 2 (39:01):
I'm gonn navigate the swirt with it.
Speaker 7 (39:02):
Put it down with.
Speaker 12 (39:03):
A nan of a bruit with it online with the
rhyme of a bird with it, having bad meals when
you're scratching up the court with it. Some say that
I got a lot of nerve with it. I'm making
sure that you get what you deserve with it. Wake
you up that you're not discerned with the country, the city,
the burst with it. Just crank discovery. Yeo to this
and every ye listen to the vision coming from a vision.
(39:24):
Every yo, this is normal.
Speaker 1 (39:25):
Rise.
Speaker 2 (39:25):
This is not imagine every No, I just want to
make a legend. Every yell.
Speaker 12 (39:29):
It comes through your every year. Yeah, we take it
care of ye. Bring the whole crew like an aircraft.
Carry yell to your brick wall.
Speaker 10 (39:35):
Let me break it.
Speaker 12 (39:36):
Be the barrier the hit the floor of the more
of the marriage.
Speaker 13 (39:38):
But this see if the fun parmer the place where
the fun stun start one time one ramyo with one
hot sun down to the time when the sun starts start.
Speaker 7 (39:47):
This here's the fun part.
Speaker 13 (39:48):
This, here's the fun parmer, the place where the fun
starts one time, one roma on.
Speaker 7 (39:53):
One hot sun down in the time when the sun
starts start. This here is the fun part.
Speaker 12 (39:58):
Yeah, front part is the name of the lyric straight smash.
And you know what when you hear it, you hear
it no sample. So when they need to clear it,
even if you can't see it, you can feel it
in your spare. It's like frame hot when you're getting
need not frightening it. So when they need to fir it,
you sam baby, let me pay your name. It like
a car drives better when.
Speaker 2 (40:17):
You steer it.
Speaker 12 (40:18):
Just fine reality or practicality, but for what you know,
when you can show your personality, the individual with individuality,
you just make fun your mentality.
Speaker 7 (40:27):
Because this is the fun parpret the place for the
mon stops start.
Speaker 6 (40:31):
What not what rod w one.
Speaker 7 (40:32):
Hot sundown from the time when the sun stopstarn. This
here's the fun part. This is the fun part, the
place where the fun stops start.
Speaker 13 (40:41):
Not what rhyme with one hot sun down and the
time when the sun stops starn.
Speaker 7 (40:46):
This here is the fun.
Speaker 12 (40:47):
Just crank just every yoke to this scenari Yo, listen
to the vision coming from a vision.
Speaker 7 (40:52):
Never yo, this is no mobrage.
Speaker 12 (40:53):
This is not imagine every no I just want to
make a legend every yo.
Speaker 2 (40:57):
It comes through every yo. Yeah, we take it carevery.
Speaker 7 (40:59):
Ya from the whole crew like an aircraft.
Speaker 12 (41:02):
Heavy until you break wall and we break it through
the berry and then the floor.
Speaker 2 (41:05):
The more the merry you.
Speaker 13 (41:06):
Because this is the front punker, the place for the
mon stone start one not one round one hunt sun
death from the town when the sun stop start.
Speaker 7 (41:15):
This here's the fun part. This, here's the fun punker,
the place for the monstone start one one rod, one
hunk sun death to the tip when the sun stop start.
This is the fun part.
Speaker 11 (41:26):
Yeah like that.
Speaker 2 (41:45):
And we out like that? Do we out like?
Speaker 7 (42:06):
Do we out like?
Speaker 2 (42:29):
I like that? Oh I'm doing it again. I'm sorry.
Speaker 1 (42:33):
I'm sorry it was I just got one thing to say.
Speaker 2 (42:38):
Yes, if you ever, you know, you ever need a
replacement for her one start.
Speaker 4 (42:43):
Right, never right.
Speaker 2 (42:45):
Fun part I'm just saying.
Speaker 4 (42:49):
Interesting is that, Not not to get too much behind
the curtain, but there's a setting in the speech program
that would sound a bit more natural, like it goes
and stay right. So this is the setting below the
natural sounding speech pattern. Because I wanted it to sound
more robotic. I wanted it to sound more like you know,
(43:10):
like like like like your GPS, than than actually having
a conversation that was intense. That was intentional on my
part because I want to kind of go, you know,
move move ahead. If I'm gonna you know, make advances
with it in you in future times, then then I
might do something. But at least to start, I wanted
it to be like this, to just see what kind
of rhythm I could get out of that kind of
(43:31):
out of out of that kind of setting with the AI.
Speaker 2 (43:33):
So well in two miles please make.
Speaker 3 (43:37):
As so silly, but listen like I want to. Man,
You've made good music that just makes you feel good man.
And what I love about it.
Speaker 9 (43:45):
What I love about it is that you know, it's
just authentic and you could feel it's.
Speaker 4 (43:54):
The funny, the funny part with with with no No
pun intended. This song came up out of a conversation
I was having with a DJ friend of mine and
we were, you know, just kind of reflecting on music
that was out and you knew this stuff in my career,
and he said, you know, Marv, it's like, what I
like about your music is that you know, you don't
try and preach to people. You don't try and beat
(44:16):
people over the head with stuff. You just quit your
stuff out there and get to the fun part. I'm like,
that's a song. And literally the next morning I wrote
a version a half of it and went on and
I knew what I wanted to track to sound like.
And it's something organic that really came together that people
are resonating with because a lot of the music I
feel and this is and I've had this a lot
(44:37):
of discussions were creative people like this. The more you
try to say with the song, the less you say
with the song, because a lot of times people are
using the music as an escape because they don't want
to hear a whole bunch of opinions or you know,
or whatever. They want to just have something that they
can group you to kind of let their mind escape with.
And that's what I that's what I pride myself on providing.
(45:00):
You know, I've learned that that that's that's something as
a as a musician, as an artist that does music
that a lot of people like. The crosses a lot
of lines that you can, you know, put people in
good moods. And that's what I saw about the move
do Yeah. I mean so why would I want to
recreate that?
Speaker 1 (45:15):
Yeah, I know, because my legs are still hurting me
right now from but I just like fun part yeah
kind of voice. I can do it, I can do it.
Speaker 9 (45:27):
I love my thing is I loved about that the
ai was dope And when I like.
Speaker 2 (45:32):
That, don't you think it looked like me without the hair? Yeah?
Speaker 9 (45:39):
I liked what I liked the vat though, is you
bought that Cali vibe.
Speaker 2 (45:44):
And the lower rides going down like this?
Speaker 4 (45:48):
I'm like, yeah, because a lot I've heard a lot
of people say that genres have gone away, that a
lot of stuff that we can be considered regional isn't
as regional. That track ten fifteen years ago, probably fifteen
years ago would be like, that's a that's a straight
(46:08):
West Coast track. And I feel that in the back
of my mind. Having said that, there are pop artists
and and you know, artists that are appealing to a
wide range that would have a track that sounded just
like that, and they wouldn't call it a you know,
a West Coast track because the music has just really mean,
you know, what's a rhythmic song as opposed to a
pop song. These days, it used to really have a
(46:30):
distinction twenty years ago, and that distinction really isn't there now.
So something that I'm thinking is going really edgy West coast.
A lot more people will accept it. And I'm looking
at the radio stations playing it, and we have a
lot of stuff in the in the south and the
east and the Midwest, and and we're getting some traction,
more traction on the West coast, but it's not as
West Coast centric as the sound of the track would
(46:52):
make you would lead you to believe.
Speaker 1 (46:54):
Yeah, And you know what, you know, what I like
about him is that he's He's like the epitome of
their are very few individuals that, no matter how many
decades go by, you can still pack a house. He
could still make people move and feel that joy, that
(47:14):
sensation when they hear the songs.
Speaker 9 (47:17):
You know what's funny now, I mentioned your name to
my father, right because my father does did musically back
in the day, and he said, you have an icon.
I'm having an icon on here because no, because he
when I learned, when he taught me a lot about
hip hop, you you're.
Speaker 3 (47:37):
Like one of the first records he actually really like played.
Speaker 4 (47:40):
I see irony of it because I came along at
a time when people, you know, the rappers are just
getting comfortable cursing in the records, because that was a
shift that happened between you know, the late eighties going
into you know, early nineties. So I'm coming out with
NWA ghetto Boys, you know, and and the gangster rap
stuff was starting. So there were a lot of kids
that were around that time whose parents would not let
(48:03):
them listen to, you know, explicit lyrics. Mine was was
a record that didn't have a sticker, and the stickers
were very prominent. You'd know if a record had curses
in it or not just from that black and white sticker.
Mine didn't have it. So a lot of parents would
be like, Okay, you can listen to him that. And
I've had kids come up to me saying, that's the
reason why I'm one of the first that they got
into because that I was one of the few that
(48:26):
their parents, you know, their parents let them listen to.
Speaker 1 (48:28):
Yeah, you know, I can understand these you know, I
can understand a curse word here and there, but it
doesn't really make the song any better, you know, in
my opinion.
Speaker 2 (48:38):
It depends.
Speaker 3 (48:39):
I always feel like when you've cursed on a couple
of years.
Speaker 9 (48:42):
But I feel like when an artist curses, it more
kind of like expresses how like they're feeling and stuff
like that at that moment of time.
Speaker 4 (48:48):
That's the thing. If it's too much, if it's cursing
all the time, you can't tell what the what the
what the meaning is behind it. You can't tell if
it's for anger or to emphasize a point or to
bring you know, to bring attention to a certain section
or something like that. If they do it all the time,
you just think, Okay, they just talk like that, and
they just okay, well I need a syllable to get
through this world. Let me say the word and I'm good.
Speaker 8 (49:10):
Yeah.
Speaker 4 (49:10):
So and for me, I came up at a time
where everything, oh boy, everything that I did, I wanted
a chance for it to be on the radio. Right,
So I don't want I didn't want radio to make
the excuse, well, you cursing this record. So we weren't
even worried about a clean version. We're just not going
to put it on. And I'm just gone with that
my whole career. And then I thought it's like, just
(49:32):
like I wouldn't change my name, Why am I going
to change my approach? Why would I change my style
and just start cursing all over the place just because
everybody else does it.
Speaker 1 (49:41):
Now, let me tell you, you know how many records we have,
you know, because people submit their music to our statement,
You know how many people we have had to turn away?
And I always tell them the block the what is it?
Like somebody once said to us, when you submit music
to a radio station or whatever, always be prepared to
have an a cappella version, a radio version, and an
(50:02):
edited version. So this way it can you know, you
can put it to where it can go. If there's
other stations that accept explicit content, you got it, but
us we don't accept it. So I always tell them
you got a clean, medio eded version, send it our way, right.
Speaker 2 (50:20):
That's you know, there's just I like the game.
Speaker 9 (50:23):
I like your approach though the way you thought about it,
You're like, why am I going to sit here and
curse on the record and we already know it's not
going to get on the radio right where I can
just And also.
Speaker 4 (50:31):
That's been once again, that's been my approach since I started,
since I started rhyming. I mean, I literally picked up
a mic in like nineteen seventy seven, you know. So
it's like and I remember I had a Gosh, this
will date me, but I I had a wrap. I
talked about the Ayatola and I ran it round it
with with asshole. I'm in a backyard and somebody smacked
(50:57):
me because their mother was there, you know what I mean?
And this is what this is. This is a and
so I'm thinking, you know, as I'm going on with it,
and then you see rappers Delight happen, and you see
run DMC you know happen. You hear Sucker mcs, and
you hear rock Box and and all those things on
the radio, and there's there's they're not cursing in it.
And my goal was to be on the radio s
even writing wild thing, there's no cursing in it. So
(51:18):
why why why would it start now? And you know
people talk about keeping it real, It's like me not cursing,
is me keeping it real? Yeah? It's always been my approach.
And also I like the challenge to say, okay, if
I if I know these dirty words can't be my vocabulary,
what other words can I put in my vocabulary to
make my songs you know, appealing, compelling, you know, so
(51:40):
that I like like.
Speaker 2 (51:42):
I got words. Believe me, I can find words.
Speaker 4 (51:45):
I can imagine.
Speaker 1 (51:47):
You don't need right, I can find words at any
given time. Don't worry. You don't need nasty words. I
can give them to you anyway. I don't know what
just happened.
Speaker 2 (52:00):
I'm here so just you know if we you know,
thank him for coming on the show.
Speaker 3 (52:06):
Thank you so much for coming on the show.
Speaker 4 (52:07):
Man, Thank you, thank you guys for having me. This
was definitely fun, and I thank you for playing the
new stuff. Please, if anybody wants to check me out,
follow me. It's young MC eighty nine on Instagram, trying
to get my followers up, and I'm gonna keep going.
Next next year is gonna be a big year.
Speaker 9 (52:23):
Well listen, I'm here to keep on pushing that record
and keep trying to make that record hit the charts.
Speaker 3 (52:27):
Brother, you got my support.
Speaker 4 (52:29):
G thank you. Jy a lot here.
Speaker 1 (52:32):
I'm just gonna squeeze on over here because my mic
just went out, but I want you to say thank
you very.
Speaker 2 (52:38):
Much for coming on our show.
Speaker 4 (52:42):
You're very welcome for having me. You got your money.
Speaker 2 (52:46):
Please please go out and purchase fun part Bye m
see there you go.
Speaker 4 (52:54):
It's on all the DSPs, the videos on the YouTube channel,
trying to get some tracks. We charted in Billboard moving up.
So things are you know, things are good. Things are.
Things are definitely good with it. I thank you for
the spotlight on it and the video looked good on
your station.
Speaker 9 (53:08):
Absolutely no, thank you so much and definitely appreciate you
a lot.
Speaker 2 (53:13):
And say goodbye to everybody.
Speaker 9 (53:15):
Good bye everybody, see bye everybody.
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