0:00

Questlove Supreme is a production of iHeartRadio.

0:07

This is Part two. Doug describes a journey to

0:09

becoming hip hop star and one of the world's greatest

0:11

entertainers. I really like this episode

0:13

and you will too.

0:22

I have a question about the Oh my God

0:24

record. Now.

0:26

I know that

0:29

we're in a whole different time period now,

0:32

So having grown up in

0:34

Reagan's America, which

0:36

was heavily Christian,

0:39

conservative, more

0:41

you know, moral majority, all those

0:43

things, I can see

0:47

I had a different opinion of it when I first

0:49

heard it, and of course thirty

0:52

years later, opinions have changed,

0:55

and we now live in a time period

0:57

where like we believe

0:59

that you know, in his choice and whatnot.

1:01

But you know, even before Common did

1:04

retrospect for life, I remember

1:08

like how big the

1:11

abortion song was on

1:13

your first album. So

1:16

what was the what was the what was the

1:19

because the thing is like on

1:21

that on that debut record of yours.

1:24

The two things that my two takeaways

1:26

was definitely you know, play

1:29

this only at night really

1:31

truly could have been given

1:34

Moments in Love a run for its money.

1:37

But like the first New.

1:38

Jack kind of you know, slow

1:41

join right, and I

1:43

just at that point I never

1:45

heard a rapper really get topical

1:49

about anything that wasn't just street

1:52

conditions or you

1:55

know, violence on you know, like

1:58

day to day violence. Like you just never heard the

2:00

rapper rapping about abortion?

2:03

What what prompted you? What prompted

2:05

you to even go there?

2:08

Wow?

2:09

You know because back then.

2:10

It was.

2:12

You yeah,

2:15

yeah, yeah, yeah. Well well I'm gonna tell you

2:17

two things. And that's a beautiful question. I

2:19

like how you slipped that, And I like how you did

2:21

that. That was so stupid. And

2:24

I haven't forgot about.

2:26

You know, we get

2:28

to trust me.

2:31

No, no, no, but look what happened was,

2:34

as you know hip hop, the expression

2:36

is raw.

2:37

All the Way to Happen is the first song ever

2:39

dedicated to God.

2:41

That's before Jesus Walk,

2:43

that's before anybody ever did it. It was

2:45

a chance, it was. All the Way to Heaven

2:47

was created because we were

2:50

happy. We were

2:52

happy about what God has given to

2:54

us. So so when

2:56

I'm saying, can I.

2:58

Can I just briefly issue if you for one second

3:01

and maybe you could double this answer, because

3:03

I swear to God I would I would have killed myself

3:06

if I didn't ask this question. Speaking

3:08

of all the Way to Heaven, can you

3:10

please. I think I heard you explain

3:13

this once on a radio show back

3:15

in like eighty six, and I.

3:17

Could not never find this quote.

3:19

Can you explain the the the

3:21

the the logic you

3:24

had with creating

3:26

the show as far as its spiritual

3:28

element, Like I think I heard you say

3:31

one time where you like, so

3:33

no, no, no, you mentioned something about like like,

3:36

oh my god, like he purposely

3:38

chows, oh my god, sound body with

3:41

a six six six six minutes thing,

3:44

even like is he real?

3:46

Like it's thought

3:49

I read this. I don't know if I dreamed or

3:51

not.

3:53

If you say is it real?

3:54

Fast?

3:56

Right? So that's that's

3:58

right. That was how and and

4:01

oh my god, you know and

4:04

kind of like you know a lot of things

4:06

for me hopping through dreams, Like

4:08

even the show came to me in

4:10

a dream. It was like I woke

4:12

up and something told me to do it,

4:15

the same way I just did this new project about

4:17

Chuck Brown. It's like this is happened

4:19

to me, No, but it happens.

4:21

It's a real interesting way that

4:23

artists create. So what I did, oh

4:26

my God is a real I told Barer

4:28

and Will and they was like, how you're going to have us cut

4:30

these two things at the same time.

4:32

I said, trust me, it's going to work.

4:34

And when they started cutting it,

4:37

it just became that was I consciously

4:39

thinking about the creator.

4:42

I can't really say I was. It

4:44

was just something that was making me do

4:47

this. Now, a lot of people thought that when it was

4:49

saying six minutes, it was worshiping

4:51

the devil, but it wasn't none of that. It was

4:53

just that it was a kind of a cool

4:56

thing in a way where if you listen.

4:58

I'm more of a rhyme style list.

5:00

So when I'm doing something, it's never

5:03

gonna be what you believe

5:05

it should be. I'm not trying to be the

5:08

greatest rapp up. I'm

5:10

trying to convey an

5:12

idea and that's my main

5:14

focus. So six minutes, six

5:16

minutes, six minutes, Dougie vers it's

5:19

it became kind of like

5:21

or like no no, no, no, no, no, we didn't

5:24

no no no no no no no no. See, like it's

5:26

not a rhyme.

5:27

And then and then if you're think about the show when it's

5:29

going on and in.

5:31

The back you can hear.

5:34

Right.

5:36

But because because all of

5:38

these different pieces.

5:40

Kind of like it was more it

5:43

was changing the way and

5:46

a hip hop artists were to approach

5:48

things. I was changing what

5:51

you considered to be hip

5:53

hop. I wanted you to expand.

5:56

I wanted you to think that you can't. You don't need

5:58

just one DJ. You can use two,

6:01

you can use three. I wanted you to think

6:03

about listen to the rom it's

6:05

all because put a song

6:07

in a rock me shall like,

6:10

let's do something different, because you

6:12

gotta be flashed to rock with and

6:15

I'm known for the not

6:18

like, let's let's play at

6:20

the end of the song. I'm doing as

6:22

you can see most definitely, I'm

6:24

not rhyming. I'm talking to you. We

6:27

are like like it's

6:30

it's it's changing.

6:31

The spiritual song is

6:34

like the show hip hop's first spiritual

6:36

song or with see.

6:40

I think that in its own way, organically

6:43

it probably was without

6:46

without consciously doing

6:49

it, okay, And I

6:51

wouldn't.

6:51

I wouldn't.

6:52

I wouldn't say that I consciously did

6:55

everything that way. I just feel

6:58

like I was driven to do

7:00

that, you know, and then all the way to heaven,

7:02

me and Rick was going to do together. So

7:05

when I made on my guard, I was

7:07

in a very I was in a

7:09

state where I was

7:11

feeling bad because

7:14

of the way I had to keep this thing

7:16

going, because I thought me and them together

7:19

was really good, and I felt

7:21

like I was disappointing a lot of the

7:23

people who loved the chemistry.

7:25

So I was in a position where I felt

7:27

like I had.

7:28

To keep moving, and I

7:30

know that some people would

7:32

would take it a different way.

7:34

But I also felt all the way to Heaven

7:37

was important.

7:39

Because I felt like, how can

7:41

I go from this point forward and

7:43

not give thanks to the creator

7:46

for what was done. I'm

7:48

a guy that saved up this money,

7:51

went in there, made these records.

7:54

A dude owed me money. I went to the

7:56

studio at my friend's

7:58

house. I made this up and it

8:00

exploded, and it's one of

8:02

those stories that nobody would ever believe

8:05

is true.

8:06

So I'm thankful.

8:08

And even though me and Rick got our issues

8:10

or things wasn't working out, I'm still

8:12

thankful. So then I also

8:15

felt that a song like abortion, the

8:17

baby on that record

8:20

is being born, and that's Banard's right,

8:23

that's Banard writes Son. He

8:27

went into the

8:30

room, he was in the room when his wife

8:32

had the baby, and I said recorded,

8:35

I said recorded, I want that on

8:37

my record. He said,

8:39

I'm coming back with it. He

8:41

went in there with the recorder. The

8:44

baby was crying, and

8:46

I put it on the top of the song. Now

8:49

why did I do that? I did that

8:51

because I felt at that particular

8:54

time that this

8:56

is the most beautiful thing in the world.

8:59

This is my son. You

9:01

know, I'm here because of this.

9:04

So I felt

9:06

that that topic and that thought

9:08

process was

9:11

one that I felt

9:13

very strong about. And then I had a

9:15

girlfriend and that happened,

9:18

and when it happened, it affected

9:21

me. And when it affected

9:23

me, I wrote about it the same

9:25

way. I wrote she was that type of girl. I wrote

9:27

about it same way. All the Way to Heaven I

9:30

wrote about it same way. Nothing is

9:32

about people smoking crack and

9:34

things happening in the community, I

9:36

wrote about it.

9:37

Play this only at night was the condition

9:39

that I seen Harlem.

9:40

Harlem was like night of the living

9:42

bass heads on steroids bro.

9:45

So I wrote about it.

9:47

So the music was was was

9:49

explaining what was going on, and

9:52

I didn't. I didn't think nobody might

9:54

get it like I got it, But

9:57

I felt like I.

9:57

Needed to give it to him, you

10:00

know what I mean.

10:01

And even with loving

10:03

every minute, I think that was my first introduction

10:06

to seeing Chuck Brown live at the

10:08

Capital Center. So I was so influenced

10:12

by that energy. I came back

10:14

and wrote loving every minute of it with the Go

10:16

Go track in it. So I was just

10:19

once again. But

10:21

see, it goes back to honesty. I know that

10:25

honesty. You know, honesty

10:27

is not always appreciated,

10:30

and it's not always good,

10:33

and it's not always good when when

10:35

the timming is off, sometimes

10:38

it can cause I tell people truth

10:40

out of season can be destructive,

10:43

you know what I mean. But then there's a fearlessness

10:46

in telling truth. So when I was

10:48

putting records together, it was

10:50

my truth, and it was a fearlessness

10:53

that I felt I'm gonna deal with

10:55

with coming When I would play the records at the

10:57

party or something and they get to that record

10:59

of Bots, I'm like, man, I know they hate

11:01

me for this song. I know they are, I said,

11:04

but I said, but you know what I

11:06

said, But yoe, man, this

11:08

is where I'm not with it.

11:09

This is how I feel.

11:11

I appreciate your honesty.

11:12

And also, you know, sometimes as

11:14

fans we have to allow our artists to evolve,

11:17

especially if they started young.

11:18

We did it for common so.

11:21

Right, right, I mean, back back in eighty

11:23

five. That was the modus operandi. Wait,

11:25

I have one more show question, and again

11:28

I got it. This the intro to

11:30

the show. Right, was

11:32

your inspiration behind that?

11:35

The whiz?

11:37

The gold, yellow Green?

11:39

Absolutely? I knew, absolutely

11:42

no question. And when I did it, I said,

11:45

I said, I said, but I wanted to be

11:47

better. I said, I want to feel that. I

11:50

said, but I used to love when Richard prob

11:52

gold is the I changed my gold

11:55

color colored. Now children, when every time

11:57

you get received right?

12:00

And so after I said, I wanted

12:03

to be big, you

12:05

know. And one of the things that I felt

12:08

with a lot of hip hop songs was

12:10

they never I always felt

12:12

like and I guess maybe the influence came from

12:15

super rapping, but it was a

12:17

Friday night everybody like I felt

12:19

like, if a song is coming on, it

12:22

has to make me feel like

12:24

like you taking.

12:25

Me someplace, you know what I mean.

12:28

So the show was the first record that I

12:30

was able to get out all of my ideas

12:33

the way I wanted to. And because

12:35

I went through so many, you

12:37

know, situations with not being able

12:40

to express my ideas to the

12:42

fullest, it was like I'm gonna

12:44

put up my own money, and I'm gonna

12:46

express my ideas my own way.

12:48

And that horn in the beginning

12:51

was inspired definitely by

12:53

the waiz Man.

12:55

Okay, so question, here's

12:57

the fact that I did not know, because

13:01

if you're not getting the record, at least in nineteen

13:03

eighty eight, if you're not buying the album,

13:06

this is before the CD generation, cassettes

13:09

really aren't giving you liner notes. So

13:13

I think maybe he revealed this to

13:16

me four years ago. I

13:18

had no idea that

13:21

the Bomb Squad was

13:23

kind of the production unit behind

13:26

your second album, World's Greatest Entertainer

13:29

on two songs, well

13:31

even there period, and if you look

13:33

at it, keep rising to the top.

13:36

Really isn't when

13:39

you get squad soundy right

13:41

because different samples, though

13:43

it is kind of you know.

13:45

Well, I mean no, I'm gonna tell you

13:47

the song once again, the same way I acknowledged

13:49

Seddi Roley, I acknowledged the Bomb Squad,

13:52

and I met Chuck d on

13:54

tour and I would and

13:56

I would help them with the

13:59

performance when Public Enemy was performing,

14:01

because they was opening up for us, so

14:04

I would help him with his performance.

14:06

I would say, yo, you gotta let the s one w's

14:09

move. You gotta get you in flavored.

14:11

I to exchange the energy. So we

14:13

started. He was just listening to me and

14:16

he would try it out, and I said, Griff

14:18

could do this part. And I was sitting

14:20

there and we'd come together. And then he started

14:22

telling me how he was a part

14:24

of this bomb squad and

14:27

he said, Yo, you should get with us and

14:29

talk with us a little bit. I said, I got this joint

14:31

that I want to do, man, and it's I don't know, it's

14:34

in hip hop. Nobody's ever really done a joint

14:36

like this, I said, but I think

14:38

it's going to take it to another place. And

14:40

he said, all right, well.

14:41

Why did you hook up with us? So I came

14:43

to him.

14:44

I came to Hank Shockley with

14:47

rising to the top, and then

14:49

I said, let me hear some drum sounds

14:51

the same way I did at Teddy's house. So

14:53

I banged out the beat. So I

14:55

took the samp and he had all

14:58

the right stock sounds because

15:00

their sounds was incredible. And

15:02

then Eric Sidler, when I

15:04

was I said, I said, I wanted

15:06

to hear to Doom to Doom to

15:08

Doom to Doom

15:11

right right, And I wanted that kind of

15:13

feeling that that I

15:15

honestly got to say, I got inspired

15:18

by when I heard Nobody beat the Biz.

15:20

When I heard Thoomommom

15:23

Tom Tom

15:25

Tom, why that came

15:28

on? That

15:30

was crazy? That was crazy, And then I

15:32

said, I want to put chords at

15:34

the end of it. And then I remember

15:36

everybody was laughing at me in the studio.

15:39

They said, Yo, people are gonna be coming out with their smoking

15:42

jackets.

15:47

Yo.

15:47

Rising to the Top is the first. That's the first

15:49

forty five that I bought, like

15:52

with my own money for myself. So

15:57

my grandmother took me to the record store.

16:00

I bought Tougher the Leather and

16:02

the Rising to the Top forty five, and

16:06

I ended up because on the forty five it was

16:08

Rising to the Top was on the A and then on the other

16:10

side it was the instrumental. Right, And

16:12

so I without

16:15

doing I'll just say I listened to Rising

16:17

to the Top way more than.

16:18

I listened to.

16:21

That is.

16:22

I love that song, man, I love that record.

16:24

Why do the first time I

16:26

seen like Dougie do your dance to that song?

16:31

Right?

16:31

That's yeah,

16:37

Look, that's when I introduced That's but

16:40

because I because I came up with the Dougie

16:43

and I didn't call it that. I was just doing

16:45

it right, and he was I

16:47

was just doing Douggie. And then that was the introduction

16:50

to the dance that turned into

16:53

a whole nother situation which I

16:55

can't even I mean out

16:57

of.

16:57

The field even had the White House

17:01

to see that dance. Get to the White House.

17:03

Yo, let me tell you quest. I was

17:06

up there taking a picture with the first Lady

17:08

and I said, very nice to

17:10

meet you, first Lady.

17:12

She said, I just want to ask you one question.

17:14

Am I doing the Dougie?

17:16

Yes? Because

17:21

yeah, yeah, yeah, yeah, yeah, I said,

17:24

I said, I said, I never seen it done better. I

17:26

never seen it done better.

17:28

And you want to go, You've

17:31

been to the White House a few times doing that doing that

17:33

that era because I feel like

17:34

a White House doing

17:36

Easter. And I saw Dougie Fresh walking out

17:38

like I live here.

17:39

I'm right

17:42

right right because I was doing I got

17:44

this foundation called Hip Hop Public

17:46

Health, so we was performing and

17:49

and and then I did the song for Michelle

17:51

Obama Let's Move the whole campaign,

17:54

So I did the theme song for that, and

17:57

that our organization team in with him

17:59

for we did. We started fighting childhood

18:02

o B City high blood fresher,

18:05

seeing the symptoms of when a person has

18:07

a stroke. And we've been doing

18:09

this work for the past thirteen

18:11

to fifteen years, like teaching

18:14

people how to eat, you know, trying

18:16

to give them some kind of understanding of, you

18:18

know, watching what you eat

18:21

and the effects of it. You if

18:23

you're eating stuff that's not right. So

18:26

you know, Michelle Obama when she said she was

18:28

going to do it, hey, I

18:30

said, where do I sign up?

18:31

And then I just started to do the song.

18:34

So you know, that's what it's all about,

18:36

you know what I mean?

18:38

That made me think when you said you was talking to Biz about

18:40

his health, you was really talking to Biz about

18:42

his health.

18:43

I went hard on him, meaning just

18:46

not not hard in a bad way,

18:48

but I kept telling them, you

18:50

know, Biz, yo, we got to

18:53

make sure that you know, you

18:55

watch what you eat, and you know, these starches

18:58

turn the sugar and sugar turns

19:00

the fact if you get diabetes,

19:03

it's gonna be tough. And I say, you

19:05

know, and I would take him out and he would be DJing

19:07

sometime and he would be right. He would

19:09

almost pass out on the set

19:12

and we would have to catch him. And then I'd

19:14

be like, bizz, you gotta stop

19:16

this, you gotta get And then he started getting controlled

19:19

and I posted something where he lost on stage.

19:21

He lost like seventy five eighty pounds,

19:24

and then after he did that, I was.

19:26

Like, yeah, non, now this is what I'm talking

19:28

about.

19:29

And then when the pandemic happened

19:31

and he sat home for a while, you

19:33

know, like most people, they

19:36

sat home and they just started

19:39

to you know, snack here not then

19:41

soil he wasn't paying attention

19:44

right, And then what he did is he caught a diabetic

19:46

stroke. He caught a seizure, and he got

19:48

a diabetic stroke. And then when he went to the hospital

19:51

when he had the stroke, you know, his stroke is

19:53

the number one disabilitating disease in

19:55

the world. So he wasn't able to talk

19:59

or he wasn't able to to move, like

20:01

he couldn't move. So we

20:04

kept trying to send them flyers. I would

20:06

get on there, telling them jokes. Me and his wife would

20:08

be up there snapping with him and doing

20:10

the things that we normally would do to pull him

20:12

out of it. And then he would show signs that

20:14

he's coming out of it. And then there would

20:16

be times when he goes down

20:18

and and.

20:20

It really bothered me.

20:21

Man, But you know, I'm

20:24

hoping that what happened

20:26

to him is making everybody

20:28

aware of it

20:31

can happen to any one of us, you

20:33

know what I mean.

20:34

And everybody loved this. This

20:36

was such a bright spirit,

20:40

right personality, you know.

20:42

So to see him leave at such a

20:44

you know, a young age, it

20:46

bothered me.

20:47

That's why I'm glad that these two brothers on this show,

20:49

they talk about health all the time, and they held

20:52

help each other accountable.

20:53

So I love it. You

20:55

love it. I love it. When I

20:57

heard y'all talk, and I was loving it, bro, I

21:00

was loving on some real conversation. I

21:02

know it's about me, but it's really about y'all.

21:05

You know. I was loving it, and I like. I

21:08

like how y'all are supporting each other, because

21:10

that's where we go wrong. We believe,

21:13

we believe that we got to go through this by ourselves,

21:16

and we don't. We don't. Sometimes

21:19

sometimes you need your man to check

21:22

you a little bit or you

21:24

know, or challenge you and turn it into

21:26

a game so it's not so

21:28

so serious, you know what I mean? And you

21:31

know, and looking. Sometimes even if you fall

21:33

off on something, you know, if you got

21:36

a good team of people around you,

21:38

you can.

21:38

Get yourself back on it.

21:40

But I just think that diabetes is such

21:42

a bizarre disease because

21:46

you don't really realize when

21:48

your sugar's up and you're not checking

21:50

it, and your sugar could be an eight hundred

21:53

and you walking around feeling good

21:55

and out of nowhere. Bull it

21:58

takes you out.

21:59

Where's your number?

22:01

With your number?

22:02

With your number?

22:03

Steve?

22:05

See he see what? You don't know why you have this

22:07

conversation. We got somebody in our collective

22:10

that has sugar issues.

22:11

And I'm just saying the

22:16

two black ones.

22:17

That one surprisingly nah.

22:26

But Doug, you are the you're the poster boy for

22:28

like agent and hip hop.

22:29

Like you are, I mean,

22:31

like yo, man, like just watching you over the

22:34

years and just watching the way you've taken care of yourself

22:36

and the wave.

22:36

It yeah

22:40

yeah man. The regimen or something

22:42

like what's your what's your diet? Like, what what's like?

22:44

What's your day to day?

22:45

Well, my day to day is I usually try

22:48

to run and then and then I got this

22:50

program where I run and then I

22:52

may walk because a lot of people want to estimate

22:54

walking. See this is the.

22:56

Problem how here you

22:58

go?

23:00

Walking is and it's a fascinating

23:02

exercise because it actually

23:06

gives you time to think things through

23:08

and when you're looking at them, you

23:11

know, you start.

23:12

To figure out different things.

23:14

If you're listening to music or whatever way you want

23:16

to do it, if you're walking with a friend, you'll

23:18

be surprised how much you burn it.

23:20

So what I do is I walk, I

23:23

run, I ride the bike, and

23:26

I do a lot.

23:27

Of making sure I'm not

23:29

letting nobody stress me out.

23:31

And I think we got lost with that one.

23:33

I think that's the one that everybody's failing

23:36

on, or a lot of people, because we so

23:38

goal oriented that we want to

23:40

be the best. We want this to be

23:43

the greatest, we want this, We want that

23:45

that we start to put our health behind

23:49

us instead of keeping it as number

23:51

one. And then when you look at health,

23:53

it should be in this order. This is my order,

23:56

and I study this order. Number

23:58

one is rest sleep.

24:01

If you don't get that you're

24:03

done, you can't operate,

24:06

You make mistakes, you talk crazy,

24:08

you short fuse everything. It

24:11

just turns into something else. When you don't get no

24:13

rest, Number two is

24:15

your nutrition. You gotta eat

24:17

to live, not live to eat. You

24:20

gotta think about what you eat. And if you got

24:22

sugar, you gotta check that sugar.

24:25

You have to so that you can gauge

24:27

your numbers. If you like something that's

24:29

a a starch, ain't

24:31

saying you can't have it, but maybe

24:33

you gotta earn it. Maybe you gotta

24:36

maybe maybe you gotta earn that. Let's

24:38

earn it.

24:39

Let's run it right, and then.

24:41

When you do it, maybe maybe you earned half

24:43

of that, you know, if that's if

24:45

that's a game you want to play, but you can't just

24:48

have that starch. Don't walk, don't

24:51

run, be up all night and

24:53

then drink sweet juices

24:56

or be you setting yourself up

24:58

for something that you I have no idea.

25:01

It's crazy. And then the third one,

25:03

it's some exercise. But the exercise

25:05

don't have to be that you're working out

25:08

like you trying to be, you know, a football

25:10

player.

25:11

You know what I'm saying.

25:12

It don't have to be that crazy.

25:14

If you're walking, you're getting on a treadmill.

25:17

You want to walk in your body, that's

25:19

it, that's it. And then after

25:22

you do it and you start seeing how

25:24

you feel. You're going to be happy

25:26

to do it because it's making

25:28

you happy. And then while you're doing that,

25:30

you rest, You're energetic.

25:33

You know, you got eight hours sleep or seven

25:35

hours whatever you need, and then you ate

25:37

something that gave you a nice amount

25:39

of energy, and then you go out there.

25:42

And work out.

25:43

Yo, you did all of the things that you

25:45

could do to survive on

25:47

this planet a little bit more. But

25:49

if you just be reckless.

25:53

Slight confession time, slight

25:56

confession.

25:57

I love it.

25:58

No, definitely.

26:00

I when it got colder, you

26:03

know, well, okay, so

26:05

so the deal.

26:06

The deal is basically.

26:08

Getting dark at four o'clock.

26:09

Yeah.

26:10

When Rick Ruven was on the show, he made

26:12

me he was my accountability

26:15

partner, and you know, I was

26:17

doing like ten thousand steps a day every day

26:20

and then around mid September I started

26:23

falling off. Now, when I hear something five,

26:25

when I hear from five different sources the same

26:27

message, then I'm like, all right,

26:30

man, you gotta get so you're officially it

26:32

started this morning with my.

26:33

Mom, are you walking like you to

26:37

me?

26:37

Are you lying to me?

26:39

Grace?

26:40

Same thing?

26:41

Like literally four people got

26:43

on me about okay,

26:46

now, like how you

26:48

doing. You're still sticking to your plan or you you've

26:51

fallen off a little bit in the in the winter.

26:53

And I was like, you know, I'll.

26:55

Get back on it next week, all right,

26:57

cool, I gotta get

26:59

back my ten thousand steps a day

27:01

join because I felt I went

27:04

from ten thousand util like four thousand

27:06

school. I'll just do like ten blocks and walk back

27:08

home. So right, I gotta

27:10

get back on my join.

27:12

See. And that's how the Creator work because

27:14

all of us are saying things to you.

27:17

And I always say this now too, don't

27:19

get caught up in the messenger. Just

27:22

hear the message.

27:23

Message because you may not

27:26

you if you get caught up in the messenger,

27:28

you may not hear that message. And that

27:31

message can be coming from a little baby,

27:33

It could be coming from a mother. It can be coming

27:35

from a person that you don't like, but they

27:37

said something that was really important

27:40

for you to hear. If you got five different

27:42

people. Sometimes and we get

27:44

caught up on how to.

27:45

Create a community.

27:46

The Creator communicates through us,

27:48

and he says things to us to say

27:50

to somebody that maybe

27:53

if that person can bypass who's

27:55

the person saying it, and just hear

27:58

the message. A

28:00

lot can come out of that, because what's the odds

28:03

of me having this conversation with y'all

28:06

right now on this and

28:09

it has nothing to do for

28:11

what we're talking about. You see what I'm saying.

28:14

But it has everything to do for

28:16

what we're talking about. The brother on

28:18

here with diabetes, or me talking

28:21

about how I've seen it

28:23

with biz, or you watch so

28:26

many of us, So many of us lose

28:29

ourselves or pass away

28:31

transition just.

28:33

Because we don't make little, minor adjustments.

28:36

It don't have to be extreme.

28:38

It's like I always say, if if

28:41

a person does a little, they don't even have

28:43

to really do a lot.

28:44

But if you just stay consistent at

28:46

it, and.

28:46

If you just keep this, yeah, man,

28:49

like nobody ain't trying to make you. I'm not

28:51

trying to make you work out to where

28:53

you know you pass out.

28:56

But you know you know you got

28:59

it ass your ass. You

29:01

gotta move it. You gotta move it.

29:03

Man.

29:05

I do want to get key parts of your career out

29:07

before we run out of time, which.

29:10

We gotta talk about. There's

29:13

a lot we gotta talk about. Wait, wait, wait,

29:15

the hammer we're gonna do.

29:16

Yeah, I was gonna say we gotta talk about

29:18

do what I Gotta do right right

29:21

right well.

29:22

All the time right then.

29:23

Yeah, yeah, we're gon, We're going to We're going

29:26

to it.

29:27

Yeah, what was it?

29:28

What was the decision behind

29:32

like what the key give us the atmosphere

29:35

or or or or what it was like

29:38

under the umbrella of Busted

29:40

Productions with Hammer Beautiful

29:43

doing what I Gotta Do great really

29:45

should have been way bigger for you.

29:47

But yeah, well another great lesson

29:49

what happened with that project is

29:53

I felt that when I came out with World's

29:55

Greatest Entertainer, I felt really good

29:57

about my album. I felt that

29:59

that album was made in a way

30:01

where I was trying to show people different

30:04

dimensions about,

30:06

you know, my growth and about hip hop. Like

30:08

when I did Africa and when I

30:10

went to Africa in eighty seven, hip

30:13

hop wasn't in Africa. I was the first

30:15

dude to run over there, you know what I mean.

30:17

I was in Senegal, the car, Gambia,

30:19

Gory Island. I wrote the song.

30:21

Over there, Yeah that's what Africa.

30:24

That last song on World's Greatest Entertainer

30:26

called Africa. Heavyd used

30:28

to love that song and Rod Kim loved that song.

30:31

But what happened is that I felt that

30:33

the label really at

30:35

that point didn't get my vision when

30:38

I first started with him, and

30:40

the thing happened with me and Rick, I

30:42

think it took some steam out of him and

30:45

he started trying to figure it out.

30:47

But Rizzo to the top of such a great record

30:49

cut that zero. I felt on this Trump could

30:51

have done a lot better. I think people

30:54

slept on that. A lot of people liked

30:56

to guess. So it was a lot of different things that I didn't

30:58

feel my label God, which

31:00

I think a lot of us felt

31:02

at points in our career. So I

31:05

signed with Dick Scott

31:07

Management, who was managing

31:10

New Kids on the Block, and

31:12

he would fund me to

31:15

go to the studio and make some records.

31:17

And while I was doing that, Hammer

31:20

and his brother heard I was no

31:22

longer I was looking to get out

31:24

of Reality Records. So,

31:26

long story short, I got with his

31:29

brother, Louis Barrell. Lewis

31:31

didn't know that reggae was coming. I

31:34

was telling him, I said, Yo, reggae is

31:36

on fire, bro, But he was feeling

31:39

like.

31:39

That don't mean nothing, because I'm getting this.

31:41

You can't touch you know, can't touch

31:43

this money and Hammer's in

31:45

the stratosphere, and so there

31:48

was a beef between the East and the West coast.

31:51

So I felt that if me and Hammer

31:53

got together and I was able

31:56

to bring what I bring to the table and

31:58

he keeps doing his thing, this would

32:00

show a union

32:03

between us where this beef

32:05

between East and West.

32:07

Coast wouldn't even really be there. Because

32:09

Tim Dogg was making.

32:11

You know, Alas

32:15

album was right right, and I wasn't

32:17

about that.

32:18

So they paid close to maybe like one

32:20

point two one point three to get me out

32:22

of the deal. So when they got me out

32:24

of the deal, they say, yo, I just want

32:26

to be able to put at least one or two songs

32:29

on the album. And I said, okay,

32:31

no problem, and they said I was telling them

32:33

reggae.

32:33

So we was up there working it out.

32:35

And what happened is I went to Jamaica and

32:37

I went to go do sun Splash, and

32:40

I was doing dance all night. I don't know if y'all

32:42

know about sun Splash. Yeah,

32:47

I forgot him on it right right.

32:48

So I'm so I'm like.

32:50

The first guy to ever perform

32:52

on dance tall night in

32:55

Jamaica, which was unheard of.

32:58

You might want you retimidated.

33:00

No, no, look

33:03

that audience is tough, yo, that

33:05

audience is tougher than Apollo.

33:07

It's how did you again?

33:09

I know your whole no fear thing, but yeah,

33:12

yeah, well.

33:14

I felt I felt like I felt

33:16

my.

33:16

Energy was stronger

33:19

than theirs. And then I also

33:21

had Papa Son who we was doing

33:23

records together. I mean no, we

33:25

was performing together. So when I'm performing

33:28

with him on dance hall. And then the

33:30

other thing is sometimes less

33:32

is more and more is less,

33:35

you know, because sometimes you're doing too

33:38

much. So I felt like, if I give them

33:40

little samples of what I do, it'll

33:42

make them appreciate it more than me trying

33:44

to give them a whole concert.

33:48

So I got on. They accepted

33:50

it, blew up but bloke

33:53

gunshots all night. After

33:55

that was over, I got back on the

33:57

plane and came back and I was doing something

33:59

at how And when I got back,

34:02

Hammer's boy edited the video

34:05

did all of these different things with it. And

34:07

then when he did it, it was the same guy

34:09

that edit Hammer's video. So

34:12

when he let the song out, a

34:14

lot of people was looking at the marching

34:16

band and all of it, at the Battle of

34:18

the Band thing and they thought that

34:20

it was like we was trying to make a Hammer

34:22

video. Oh okay, you

34:25

see what I'm saying. So I

34:28

said, it's the true story too.

34:30

I said, yo, bro, why did you edit

34:33

the video and let it out without

34:35

me being able to look at

34:37

the video acknowledge what it

34:39

is because I read alert in there, Curtis

34:42

blowing there.

34:43

They cut all of the different elements that

34:45

would give it the authenticity of

34:47

the East Coast and showing that love.

34:50

And then when they say they said, man, yo, we was just doing

34:53

so I felt like the respect

34:55

factor was not as high as

34:57

my respect was for him because

34:59

I guess he was trying to go in there right when it

35:01

dropped. Capital dropped

35:04

him and the label

35:06

went bankrupt, so the album

35:09

never came out. So

35:12

that album never came out. The

35:15

single was coming out, and I'm thinking

35:17

now as.

35:18

I'm doing what I got to do album and

35:21

it never can't.

35:22

It can't like Capitol was

35:24

letting it out and then they shut

35:26

everything down because yeah,

35:31

you got the album.

35:33

I had to tape. Uh this was this

35:35

was my stepdad before he passed.

35:36

Yeah, he had to tape because my joint on there I

35:39

used to run was the if I was your man joint because

35:41

you was curious.

35:42

Yeah, so you know what I mean? That was my

35:45

record? But

35:47

uh yeah, man, no that record it came

35:49

out like you know, yeah.

35:52

But I'm I'm gonna tell you in regards

35:54

to when Capital Capitol

35:58

dropped Busted Records and

36:00

when he dropped Busted Records, whatever

36:02

bust it had or whatever

36:05

busted on.

36:06

Busted was cut

36:09

Busted was cut off.

36:12

Yeah, bust it was busting. And so then I left

36:15

and when I and when I left, I

36:17

had to you know, I had to rebuild

36:20

the credibility because people was feeling

36:22

like I was trying to sell out. So

36:25

that wasn't a problem for me because

36:28

I built my career before

36:31

record. So I went back in the street and

36:33

started to kind of see what was going on. I

36:35

seen PM doing, PM doing

36:38

was hanging out at the club. We were both going

36:40

to see Prince, so we went to see

36:42

I seen him on my way out. It's

36:44

funny, I didn't even think about this. I

36:46

was seeing him walking out. He said,

36:48

dumb, Yo, man, I love yourself. You're doing

36:50

anything else? I said, yeah, man, I'm getting

36:52

ready to come. I got some ideas, he said,

36:55

Yo, Man, my label. Man, I think that, you

36:57

know, maybe I should introduce you to this gotch you

36:59

shrinking right? He said, I think you

37:01

know him. I think you know him. So I said, what's

37:03

his name? He's his name is John.

37:04

He said, really, I said, let me let me see.

37:07

If I know him.

37:07

I went downtown to G Street, right,

37:10

I'm not.

37:10

I go in there and I walk in. This

37:13

was my tour guy in nineteen eighty

37:16

five when I went overseas

37:18

for perform to perform the show

37:20

on Top of the Pops. This

37:23

guy is the guy

37:25

who took me all through London,

37:28

and now he got a deal with Chris

37:31

Blackwell. So then after that I sat there.

37:33

He said, Dougie, I always wanted to do

37:35

something with you. Do you got anything? I

37:37

said, I got these three ideas, I

37:39

said, and I think I'm ready to let him out as

37:42

soon as possible because I need

37:44

to make sure that people do

37:46

not misunderstand what happened.

37:49

So then that's when I came up with day Right

37:52

and Free You did Freaks?

37:54

Yes where.

37:57

Years old?

37:59

Like?

37:59

Where is He's.

38:01

Still rock with me? He's still rock

38:03

with me?

38:04

But does he ever?

38:06

I imagine that he must sound like mad

38:08

lion right now.

38:13

Now that's funny air, but that's true.

38:16

Though he can't.

38:17

Say no, no, no no. But but he

38:20

sounds good. It sounds like he mature, but

38:22

it don't sound like he

38:25

sounds really good. And he sounds

38:27

like his energy is still the same. And

38:29

when we perform, it's a serious

38:31

situation. But that song,

38:34

that song, that song right

38:36

there when I when I came back

38:38

from Jamaica, that's when I made that

38:41

beat because.

38:42

You told you what I'm saying, I feel like reggae

38:44

is coming.

38:45

You told him. I tried

38:47

to tell him.

38:48

I swear I tried to tell him.

38:49

But you know, but look they was living

38:52

in you know, they had I can't

38:54

touch this money, so they wasn't

38:56

touching it.

38:57

They wasn't.

39:04

Can you can you talk about your your

39:06

relationship with with with Prince?

39:09

There is Oh my god, Yeah, you did

39:12

a long apprenticeship.

39:14

Uh during that time period

39:17

at least three to four the

39:19

five years, I think almost like you know,

39:21

to see a Prince concert, you knew somewhere

39:25

you were coming.

39:26

Like so how an apprenticeship

39:29

quess of ques?

39:30

You know? Man? With Prince.

39:33

The only thing that I can honestly

39:36

say, man, I mean this

39:38

is this.

39:39

This is is one that is

39:41

a quick one that I think you'll appreciate. I

39:44

was doing. I did something for Sindbad.

39:46

And by the way, I want to acknowledge sinn Mad

39:49

because you know, he had a stroke. So

39:51

Sindbad I went out.

39:54

Do you remember when he had this thing called so

39:56

Soul Funk and it was on HBO. Yep,

40:00

yes, okay, So Sindbad

40:03

I went out there to go just

40:06

to hang out.

40:06

And then he told me, Dougie, yo,

40:08

what you doing out here?

40:09

Yo? I want you to get on man, could you do something?

40:12

I was like, yo, I just came out here

40:14

to chill. But all right, no problems.

40:16

And if you know Sinbad, his energy

40:18

is crazy. So it was like,

40:21

You're going to say yes to me no

40:24

matter what. So now I'm

40:26

in a Ruba trying to find a studio

40:29

because I'm thinking, damn, I need to get something, and I'm

40:31

looking at a CD that got that got got to be

40:33

real on there. I say, yo, man, let me let

40:35

me sample this. Pressing it out on a

40:37

keyboard studio was real, under

40:40

budget, not top of the line. I press

40:42

out got to be real, so I loop it. So

40:44

then I go back on stage in

40:47

the night, I go on stage and

40:49

I say, he said, you're gonna do something for me. I say yeah.

40:52

They played the music for me and HBO

40:54

was not supposed to tape me performing.

40:57

So I get on and I'm performing and

41:01

the place is going crazy. The crowd is going

41:03

crazy. It's moving. They never

41:06

had a hip hop and turned into something

41:08

now. HBO was taping it without

41:10

me knowing it because they told

41:12

him. You know, this is Dougie just doing something,

41:15

but that little something turned into something crazy.

41:18

So then later HBO said, Yo, man,

41:21

Yo, could we show this because this

41:23

this thing is unbelievable. Did you

41:25

see what this guy did? So then HBO

41:28

played it and it kept playing it every

41:30

week like constantly,

41:32

right, so Prince seeing it.

41:35

So when Prince seen it, he said,

41:37

YO, called Dougie

41:40

up and see if he could meet me in Atlanta

41:42

two because I want him to come to my show

41:44

and perform. So I get to this show.

41:47

I'm backstage and he said, yo, jo,

41:50

I already got a set going on now,

41:53

so I'm gonna do my show, but I want to know could

41:55

you come with me to the after party. I

41:57

said all right, I said, yeah, I heard you wanted me to

41:59

come here cool. So I went to the

42:01

after party. And this is when Left Eye was

42:03

alive. So we go to the after

42:06

party and Left Eye meets me and

42:08

meet Prince and she's like bugging

42:10

out, like, yo, I can't even believe y'all

42:13

too here at the same time, So

42:15

I asked Prince. Prince said, yo, I seen

42:17

you on HBO. That was unbelievable.

42:19

What made you come up with that? I said, Now it was

42:21

this free styling. He said, okay.

42:24

He said, well, let me ask you. You think you can

42:26

get on to night. I

42:28

said, yeah, no problem, he said, but

42:30

I want to. I want to ask you, I said,

42:32

before I get on. I just and he wasn't

42:34

called prince at the time we called him. You

42:36

ain't know what to call him, so you know, you call

42:39

him the artist or whatever. I said, I

42:41

just want to know when I get

42:43

on, how far you

42:45

want me to go? He said, I want

42:47

you to turn this mom out.

42:49

I said no, I said,

42:52

but I want to know how

42:54

far do you want me to go? Like

42:56

I mean, I want to respect what you do.

42:59

What you're asking. Because I got on with

43:01

Dre and snooping them and them when

43:03

they came to New York and Dre pulled

43:05

me to the side. It was like, Dougie, I

43:08

want you to get on, but please

43:11

don't go

43:18

right right right,

43:21

And when he said that to me, When he said

43:23

that to me, I was saying, like, what do you

43:25

mean by that? Like don't you want me to? And

43:28

then I got on and I felt I didn't.

43:30

I listened to him, and I felt bad

43:33

that I didn't go all the way.

43:35

So after that, I said, I got

43:37

to ask a person how they feel

43:40

so that they don't feel like I'm trying to upstage

43:42

their setting. So I

43:44

learned that. So long story

43:47

short, prince sss, I want you to turn and

43:52

he said it in my ear. Yeah,

44:01

So after that, I said yo, I said

44:03

okay, Well, if that's what you want me to

44:05

do, I said, well, that is what I'm

44:07

gonna do. And I got on with

44:09

him that night.

44:11

When I got on with him that night, I

44:14

took him to a place that

44:17

he ain't never but then when

44:19

it comes to this.

44:20

Thing, so this is what he did.

44:23

So I came down there this

44:25

whole thing, and at the time

44:27

I was dating, I was when

44:29

I when I was dating Miss Jones, I was down

44:31

there.

44:33

The thing for Sindbad.

44:35

So I went down there and I didn't

44:38

expect that, so I did it based

44:40

on the energy. I did Sindbad

44:42

in favor. They taped it. I didn't

44:44

know they were gonna tape it. Then they

44:47

showed it on HBO and it

44:49

explodes and everybody and it was fun.

44:51

And actually after that, Sheryl

44:54

Lynn was booked on the

44:56

Soul Funk Festival after

44:58

that because how impactful

45:01

it was. And then came Sugarhill

45:03

Gang and all of the other groups. So moving

45:06

into Prince, he's seen it. When

45:08

he's seen it, he called up Lindelle

45:11

McMillan, who was my lawyer. Wow right.

45:14

And when he called up lindown line there and said,

45:16

yo, Doug, he said,

45:18

can you come down to Atlanta? So

45:21

I went down there and I took Grandmaster

45:23

Caz. I took

45:25

Grandmaster Cast because he loved

45:28

Prince and he told me that. He

45:30

said, Doug, if you ever meet

45:32

him, I just want you to do me one favor.

45:35

Please introduce me to him.

45:38

So I was like, okay, I brought him

45:40

with me. So I go down there. Left

45:42

eye is there, she's in rere

45:45

form, she's vibing. Energy is good.

45:47

He gets in my ear. After I

45:49

asked him, I said, brother,

45:52

I just want to be respectful to your set.

45:55

You know, I appreciate you, and

45:57

I don't want to do anything that's gonna make you

45:59

feel that I'm doing that.

46:01

I'm trying to be disrespectful. And

46:04

he was like, look, let me tell

46:06

you something. I want you to

46:08

turn this out to

46:10

the he said, he said all the way

46:12

out. I turned around, said,

46:15

no problem, m And

46:18

after that I got on and

46:21

I turned that out

46:24

to the point back after it was

46:26

over, we kept doing encore

46:29

after encore because question no artists

46:31

go we me and him. They can

46:33

go for two, two hours three, it

46:36

doesn't really even stop.

46:37

Like do you do you have a do you have

46:39

a not an itinerary, but do

46:42

you have a routine bag

46:44

that you go through, like when you

46:46

do your come again rhyme? Or

46:49

you're uh,

46:52

I can't even you know right right, like

46:54

I know your go to dougie isms

46:57

that can like how many of those do you have

46:59

in your head when it's time

47:01

to just get on someone set?

47:03

Like do you have like thirty things already

47:05

thought out? Like okay, well.

47:08

It goes back to the same thing that I was telling

47:10

you, I'm not thinking, I'm

47:13

feeling, and what I'm feeling

47:15

is what I'm doing.

47:17

So there's no there's no ism.

47:19

It is. It just is,

47:22

and it is at that moment of now,

47:25

and no matter what it is, it will

47:27

be what I wanted to be and

47:30

that is what it is. So

47:33

and I don't mean that in an ego way.

47:35

I mean that from a spiritual perspective

47:38

that I'm coming to the table with

47:40

energy. Like like when we

47:43

were switching to this for a second and

47:45

going back to the story when y'all did

47:47

Dave Chappelle and he just called me,

47:49

I was just coming to see this. I just came to

47:51

see y'all. I didn't come to get on

47:53

stage, like I swear, that

47:56

wasn't my goal. I was just there

47:58

to see you him and

48:01

all that. I say, yeah, let me see this. This is gonna be

48:03

nice. And out of nowhere, somebody,

48:06

I think caller or somebody was saying,

48:08

Dougie, they want you to come on stage,

48:10

and then Dave is saying,

48:13

yo, here, man, yo,

48:16

go on do it. So in my

48:18

mind there's a switch that

48:21

just kind of automatically go off,

48:23

and I'm going all.

48:25

The way end unless

48:28

you tell me don't.

48:30

And then if you tell me don't, I might

48:32

just say let them

48:34

do it, and I'm just stand on the side and watch,

48:37

because I don't ever want to feel

48:40

like I'm making somebody feel funny.

48:43

And I don't ever want to feel funny if I

48:45

don't do what I naturally

48:47

feel I want to do. So that night,

48:51

he had me in a tough situation and

48:53

the clock was ticking and I was looking

48:55

back at you. You was frustrated

48:58

at him about the clock, and

49:00

I'm like, damn, I don't want us to be

49:02

mad at me, I said, I don't want us

49:04

to be mad at me. God keep

49:06

telling me, go hard, go on.

49:08

And then Usher jumped on the stage,

49:12

Todd t I jumped on the stage, and

49:14

you was looking at them. It's a wrap, it's

49:16

over.

49:18

Let me let me explain to our audience. Okay, So

49:21

New York is very old

49:23

school. In New York is what we call

49:25

a union town. Like

49:28

you cannot step on the stage in New York

49:30

City unless you play exuberant

49:33

fines. If you go overtime, they're

49:36

they're antal retentive with sound checks,

49:39

with shooting cameras. If you bring a

49:41

camera out a Radio City Music Hall that's like twenty

49:43

five thousand dollars. Like New York will

49:45

find a way to tax you just

49:48

for simple things. It's a very old school

49:50

thing. So what Doug is referencing

49:53

is whenever Dave Chappelle does his like long

49:55

residencies at Radio

49:58

City Music Hall, you know he'll do like fifteen twenty

50:00

shows or whatever. David's is one

50:02

of those guys that also just lives by his heart,

50:04

and I guess that he has the deep

50:06

pockets to you know.

50:08

And as of this speaking, I saw Dave last.

50:11

Night at Madison Square Garden with rock Him

50:13

Buster Rhymes, and you know, the

50:15

Union guys are like usually

50:18

in New York, especially at Madison Square

50:20

Garden, especially at Radio City. I'll

50:23

say that for every five

50:25

minutes you go over, that's like ten

50:28

thousand dollars. So the

50:30

whole goal is like when it's ten fifty

50:32

nine, shut the show

50:35

down, not at a Dave heel

50:37

afan. So

50:40

so at this point, when Dave is calling everyone

50:42

on stage, I know we got like four minutes

50:45

left, and all I'm thinking about is,

50:48

Okay, we're about to lose a lot of money

50:50

here, and I don't want to be responsible

50:52

for that. So at ten fifty

50:55

nine, I want the promoters. And

50:58

you know I'm the hall monitor of him.

51:00

Pop. Everyone will tell you I'm the hall monitor hip

51:02

hop right right right.

51:03

I'm the guy decided like, hey, promoter, I'm

51:06

I'm following union rules.

51:07

That's Dave Jabelle, not me, you know, but

51:10

anyway, continue right right?

51:12

No, that's crazy, that's crazy. The way you

51:14

just said that.

51:17

The crazy.

51:20

I never heard nobody say that, yo,

51:23

yo, And you know what, I've seen it in your

51:25

face when we was doing it, I

51:27

was like, I said, man, question, Oh,

51:30

he's trying to get everybody out of here. I

51:32

said, well, Dave just won't stop, and he keeps

51:35

telling me go harder. I said,

51:37

I'm torn between should I listen

51:39

to the hall monitor?

51:40

Should I

51:44

do not?

51:45

Like I don't like using twenty five

51:47

thousand dollars for nobody on my watch,

51:49

Like I'm a guy that start.

51:51

On time, you know, And

51:54

he didn't even care.

51:55

So he's rich, right, hitch

51:59

bitch.

52:01

Yo. So so because

52:03

of that and because of that kind

52:05

of energy, I'm always

52:07

careful because I don't

52:09

want nobody to feel like

52:11

I'm trying to do something to you or

52:14

take something. So long story

52:16

short, I get on with Pete

52:19

Prince yo. He's

52:21

like this, go harder, yeah,

52:24

go harder, give me more. So after

52:26

this over the band and everybody, we go

52:29

to the roof. They got this little roof. We're sitting

52:31

out there. He's sitting there looking at me

52:33

like this. I'm telling you that

52:36

I can't make this up. Bro. He looking

52:38

at me like this, just sitting

52:40

here looking at me. And then the band is standing

52:42

around him and he goes, how

52:45

about it? Band? What do you think?

52:47

And it was like, oh my god, you crazy? What do

52:49

we think? Are you serious? Did you see

52:52

what he just did? I and

52:54

the whole band is going crazy enough? He turned out. He said,

52:57

so what do you want to do? I said,

53:00

oh, man, I came out to do what I wanted to do.

53:02

I had some fun with you. Man said this Grandma

53:04

say cast Cats is sitting there like this, like

53:07

looking at him like that, right, So what I'm

53:09

saying in there, and I'm like cats cast

53:11

you know ca? He said, oh yeah, yeah, yeah,

53:13

yeah yeah, this is great night, great

53:16

night. And then and then first look at me, he said,

53:19

so what you want to do? You want to be down

53:21

with MPG or what I

53:24

turn. I turned about. I'm looking out. I

53:26

look at Cass right, and this is real.

53:28

I look at Cass. I'm like your cats. Oh, this guy's

53:31

funny, yoe like in

53:33

my mind. I said, yeah, okay,

53:35

whatever I said, Man, I just came out, man,

53:37

I said, I wasn't. I said, I ain't come out

53:39

here for no paper. I just came

53:41

out to show you love because

53:44

you deserved that, you know. And

53:46

he and I said, I said, and your band

53:48

was fun and I enjoyed it. I said, but we're gonna

53:50

leave because you know, it

53:53

was a nice night. So it's a tree

53:55

there, right. He takes a leaf off

53:57

the tree and he go like this, and

54:00

he go, what, bro,

54:03

I'm telling you you take the leave. We go here

54:05

go he go, okay,

54:09

all right good

54:11

And then after I said, I'm

54:13

looking at him and I was like, I

54:15

was supposed to eat a leaf too.

54:19

I'm like, yo, where we're going

54:21

with this one? But I said yo, but I like

54:24

your stop. I like what you just

54:26

did right there. So after that, I get up

54:28

and I leave, and the band and everybody's

54:30

saying goodbye. I get back home,

54:33

kays is blown away. I get a call.

54:36

Cause said, yo, the artist

54:38

wants you to come on, wants you to come out,

54:41

and he want to know. Can you meet

54:43

him tomorrow night in Oklahoma?

54:45

He said he got twenty

54:48

days and he just wanted to know what

54:50

do you want? I said,

54:52

are you serious? And that

54:54

was the beginning of me and

54:57

Prince and it never stopped

54:59

after that. And it got so deep that

55:02

he used to ask me and

55:04

he would and he appreciated.

55:07

He was sick. So where do you think I should come out?

55:09

What songs? What's the order of these songs you

55:12

think I should do? And I said, yo, you gotta come

55:14

out of the crowd. Like it was me and him Shaka

55:16

can Lorry Graham, we had make

55:18

Ceo, we had Nasea.

55:21

He said, so should

55:23

I come out the crowd? Right? I said, ye, come out here.

55:26

I said, when you come to New York, you gotta do pop life.

55:28

He was like, here you think so?

55:30

I said, I know so, and

55:33

he would listen.

55:34

He would let me, you are

55:37

the curator, right, He.

55:38

Would let me design the shows. When we did Essen's

55:41

Festival.

55:42

I had another technique that

55:44

I was coming up with as far as different

55:46

performances. So I started

55:49

out in the audience with the turntables

55:51

because he never wanted to use turntables. I

55:53

said, no, we're gonna use turntables,

55:55

but you never used them like this, So

55:58

I would start what did turntables?

56:00

And I get the audience to the point it was crazy.

56:03

We was at Essence Festival, right,

56:05

and it was eighty thousand eighty

56:10

Yo, it was eighty thousand. And before

56:12

we went to the Essence, we did the

56:16

some bold place in LA

56:18

And then later on that night, we're

56:20

sitting down and then he says

56:22

to me, yeah, yeah, yeah, Hollywood, Hollywood,

56:25

that's right. He's sitting down

56:27

with me, and he says, Essence

56:29

magazine is in here and they want

56:32

to interview me. Could

56:34

you talk to them? Can you talk to them for me

56:36

too? So I start talking to him

56:39

and he started telling him how this thing worked.

56:41

He said, you see see how you know what

56:43

I'm saying. I don't even got to say it because

56:45

that's how we locked in. And then

56:47

afterwards then we

56:50

were meeting LA and they said, yo, he wants

56:52

you to meet him at this club. I go to the

56:54

club. He's sitting in this room on

56:56

the other side. The party's bouncing

56:58

and he's sitting in there by himself

57:01

with a little cup with

57:03

like like some coffee and

57:06

some honey, and he's sitting there like this.

57:08

And he's sitting there like this, and he said, you

57:11

know, we're supposed to do the Essence. So

57:13

how you think we need to do this? I

57:15

said, I said, how you think we need to do this?

57:18

He said, I'm going rock, I'm going straight

57:20

rock. I said, all

57:23

I said, all due respect, I

57:26

don't think that that's.

57:30

I said, I said, and then.

57:35

Anybody. He said, so what you

57:37

think?

57:39

I said, I think we need to do

57:41

what we do, but you need to do

57:43

the hits. I said, this is a black

57:45

audience. And I said, I want to hear hit

57:48

after hit after hit. And

57:50

I said, I said, Well, before we get to the

57:52

hits, I said, I'm gonna take the turntables

57:55

and I'm gonna set it up in the middle of the crowd

57:57

and I'm gonna get this thing pumped up to the point

58:00

that is that is ridiculous,

58:02

and then I'm going to pass it

58:04

to you onto the stage and you're

58:06

gonna hit him with a hit after hit after

58:08

hit.

58:09

He said, Okay, I

58:11

got it. We went to the essence.

58:14

I went into the crowd, like I said, set

58:17

it up, and I had like eighty thousand people

58:20

doing the wobble.

58:21

The damn building was shaken. Yeah, right

58:23

that night he was there.

58:25

Yeah about that stage, No,

58:29

no, no, the.

58:30

Whole building was

58:32

shaken. I have never felt

58:35

nothing like that other than probably Chuck

58:37

Brown at Capital Center or

58:39

something ridiculous. So

58:41

after it was over, I mean, after that,

58:44

I get it to a certain point. I know

58:46

it's crazy because mc light came over to

58:48

me and said, do you feel that? Do you feel

58:50

that? Like that? So that's when

58:52

I knew it was serious. So then I passed

58:54

it to him on the stage. And

58:56

when I passed it to him on the stage, it

58:59

was crazy. It just it was crazy,

59:01

man.

59:02

And then that's one of all times day

59:04

I think that was the

59:05

best.

59:07

They definitely, they definitely

59:10

say that it was definitely up

59:12

there because it was nothing. It was

59:14

nothing close, But that was the kind

59:16

of relationship

59:19

we had because it

59:21

was like hanging out with a dude who

59:24

was just as like

59:26

he didn't care as much as I don't care,

59:28

you know what I mean, Like

59:31

we be riding around in the night and

59:33

it'll be like you want to go, you want

59:35

to go to the club where I started

59:37

at. I said, yeah, let's go in there. And you know that

59:40

big guy who plays the drums and used to play

59:42

the drums on the Real Yeah,

59:45

he was sitting there one night. We're sitting

59:47

there.

59:47

And he said, do you feel like doing something

59:49

tonight?

59:50

I said, you feel like doing something tonight? He

59:53

turned around. He said yeah. I said,

59:55

but but but but you ain't got to do nothing, I said,

59:58

I said, let me, I'll do something with him. He

1:00:00

said, all right, but but I

1:00:02

go in there and get on with with Bland and

1:00:04

the band that they have in there. Turn

1:00:06

that into something. Jump

1:00:08

back in the limo, drive out to

1:00:10

his house. We're sitting in a lemo

1:00:13

talking and he and he told me something

1:00:16

that was crazy, man.

1:00:17

He said, at one time, he

1:00:20

said.

1:00:20

The Time was a band that

1:00:22

when he when he had to get on after

1:00:25

them, he was nervous,

1:00:28

he said, because the Time generated

1:00:31

so much excitement, so much celebration,

1:00:34

so much energy that he said

1:00:37

he felt like when he got on after

1:00:40

it went to such a high. That

1:00:42

he's doing all of these different things, but he

1:00:45

can't he can't create that

1:00:47

that. You know that jungle love, know

1:00:50

that, he said, then he said

1:00:52

to me, he said, I've seen

1:00:55

a lot of performers. He said

1:00:57

that I'm telling you, he said,

1:00:59

you are the most unusual

1:01:02

and the most shocking that

1:01:05

I have ever seen. He said, I don't know why

1:01:07

God brought me and you together, but

1:01:11

he said, you make me feel

1:01:14

that same kind of thing, but on

1:01:16

another level that I felt with the

1:01:18

time.

1:01:18

And he said, and I'm glad that.

1:01:21

You whip me.

1:01:25

Yeah, I mean that that

1:01:27

is literally you

1:01:30

have no fear. And that's the thing that I

1:01:32

want our audience to know, like you

1:01:34

literally have you have zero

1:01:37

fear. Wait,

1:01:42

before we go, we got to talk about the Chuck Brown

1:01:44

project. Oh yeah, you

1:01:47

know something Okay, when you when you were telling

1:01:49

the story of the show, it

1:01:51

kind of it kind of hit me. And you know,

1:01:53

I know that it's never going on record before.

1:01:56

I know that.

1:01:56

The the that the

1:01:59

perception is that

1:02:01

Go Go really never got its just

1:02:03

due, but it's

1:02:06

just we never New

1:02:09

Jack Swing is basically Go Go And

1:02:11

I really didn't truly realize that until

1:02:15

wow, like moments ago. But

1:02:17

yeah, if you listen to like I

1:02:19

mean, the show is essentially Go

1:02:22

Go, it's New Jack Swing.

1:02:24

Also, it's a part of.

1:02:25

It, but teddy, but I think

1:02:27

it's electronic. I think it's electronic go

1:02:29

go, and we just never called it that.

1:02:31

So I agree. I agree with you. I

1:02:33

agree with you now. And I never looked

1:02:37

at it like that because see,

1:02:40

and this and this is not to take nothing

1:02:42

from nobody.

1:02:43

I'm not that guy. I'm not even

1:02:45

built like that.

1:02:47

But that thing about

1:02:49

the way to beat plays and me

1:02:52

beat it like I programmed.

1:02:54

I basically he put on a metron.

1:02:56

On and I played it out

1:02:59

and I put these things, and I you

1:03:02

know, I needed the guy who was technically

1:03:04

savvy to allow me to

1:03:06

get on that drum machine and do what

1:03:09

I do. Because anything I like when I did

1:03:11

Freaks Beef, if I did Rising to

1:03:13

the Top beat, if I do Lotti Doty, I make

1:03:15

the beat. So it's

1:03:18

what I do. When I did Original Human

1:03:20

Beatbox, I make the beat. So

1:03:22

when this happened and I was

1:03:24

making the show that swing,

1:03:28

I never thought about it from go go because

1:03:30

you know, as a kid, I used to play

1:03:32

the juke box in the pool

1:03:35

room around my block where we were.

1:03:37

They are games and all that and keep us out

1:03:39

of the street, but they had busting loose

1:03:42

in the jukebox and I was hearing

1:03:45

it. I said, Charlotte, get

1:03:47

it, y'all say what you like,

1:03:51

back to back to back to back. So

1:03:54

I think that that feeling influenced

1:03:58

me when I was in the show,

1:04:01

because it's the swing.

1:04:04

It's that, it's that, it's

1:04:06

the movement of it. And then, like

1:04:08

you said, which I think is really

1:04:11

a great observation, and I never thought

1:04:13

about that that this show

1:04:16

is a go go record.

1:04:18

It is.

1:04:19

It is.

1:04:20

But you are the first person in the history,

1:04:22

though, to do

1:04:24

something besides a collaboration with

1:04:27

the genre, like right, Doug, Like, technically

1:04:29

you're the only person of note that

1:04:31

has given this kind of love to

1:04:33

that genre in this way.

1:04:35

Right, in this way Herbie Love Loug used to like

1:04:37

sample lot like yeah, but not in a yeah, he's

1:04:40

not like the way he's doing it.

1:04:41

It was always a collaboration, but not a total like

1:04:43

dedication, love letter and inspiration kind

1:04:45

of thing.

1:04:47

So how did the project come together?

1:04:49

Well, it's interesting, man. I was and

1:04:51

I'm telling you the truth again. I

1:04:53

was sleeping and out of nowhere

1:04:56

something said write a song

1:04:59

about Chuck Brown. And

1:05:01

when it said write a song about Chuck Brown,

1:05:04

I picked up the pen and I just

1:05:06

wrote the song and I made the

1:05:08

beat, and on the beat, some of those

1:05:10

drum sounds are me because I couldn't

1:05:13

find certain sounds that I

1:05:15

wanted for this effect that I was

1:05:17

looking for with the Go Go. So now

1:05:19

what I do is I'll go

1:05:21

in there and I'll do my own I'll be the high

1:05:23

hat with the drum. I'll be

1:05:26

the other snare on top of the snare.

1:05:28

I'll put my low tone.

1:05:30

Based drum under the foot.

1:05:33

So now the

1:05:35

way that I do beats is I'm

1:05:38

I'm always intertwining now my

1:05:40

own drum sounds on top of drum

1:05:42

sets, because I don't think they have all

1:05:45

of the drum sounds that I can hear anymore,

1:05:48

so I make them up. So I

1:05:50

started to build the track, and when

1:05:52

I built the track, I was writing. I was

1:05:54

writing a song to it. And then it

1:05:57

was interesting to me because I was

1:05:59

like, why am I doing this? And

1:06:01

that I thought about the

1:06:04

way I met Chuck Run from

1:06:06

Run DMC was the guy who

1:06:08

told me, because we was on the show together in

1:06:11

Capital Center eighty five. He

1:06:13

told me, yo, you ever been you ever

1:06:15

seen Chuck Brown? You ever heard Go Go? I

1:06:17

said, nah, I know, Chuck Brown, but what's Go

1:06:20

Go? He said, you ain't seen a Go Go concert?

1:06:22

He said, Yo, wait, GC this not I

1:06:25

turned around. I changed

1:06:27

my stuff up, bro. I went up

1:06:29

in there to get there early. Chuck

1:06:31

Brown burnt this shit down to the floor

1:06:34

to the point that it was madness.

1:06:38

I'm talking about you want to talk

1:06:40

about you want to see a spiritual,

1:06:43

like like out of body experience.

1:06:47

Play Go Go, Play Go Go

1:06:49

with twenty thousand black people in

1:06:51

the spot and white people that

1:06:53

understand play it, and

1:06:56

you're going to see a whole,

1:06:58

a whole kind of experiences that you never seen.

1:07:01

So then I ran, he got off. I went

1:07:03

backstage, started talking to him.

1:07:05

I started telling him how incredible his

1:07:08

performance was. He started telling

1:07:10

me how he loves the show. He loves

1:07:12

Lotty Dottie, he thinks that what I'm

1:07:14

doing is really unique. And then we

1:07:16

just became friends from eighty five

1:07:19

all the way to when he performed on the Capitol

1:07:21

Lawn. He called me up. I didn't

1:07:23

know that would be one of our last performances.

1:07:26

And I got on with him there and

1:07:29

he was such a

1:07:31

beautiful spirit, and

1:07:35

I looked at him like I look at myself

1:07:37

where I felt like he was he created

1:07:40

something, and sometimes

1:07:42

when a person creates something, like you said

1:07:44

quest, which was really deep,

1:07:47

the person who's the first person that created

1:07:50

may not always be the one that's acknowledged,

1:07:54

you know. And I felt like, I'm

1:07:56

going to make sure that

1:07:58

you acknowledged Chuck

1:08:00

Brown. When you hear Beyonce's

1:08:02

joint, you know, the first

1:08:05

joint that she did with Crazy.

1:08:08

Rich Harrison, he always gonna put that go Go up.

1:08:12

Right right, like I want

1:08:14

y'all to know, this

1:08:16

is the guy that did

1:08:19

this, and this

1:08:21

energy that y'all feeling, this

1:08:23

is the guy.

1:08:25

And I guess spiritually there

1:08:27

was something.

1:08:28

And then the other thing is that Prince before

1:08:31

he passed, he was going to produce

1:08:33

my next album and he wanted me to

1:08:35

do a live album

1:08:37

and he loved Go Go, so

1:08:41

she did right right, So he

1:08:43

wanted me to do something.

1:08:45

I think in this kind of a way

1:08:48

that I did it because it's live and

1:08:50

at the same time it's go Go, and

1:08:53

I didn't know I was going to be putting it together

1:08:55

like this, but it worked out and

1:08:57

let me.

1:08:58

Clear my throat.

1:08:58

Though Doug, like you already out of your relationship

1:09:01

with Go Go is like continue all

1:09:03

day. Can you talk about for

1:09:05

a second, because I was just catching up and watching that video

1:09:08

earlier and I was like, Yo, please.

1:09:10

Tell me about this video shoot with you biz

1:09:12

DJ Cool like in this club.

1:09:15

I know it's got to be a story.

1:09:16

And Yo, I tell

1:09:19

you the quick Cool told me, like

1:09:21

I'm coming to the video. I pull up. Cool

1:09:24

said, hey, dug, what's going on? No, Like,

1:09:26

I don't even know what he wants? He said,

1:09:28

Yo, like I know he want to do somebody. I mean, I

1:09:31

don't really know. He said, Yo, man, I

1:09:34

need a boss from you. Do you got him write there

1:09:36

like like, are you ready to do this now? I

1:09:38

said, yeah, okay, Cool,

1:09:40

let's do it. He said, okay, Cool like no

1:09:43

notice, no, here's

1:09:45

your part where you put your verse? No

1:09:49

no, nothing, no no

1:09:51

nothing. So after that, so

1:09:53

he's and then he told me later he said,

1:09:55

well, you know, I'm gonna be honest with

1:09:58

you. I told you to do that because

1:10:00

I think you probably one of the only guys that

1:10:02

could really do that.

1:10:04

And don't make it seem like you're

1:10:06

doing.

1:10:07

That, because I mean it is DC. Yeah,

1:10:13

we just started free styling and then like

1:10:15

the Tupac on there.

1:10:17

It was just something spiritually that made me

1:10:19

say that.

1:10:20

You know, so that was a live song and

1:10:23

video at the same time. Y'all take the

1:10:26

time.

1:10:27

Wow, it was in Philip what

1:10:30

that's right?

1:10:31

It was It was at the Bahama Bay and

1:10:33

Philipdelia.

1:10:36

He says it.

1:10:37

Yes, he says it, bro

1:10:40

crazy crazy.

1:10:42

You know this, this is a legendary,

1:10:46

legendary lesson.

1:10:47

And thank you for giving love to

1:10:48

to to everybody and go go in the song

1:10:50

to because you didn't just give love to Chuck.

1:10:52

You gave love to the areas.

1:10:54

You gave love.

1:10:55

To to all the legends.

1:10:57

So it was I just want to I'm sorry, I'm mayor. I didn't mean to

1:10:59

cut you say that.

1:11:01

I appreciate you so.

1:11:04

Thank you man.

1:11:05

Because he used to do play this only at night

1:11:08

and the way he would do it, I

1:11:11

don't know, you know, it's I still

1:11:13

feel like I did in the beginning,

1:11:16

that you still got You

1:11:18

gotta follow your spirit and it's

1:11:20

not going to always be popular. And

1:11:22

sometimes you're doing things because

1:11:24

they just supposed to be done. I remember Prince

1:11:27

told me when he wrote Kiss. He

1:11:29

said, when he wrote Kiss, he had

1:11:31

to forget how to make records,

1:11:34

meaning he had to simplify everything.

1:11:37

So when you hear it, they kiss

1:11:41

like he said, he stripped it down right

1:11:45

right, And when he stripped it down, he

1:11:48

said, it's because he

1:11:50

had to go into a space where he

1:11:53

had to simplify things. And I

1:11:55

feel as an artist that

1:11:58

you go into these spaces for reasons

1:12:01

and it sets you up for something else

1:12:04

that you're supposed to do. But you gotta go there

1:12:06

though, to get there, you know

1:12:08

what I mean.

1:12:11

I don't know why.

1:12:11

I don't know what connected me to make this Go Go

1:12:14

album, but I knew I had to make it.

1:12:16

I knew it was important. And

1:12:18

the brother who shot the album

1:12:20

cover he called me. And

1:12:23

when he called me, it was a friend of mine who would go

1:12:25

and film me in different places and stuff. And

1:12:27

he has diabetes type too, And

1:12:30

he called me and he said,

1:12:33

Dougie. His name is Bobby Gunn. He

1:12:36

said, Dougie, Yo, man,

1:12:38

I know you into this health thing, man, but

1:12:41

I'm dealing with his diabetes and I'm going

1:12:43

to make sure that I don't do something

1:12:45

that's gonna cause me to How many

1:12:47

probably say, yo, you got any suggestions?

1:12:49

So I'm on the phone talking to him about it, going

1:12:51

through the whole diabetic conversation, telling

1:12:54

him, don't do this here. You like sodas drinker

1:12:56

zvia Zba is a sugar free

1:12:59

soda and it's not an asparteam.

1:13:02

It hires stevia and it is good.

1:13:04

And he said, oh, thank you, Doug, thank you, and

1:13:06

I hang up the phone with him. And he

1:13:09

only called me for that and I shared that

1:13:11

one. He said, but Doug, yo, I got

1:13:13

some pictures I took and I want to send

1:13:15

them to you. And you know, just

1:13:17

some pictures I took a while ago. He

1:13:20

sent me the pictures. All of the pictures

1:13:22

was of me and Chuck Brown. And he didn't

1:13:24

even know I was making this song. He

1:13:27

didn't even know I was making the song. And

1:13:30

then I looked at one of the pictures.

1:13:32

I said, Yo, this is crazy.

1:13:33

This is crazy. I called him. I said, Yo, I

1:13:35

just wrote a song called Chuck Brown. What's the

1:13:37

odds of you sending me this? I

1:13:40

said? Can I use this shot? Could I

1:13:42

use this shot? And the shot that I

1:13:44

made the album cover was the shot that that brother

1:13:46

gave to me. So this is what I'm

1:13:49

trying to explain. Sometime I think things just

1:13:51

kind of right

1:13:54

right. So yeah, so

1:13:56

that's what the album represents to me, and

1:14:00

I appreciate y'all having me on here to

1:14:02

talk about it.

1:14:03

And brother, thank you kept

1:14:05

y'all on a little long, No, we

1:14:07

kept you man. We love it right, yeah, we

1:14:09

lived for these episodes.

1:14:11

I almost gotta tell folks, and six hours Jimmy

1:14:13

jam you are right, Yeah.

1:14:15

This is all right, this is right up there

1:14:17

with it.

1:14:18

No, for real, I want to thank you

1:14:20

like your your your wisdom and your

1:14:22

life lessons and your lessons on fear.

1:14:25

I'm definitely gonna apply that.

1:14:27

This is an awesome world's

1:14:29

greatest entertainer Yes, and

1:14:33

unpaid Bill and and Sugar Steve

1:14:36

and like, yeah, yeah, this is yo.

1:14:39

I got one last question.

1:14:40

I've asked this if you've got

1:14:42

time, okay, And I'm only asking this

1:14:44

because it's you, because I normally hate when people ask this

1:14:46

question.

1:14:51

For you. Who are your

1:14:54

favorite season?

1:14:55

Not necessarily your top you ain't got to say the top five

1:14:57

whatever, but who are your

1:14:59

face? And the reason I ask is because

1:15:02

you're probably one of the first like real like

1:15:04

vets that we've had on in terms

1:15:07

of being able to work with DJ

1:15:09

Hollywood and you know, I mean, you're from that.

1:15:11

You know that first contrast straight

1:15:14

up, so you know what I mean.

1:15:16

So just to hear it from you from og like you,

1:15:18

who are who do you consider your

1:15:20

top MC's.

1:15:22

You know, it's interesting the

1:15:25

people that I consider top MC's

1:15:28

is a very interesting topic because

1:15:32

I understand the DNA of

1:15:34

where different styles come from.

1:15:37

So when I'm looking at different people that

1:15:40

other people like, I know

1:15:43

where that style was birthed and

1:15:46

why you like it or or

1:15:48

how it evolved to become that. So

1:15:52

DJ Hollywood is a very important

1:15:54

piece of the puzzle for me, because

1:15:57

there was no style. He says,

1:15:59

say, oh he wrote

1:16:01

that. He said throw

1:16:04

your hands in the air and wave him

1:16:06

like you just don't kid. He

1:16:08

he was the guy who was who

1:16:10

jumped that off because he

1:16:12

was bringing celebration, you see.

1:16:15

So that was an important piece of

1:16:17

the puzzle, and in the beginning it

1:16:19

was one of the most important pieces. And

1:16:21

Curtis Blow got

1:16:24

it from him

1:16:26

and loved bug Starsky told

1:16:29

me that when he asked

1:16:31

him, I said, yo, Love, who

1:16:33

was the first person you've seen do this?

1:16:35

Bro on that mic? He sat there and

1:16:38

said, Hollywood. I

1:16:41

turned around for real he said,

1:16:43

Dougie, he said it was. He

1:16:45

said, I was sitting in the car as a kid,

1:16:47

and some dude that had an eight track player

1:16:50

in his car, and Hollywood

1:16:52

made the first mixtape on an eight

1:16:54

track he said,

1:16:57

with your play and play and

1:16:59

play, he said, he said,

1:17:01

And I just sat there and I said,

1:17:04

I want to be like that.

1:17:06

I want to do that.

1:17:07

So then you got you got love. You got

1:17:10

love. But then you got busy b crowd

1:17:13

Rockey right,

1:17:15

and they from ball with the ball and both

1:17:18

of them doing that. So you got this whole

1:17:20

line. So Hollywood is an important

1:17:22

piece. Melle mel is

1:17:25

an important piece. It's

1:17:27

an important piece. His style, not just

1:17:29

the message, just his

1:17:32

whole confidence in the way that

1:17:34

he brought what he did Grandmaster

1:17:36

Cas. He brought

1:17:38

that clever, slick thing that you like about

1:17:41

King. And when you listen

1:17:43

in the mal you like k r S. And

1:17:46

then you got mo D And when

1:17:48

you got Mod, you listening in the mod, you hear

1:17:50

him a rod kill you hearing NOAs

1:17:54

So the bloodline I learned

1:17:56

directly from the

1:17:58

bloodline directly, and

1:18:01

then and then while I learned that, then

1:18:04

then I had to carve out my space

1:18:06

and create this beatbox

1:18:09

thing, which is a completely different

1:18:11

dimension from everything. So when

1:18:13

people talk about MC's

1:18:15

and who is this and who's that, it's

1:18:18

a little different from me because

1:18:20

it's the same about Chuck. Because

1:18:24

you like you like rare Essence, then

1:18:26

you like Chuck.

1:18:27

You like EU, then you like Chuck.

1:18:30

Like whoever you want to decide

1:18:33

that you want to you

1:18:35

better, You're gonna go back to Chuck,

1:18:38

you see what I'm saying. So even

1:18:40

when you like like I know, I knew

1:18:42

James Brown, James Brown, and

1:18:44

I'm very close to the family. And

1:18:47

James Brown liked me a lot. And

1:18:49

he used to tell me, Son, read

1:18:51

your Bible, Son, read your Bible,

1:18:53

and always take care of your teeth. And

1:18:56

then he said, and always take care of your feet.

1:18:59

These are that's that's

1:19:02

that's a James that's a James John classic right there.

1:19:05

Take care of your teeth and your feet.

1:19:07

You have

1:19:11

the best teeth in hip hop.

1:19:14

Wait a minute, let me let me, let me ask the opposite

1:19:16

of Let me ask the opposite of

1:19:18

fante, Because there's a lot

1:19:21

of them.

1:19:23

Who are your top three beat boxers?

1:19:26

Not you?

1:19:27

Who are your top three beat boxers? And there's

1:19:29

a lot to choose from now.

1:19:32

Right, I like rosell I

1:19:35

was hoping, I was wondering, Yo.

1:19:37

I forgot Roselle was in my group.

1:19:39

I was

1:19:42

just.

1:19:45

I don't even asked that. I didn't even ask

1:19:47

that fishing for a Roselle answer. I just

1:19:49

straight forgot.

1:19:51

I know that name.

1:19:52

Sorry, Roselle.

1:19:54

Look, I even did a record for rosel

1:19:57

I did one win him for a d J.

1:19:59

Hawston be out in Japan, and

1:20:03

I said, yeah, let's do I think Rozelle.

1:20:06

I think scratch Man was just

1:20:08

I mean, I mean as far as being

1:20:11

like like so authentic

1:20:14

and real and the way he

1:20:17

sound, I just I so much

1:20:19

loved the way he sound. I mean,

1:20:21

I was always so impressed

1:20:24

with him, and and just

1:20:26

out of a you know, to

1:20:29

me, it's really

1:20:31

I mean those two and Kenny X, I like

1:20:34

a lot.

1:20:34

I forgot about Kennedy. Yes, shout out to Kenny

1:20:37

X.

1:20:37

Have you ever battled Buffy at

1:20:39

all? Like, have you guys ever been

1:20:42

on the stage together and did something?

1:20:43

Or we were supposed to at

1:20:45

Brighton High School in eighty three

1:20:47

or eighty four. I'll send you a flyer and

1:20:51

they put us on the flyer. DST

1:20:54

was there red Alert was supposed

1:20:56

to be there, and this was before there was records,

1:20:58

and they was calling him just go three and

1:21:01

uh. And I went down there because

1:21:03

I didn't even know that they had to set up for

1:21:05

me to do that. So I came in there

1:21:07

and I seen him and I said,

1:21:09

y'all want to do this tonight? And

1:21:13

I've got said that. I said, so I'm I'm

1:21:16

aa battle him and then I'm gonna

1:21:18

take y'all two out. And you

1:21:20

know, because because because it was it

1:21:22

was fun. It's not like we was fighting.

1:21:25

It was just about you. And then afterwards

1:21:28

it never happened. And then we

1:21:30

did a couple of shows together and

1:21:33

we never did and I never really

1:21:35

had any interest in doing it anymore

1:21:38

because I mean, Buffy

1:21:40

was such a good guy

1:21:43

and such a nice person that

1:21:47

it was like, yo, man, I

1:21:49

don't feel good about battling

1:21:51

this guy, you know what I mean? He has such

1:21:54

a beautiful spirit, and

1:21:56

anybody that knew Buffy knew he was

1:21:59

just a nice person. And

1:22:01

me and MARKI d got into a little bit of

1:22:03

an argument one time because

1:22:06

when the show came out, he

1:22:08

was very he he was

1:22:10

looking at like, you know, like he was the

1:22:12

one, he was the voice of the group, and

1:22:15

he looked wanted to challenge me.

1:22:17

And then after a while, you know, he was barking

1:22:19

a.

1:22:19

Little bit and going at it, and then

1:22:22

I said, yo, I don't even have to

1:22:24

beat box. Do you want to battle rhyming?

1:22:27

Do you want to do that? And he just didn't

1:22:29

want he didn't want to do that. And so after

1:22:31

that, because I come from a battle

1:22:34

era, you know what I mean, from the

1:22:36

foundation of battle. Like I told

1:22:38

you, I'm on the side of the stage

1:22:40

when Moji and Busy beat

1:22:43

Battle.

1:22:43

I'm the only kid that

1:22:46

can say I was there.

1:22:47

I was like fourteen, I

1:22:49

was I didn't even supposed to be in there, and

1:22:51

I'm on the side of the stage while

1:22:54

that's going down. So I was

1:22:56

at that battle. I was at the battle with Cold

1:22:58

Crushed Battle and Fantastic, you

1:23:00

know. So the things

1:23:03

that I've learned from from

1:23:05

just being in that area. And then I

1:23:07

was in that contest in eighty one

1:23:10

in the amateur contest. So

1:23:14

that's the way we came up. You

1:23:16

had to battle, but then as

1:23:19

you grow, you evolved, so it

1:23:21

wasn't about battling.

1:23:22

And then me and Marky d became

1:23:24

the best of friends.

1:23:26

We would hang out live and then what happened

1:23:29

is when Buffy passed, I did

1:23:31

Tom join a cruise and

1:23:33

I wanted boys on there, and

1:23:35

I said, we got to get them on this cruise.

1:23:38

So I got them on. And when I got

1:23:40

him on, I said, Yo, let's do bitter to stick

1:23:42

them and let's do it stick. Wow,

1:23:45

that's right, And

1:23:47

we did and it was me

1:23:49

Kourokski and Prince

1:23:51

Marky did and we took pictures together

1:23:54

and man, those are my brothers. Man, it

1:23:56

was.

1:24:01

He's gone too sus a lot.

1:24:03

Yeah, okay, brother God, thank

1:24:05

you. Look, if you ever you

1:24:07

must open up another restaurant and

1:24:09

share that cornbread recipe. But that's a whole

1:24:12

other episode. Doug has

1:24:14

the worlds. When he had his restaurant in Harlem,

1:24:16

he had the world's best corn

1:24:18

bread.

1:24:21

He look, this was yeah, this was three

1:24:24

five years ago. Anyway, Doug, I

1:24:26

think if you're doing.

1:24:26

This, look and then you yo.

1:24:29

When he said, somebody said,

1:24:31

everybody said your man, your man,

1:24:33

quest said your man outside

1:24:35

of Lottie, Dottie Shure

1:24:38

whatever. One of the most unbelievable

1:24:41

contributions he haven't made the world.

1:24:44

Is this corn bread and

1:24:47

look, I was sending interns

1:24:50

from the tonight show. I was sending interns

1:24:52

to the

1:24:55

I was sending girl's name,

1:24:58

Ashley, the harlor.

1:25:01

Corn bread, Yes, the corn bread.

1:25:03

They call it crack corn bread

1:25:06

in the hall.

1:25:06

Ass it's

1:25:10

worth breaking your diet for.

1:25:12

Yeah, I may, I may.

1:25:14

We may have to do that one day.

1:25:16

Just be just a little piece hot.

1:25:18

Hot yeah, just one one,

1:25:20

one cheat day. Thank you for doing

1:25:22

this episode. All right, this is the It's

1:25:24

illiad. Thank you, We love you.

1:25:26

Do y'all, y'all

1:25:29

peace. What's

1:25:42

Love Supreme is a production of iHeart

1:25:44

Radio.

1:25:48

More podcasts from iHeart Radio, visit the

1:25:50

iHeart Radio app, Apple Podcasts,

1:25:53

or wherever you listen to your favorite shows.