Hip Hop’s Origin Story, Told by the Legends Who Lived It

0:00 Before hip-hop became a global business, before the world understood what this music could be, Curtis Blow was out there helping make history. We built the music and the culture from the ground up. We didn't even call it hip-hop. It was called rocking, breaking, burning, partying. How does it feel, Curtis, to see little Joey become grunt DMC? I remember him at 13. I used to protect him from Russell. Could nobody touch him. Like the movie Crush Groove. This guy right here, he was my heart. Still is. This man said, "If I rule the world, you did rule the world. So I had to do your song over with Miss Lauren Hill. How did you like that song, my brother?"

0:41 >> Oh my gosh, >> man. I'm on a stage with Yeah. >> All all my heroes. >> All my heroes. Hey, >> you know the way y'all look like y'all look like radios back then. I was as a kid. That was the face speakers was what I was looking at. I was stare at the radio just like what's their lives like? >> Well, I think I should tie my shoes. >> Those some nice shoes too, Mr. Blow. Mr.

1:12 Blow >> clean. So, tonight, ladies and gentlemen, we're celebrating one of the architects of this culture. Before hip-hop became a global business, before the world understood what this music could be, Curtis Blow was out there helping make history. And for me personally, his music became part of my own journey. So, this conversation is more about legacy and than records. It's about the man, the movement he started, and the legacy he carries. So, let's get right into it. Mr. The Curtis Blow, The King.

1:52 What was it like? Take me back to Harlem, New York, before the record deals, before the hit records. What was young Curtis Walker dreaming about? Did you ever imagine hip-hop would take you around the world? >> Wow. Well, you know, going back to those days when hip hop hop was really, really brand new.

2:23 I mean, we didn't even call it hip-hop. It was called rocking, >> breaking, burning, party. You know, we just love music and we wanted to have a good time. You know, it the context of the whole situation was we were coming out of the civil rights movement >> in the 1960s.

2:55 I remember Martin Luther King was assassinated. Malcolm X, you know, JFK, RFK, you know, community organizers were having debates and protests with activists and government officials and they were arguing. It was traumatic during that time. But there was a community organizer who wrote a book and he had this one statement. He said, "You know, the buildings are burning down on one side of the street, but the kids on the other are trying to put something together."

3:39 >> And you know, I don't know if you know about the Bronx in the 70s. There was a documentary called The Bronx is Burning and All of that. and and and landlord owners would just fire up, you know, put their building on on fire just to collect the insurance money. And so every block had a building been burnt down to the ground. So we also hung out in these abandoned buildings and you can go in there. Used to the first time we would see something like graffiti, you know, guy with sign on the wall with a magic marker. My name is John. Here I am. Now I'm not here. So now you know.

4:28 And so you know that was a graffiti but it was like degragation. And I remember the president came to New York's and he refused to give us money because New York was broke at the time. And so I remember the newspaper the president says no to federal aid to New York City to clean it up because all the the degragation that was going on with the buildings and everything. But you know, we came out of that era that that that moment in time where we didn't have anything. We had nothing. We built the music and the culture from the ground up with nothing.

5:18 >> Absolutely. >> With nothing. just the love of the music, you know, it was very very important, you know. it was more like escapism for us. I remember just going to the club and and putting my head in the speaker and listening to the bass rumble all the way down to my toes and I would close my eyes and just go off. And that was hip-hop to me, you know.

5:52 >> Was it disco music you was listening to? >> that's a good question because it it was definitely disco. I am a avid supporter of that era. disco music was so very important. Like I say, you know, we're coming out of the civil rights movement and then we have the right to vote and then we have the hippies and the flower childs and you know, love your neighbor movement and dancing became our greatest pastime. Everyone would work all week. You work hard all week. You go to the disco or the club downtown with the strobe lights and the disco ball and the lights are flashing and everybody's looking good with suits and ties and silk dresses and we danced the night away and that was it. So, so hip hop came out of that era.

6:56 >> Yeah. I called it a mutation >> of disco. >> Wow. Even more so, it's ghetto disco. >> Yeah, I like that. >> I'm from the hood. I'm up in Harlem. I didn't have the money to pay to get in those clubs. So, in 1975, I was 16. I got a phony ID down on 42nd Street, >> right?

7:28 >> Yeah. And so it made me 21. >> Wow. >> So I could get in all the clubs, man. I went to the Levigotas, the Nemo, Neguins, Superstar, Cafeteria, Hotel Diplomat, Iponymas, the garage. Man, I was there. You name it. I went to every disco in New York City because I was studying to become a DJ. So, I wanted to see all the different styles and do my research and find out. All right. Yeah.

8:03 So, I ran up to DJ Hollowway up in the Bronx 371. >> I thought he's from Harlem. DJ, >> he's from Harlem, but he was number one up at Club 371, the House of Joy and Fun. >> And that was it. I saw him. He had a line around the block trying to get it in. And man, I saw this man just do some incredible stuff on the microphone that I never heard before. Now I'm an MC already, right? I've been rapping or let's say MCing since 1974 in Harlem at the Wham >> 74.

8:40 >> In 74 is when I started MCN. I was trying to impersonate my hero on the radio. His name was Hank Span. WWRL Super 16 on the server. >> Wow. >> So, so I did that voice impersonating him at a a club called the Wham. It was a old police station on 152nd Street in Amsterdam, the hill, and across the street from the battlegrounds. I know you heard of the battlegrounds. 151st and 152nd. It's a park right there. We did battles right there. but anyway, >> real history, y'all.

9:20 >> That was my first job. >> Real history, the real >> New York history >> and hip-hop history. >> Yeah. So, >> for somebody that was there. So, how did you how did you get discovered? Sorry to cut you off. How did how did Curtis Blow get discovered as a rapper and signed to to be the first rapper on a major label? well, as the years went by, you know, I convinced Russell. Russell and I met in college 77.

9:53 well, I went to college a year earlier. I was at 17 when I met Russell and convinced him to come over to my block in Harlem and listen to me DJ. >> So, I had it all set up. I had my crew, you know, my team, my whole block was there. It was crowded. We had, I don't know, about 150 PE people in a house party. And I'm sitting there, I'm doing my whole Hollywood. I'm throw your hands in the air and waving them like you just don't care. And if you got on clean underwear, somebody say, "Oh yeah."

10:34 >> Oh yeah. Right. And somebody screamed, "Oh, all that stuff, the crowd response and he heard that and our crowd, it was set up, you know, when he came in. I said, "All right, let's go." Right. And we threw on good times. Oh my gosh. now Rogers, you know, and so I rocked the good times for Russell and we became friends. went back to school and I learned in communications, that was my major. I learned in communications is you want to make it in the big city. You know, New York, we had a lot of competition like at least 50 MC's during that time, you know, in 7879. And so, I said, I learned that if you want to compete, go out to the outskirts of the city into the what we call the boondocks and get yourself a track record, you know, pull out a number one in this market, a number one in this market, and then come back to the big city and say, "Hey, man, give me a shot. I'm number one here. I'm number one over there. You know, I'm doing my thing. I got a track record blah blah blah blah blah right and that's how you get successfully you know a job on anything but then so I said Russell let's open up a club out in your hood we opened up the night fevers disco and that's where I met Ron Joey and so I used to go out there on the weekends and stay at his house >> I used to cook breakfast for y'all >> yeah and and and so we had a great family. I got together Ron's house, >> you know.

12:21 >> I used to give flyers, put the flyers up on Jamaica Avenue. That was my first job to put flyers up. >> Rush Productions. >> Yep. >> Rush Productions. And Kurt was down with Rush Productions as a promoter with Russell. They promoted Kurt. They both went to CCNY, right? And I was just a little kid wanting to be down. So whatever I could do to get down, I would do. Whether I was cook breakfast or get them socks or whatever. I remember my father taking him to the store. I just used to cater to them and I was just trying to sneak my way in and Kurt took me under the wing.

12:52 >> Yep. Yeah. And and and you know that story that you told about you breaking your arm. >> Yes. >> It was your wrist. >> My wrist. >> I thought it was your arm. >> No, it was my wrist. I broke my wrist. Okay. >> And I was heartbroken because not only my wrist was broke, my heart was broke cuz I couldn't go on tour cuz I was his DJ. >> Yeah. But but how old were you, Ron?

13:15 >> I was probably 14, 15, >> you see. And and so I used to stay at his house a lot, >> right? Because I'm counting out on the weekend with a whole two crates of records and taking the train and a bus and all that. And then I started driving cab. >> You was a DJ before you was a rapper. >> Oh yeah. Yeah. >> He was like a mixture of a DJ and a rapper. >> Of course. Yes. Yes. Yes. I remember that. Both both of you were.

13:40 >> Yes. I started out as a DJ. But the one thing like Joey used to he had an attic >> upstairs, right? >> Yeah. I took it over from my brother. >> Him and the whole crew used to be up there. His dad bought him some turns. >> Turntables. Yep. But I No, you bought the turntables by paying me. >> >> Used to give me $35 a show, which was a billion dollars back then. And I brought some quantas. I wasn't able to get the techniques. Remember the quantas? And I used to DJ. And I got real fast. I used to go so fast you just catch air.

14:15 >> He was awesome. Incredible as a >> catching air. >> Nothing. The lady's about to say something. We had a show. He would come out by himself DJ for a little while and then I come out, not even introduce myself and start DJing. And he would take the mic and start rapping. >> Yep. That's where I met my wife at at at a Long Island ring. >> And then after he did a couple of numbers, he would come back to the turntables and cut up our intro. Yes.

14:47 And I would start the show >> and that's how the I came up with calling him out and then they t Curtis Blow Curtis Blow. I came up with that. >> That was his idea. >> So then he called me out run once I became my own person. >> so I was thinking I could take a record and scratch his name and call him out. So I was doing that until I broke my wrist and I passed it to Davey and they would throw on Christmas rapping and then you call Curtis Blow out and by the time I became run Jay I taught told Jay called me out run.

15:22 Yep. >> That's crazy. >> That's incredible. >> True story. >> How does it feel Curtis to see little Joey become Run DMC? How did that feel for you? Because you mentored him, >> man. It's like my god. I remember him at 13. I used to protect him from Russell. >> Yep. Yep. >> Could nobody touch him >> anywhere. Like the movie. >> I was his son. >> Like the the son of Curtis Blow. Like the movie Crush Groove.

15:54 >> Everything. >> This This guy right here, he was my heart. Still is. >> Yes. >> My heart. I was very lucky to have him. >> Yes. Yes. >> Took care of me. I didn't even know why. I couldn't figure out how I got to be down with Curtis Blow, but it was a big big honor to be down with Curtis Blow. And then we made movies together. Crush Groove and we tooured together. >> One of my favorite movies. I don't know if you've seen Crush Groove. If you didn't see Crush Groove, you got to see it. Came out 1985.

16:25 These brothers was doing it. I went to movie theaters and I lost my mind. actually talked to Doc last night and he said he referenced the movie and he talked about when the scene with you and your brother arguing. Yep. >> And then you went on stage. I don't know if you want to share this. >> I'll share it >> with the people. Where did you get the >> This is my mother effing house. I got it from Eddie Murphy cuz Eddie Murphy made the joke about his father saying this my house. This is my my house.

16:54 If you don't like it, you can get out. And I used to say that all the time. And Jay said, "You need to say that on stage." I was like, "What? Say it." I WAS LIKE, "THIS IS MY MOTHER." AND AND THEN I TOLD EDDIE. Eddie was like, "Get the out of here." I'm like, "No, I got that from you." He's like, "Because I was inspired by Eddie cuz he lived right in Long Island and he was so close and he was so funny and that's where my Emma effing house came from."

17:18 >> You came up with this part. There's been a whole lot of superstars. Russell came up with that because I was on tour with Kurt and the Fat Boys which he produced the Fat Boys. He produced some Run DMC and my job. I mean I see he was my dad but you know you competitive with your father. I that's why I'm just so happy I was able to give him his flowers today because I I was a bad kid. I was not a I was not a good son for a while. I >> No, I was bad father.

17:45 >> Well, he was a bad father's a bad So I just wanted to curse everybody out. So I used to come out and say this is my house and I did it throw mic stands and act crazy. I don't know where I got it from but >> it's a queen stand. >> Got it from Kurt I guess >> and Kurt is blood. >> You know what else they used to do at the end of this show?

18:04 They say >> or throw the mic down. >> They used to drop the mic down. We're on >> every bit of attitude I could figure out. >> They're crushing microphones every night. So the sound man comes to me. The sound man says, "Kurt, Kurt, please, please, can you talk to them and tell them stop dropping the mics because they're breaking the mics every night? We have >> between him and and Jesse Jackson." Right. >> Right. I I was >> TELL THEM TO STOP CURSING.

18:32 >> NO, NO. I was like I was like, "No, just make them pay for it." >> I paid for it. >> You'll make good money for it. I did what I had to do, but I didn't stop. And you were like the first hip-hop artist on tours with the big gigantic now Rogers and all these other big bands, >> right? >> How was that being that rap guy on this big tour with all these guys who hadn't seen rap music?

18:58 >> Marvin Gay, Bob Marley, he was the big the big kahuna. >> Did you say Bob Marley? >> He was on tour. I Davey got sick one day and I was getting ready to set up the turntables to DJ for him at the garden when he was playing with Bob Marley. That's how old school and how great Kurt was. Played with the biggest band ever. >> Wow. Superstar. It was all amazing. It was like I tell this all the time to people like it was a a dream story, you know. It was a movie for sure. You know, meeting Michael Jackson, meeting Prince.

19:33 I did a a a photo shoot with Prince. Now, this is right after I did If I Rule the World and Crush Groove. So, I was a little hot in all that. And so, I set it up with my record company. Hey, hook up a photo shoot with me and Prince. I wanted to meet Prince, right? And so, they set it up. We did it at a club down over in Memphis, Tennessee. And I'm there sitting right next to Prince, right? So, there's 3,000 women inside this club. and another 2,000 outside that couldn't get in. But out of all those women who wanted an autograph and take pictures, y'all both had that curl.

20:20 >> Prince had that curl was fly. >> Prince had 2,000 shots. 2,000. He did it 2,000 times and I did it about 20. Kurt, I redid your song over. I was so impressed by you if I ruled the world. That song, man, it did something to me seeing you do that song at Crush Groove and it just Yeah. So many hit records. So many hit records. it's crazy you talking about the Bronx, but yet you had a song at the same time the Bronx Burning you said up in the Bronx where the people are fresh.

20:59 >> AJ Scratch, >> there was one DJ. You were telling a different story than what the news was telling. You was uplifting the Bronx. You was uplifting and giving a message about the people how beautiful we really were during the worst times ever. So when you did If I Rule the World and I said this man said if I rule the world, this black man had the audacity to be in a movie on a silver screen and speak to the world and say if I rule the world, you did rule the world. So I had to do your song over with Miss Lauren Hill.

21:28 How did you like that song, my brother? >> Oh my gosh. Wasn't it incredible? >> Honored. >> I mean, >> homage to you. >> I I I I remember getting a cassette tank in my house. I just bought a new car, a new Nissan, one of those little little cheap Nissan, right? but it had the best sound system that you would ever hear. I mean, I'm talking about it was loud. Like I, you know, I went to the store and got some new speakers and all that, you know. I had they, you know, pump up their cars and stuff like that, but this was fidelity. And I took the tape, I put the tape in my car and I listened to that tape for about two hours long.

22:22 Kept rewinding and rewinding. What did he say? Oh my gosh, that's Lauren Hill. Oh my god. I kept listening to that song. I got so excited. I called Sony. I called them back. I said, "I got the tape." I listened to the tape. So, what did you think? I think that it is great. And I'm going to tell you this. You put that record out and put normal promotion behind it and I guarantee it will go double patent.

22:56 >> And it did. So, thank you. >> Thank you. Thank you, man. I think that was the last question because I could sit up here and talk to all three of y'all for three hours. Shante, the queen, do you have any last words? Everyone was wondering what I was going to say when I sat here. And I just need y'all to understand this. What you see in front of you right now is a true reflection of what paid in full is about. See, paid in full is not about anybody's personal feelings about anything that takes place in the industry, but it is about the love of hiphop and a person's accomplishments and their love and their passion and their contribution to hip-hop. And as I have sat here and as we all have sat here, we have heard this man talk about his passion being there from the beginning, being there in the fight to make sure that hip hop has become what it is today. So that is only right that he becomes an honore of paid in full.

24:03 So, I look over to him right now and I say to you, I love you >> and congratulations because you deserve to be paid in full. >> Thank you.