I'm not big on snacks, but I if do, I like a few M&M's.
I want to go to - what's that hot country with a lot of money? - Dubai.
Conquer your neighbourhood, conquer your city, conquer your country, and then go after the rest of the world. That's my mantra.
The type of mixing that was out then was blending from one record to the next or waiting for the record to go off and wait for the jock to put the needle back on.
Before this DJ thing, I was hopelessly taking things apart to try to figure out how they worked. I'd go mess around with burned-out cars, with my mom's stereo - I was public enemy #1 in my house for that. So my mom noticed that I was interested in this and decided to send me to school so I'd know what I was doing.
All you have to know is mathematically how many times to scratch it and when to let it go - when certain things will enhance the record you're listening to.
I knew there was a way to blend records together, but I didn't know how to. This was haunting me when I was in my teens. In my frustration, I decided to start experimenting with electronics. I tested the torque factor on different turntables. I had to figure needles out. See, there are two kinds, elliptical and conical.
For anybody to say well this is not Hip Hop and that's not Hip Hop, that is not the way the formula was laid down. It was for the people who were going to continue take anything musically and string it along.
I developed the Clock Theory to help me time records; you know, spin the record back two revolutions or whatever and then play the break, spin the other one back two, play, like that.
We can come from our own particular point of view and lay it down. We should not be throwing verbal rocks at each other. We're all responsible to continue the growth of Hip Hop.
If there is a record I don't have, I haven't heard it yet. My collection is always growing, but I can't really play it anywhere - no promoter is willing to pay for my crates of vinyl to fly with me, so I have a team of people to digitise it all.
I went to junkyards, abandoned car lots. I asked supermarkets for the big jugs they put pig guts in, to make cabinets for my bass speakers.
I needed a way to have the platter continuously spinning while I'm moving the record back and forth. I went to a fabric store. When I touched this hairy stuff - felt - I found it. I rubbed spray starch on both sides and ironed it until it became a stiff wafer. After that, I was able to stop time.
When I am performing live, I walk into a room, and I just try to get a feel for the vibe, and I am coming from different angles musically. I might come with a new song, I might come with some hip-hop, with some R&B. Once I find my way, then I am hitting you, and hitting you all night.
We gotta stop fighting amongst each other. I think the only rift should be when take it the stage and try to out perform each other.
I had love for Breakout; I had love for Bambaataa. I had love for Kool Herc.
As an individual I was known as the DJ or the mixer.
But I had two very special people who helped to take my style to the next level. Thank God for my first MC Cowboy and my first student Grand Wizard Theodore, and to go out after creating this art form and finding everyone jamming to it - that too was pretty scary.
Disco B still rolls with me now. He's still doing his thing. He does clubs in different places. He was very instrumental in helping me perfect my craft.
Do not let any record company disturb your creative flow. You are not writing for the record company. You're writing for the public.
