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Dj Bent Roc
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New York to Philly Dj culture. Dj Bent Roc says you have to know your audience.
What's up everybody? Welcome to the Shed Box. Once again, you know how we do. We learn in the box, then we think out the box. You know, we pulled up on one of the Philly's finest Radio's Philly finest is in the building. I ran into him at the event, and you know, I'm like, yo, I gotta pull up on you. He's like, say no more. You know what I mean? So uh this this guy is I've been listening to him, and we all have been, especially if you're from if you're from New York, if you're from Philly, you're from Jersey, Delaware, the DMV, the Dell, whatever. If you've been in these areas, you've heard this man's mix, and you already know it's non-stop. The mix is non-stop. It's all about the mix, right? And we're gonna get into that. But welcome to the show. Welcome to the shared box. What's going on? DJ Mixed Master, DJ Mixmaster Ben Rock. What's going on, bro?
SPEAKER_00What's going on, man? Thank you for having me.
SPEAKER_02Yeah, you gotta say his name right, you know what I'm saying? Because his intro on radio, once y'all hear that, y'all already know y'all go turn the radio up. Everybody do that.
SPEAKER_00It's funny when you said Philly legend. I don't I don't I don't consider myself a legend. And when I say that is I grew up wanting to be on the radio. Wow. To DJ, because DJs have certain objectives. Do you want to play, you know, in the club? You want to play out in the park? Uh I wanted to play on the radio. So I was always a student of radio uh when I was growing up in New York, and it was my dream to be on the radio. Everything else is is okay. I I like, you know, yeah, but but to be on the radio is is is been my dream and really been a I don't take it for granted.
SPEAKER_01Right.
SPEAKER_00But and I never get into that whole who's the best DJ. I let people just the people have to determine that as far as and it really depends on a lot of variables. People listen to to different DJs for different reasons, and I love it, and I love it here because it's easy to play in New York for me. When you go on the road and play, especially in Philly, and to be loved in Philly is a special thing for me. Because I always say this the difference between New York and Philly, you know what it is? In New York, they'll run you over, right? A car run over. In Philly, the car runs you over, stop, back up, run, back up, you know, whatever. That's because of that's because of passion. Right, right. You know, y'all boo Dr. J. I mean, if you had to. So, and to win here and to be loved here is very special.
SPEAKER_02Yeah. And I I think for most of the people, like if you grew up in a certain area and a certain time, and they people may say, claim, you know, reclaim you, you know what I'm saying, as Philly's own. And then you you may go at a certain time in your life where you DJ'd up New York or Connecticut, and they'd be like, Well, no, not necessarily. He's from the Bronx. Yeah. You know what I'm saying? You're from the Bronx, right? That's right, from the Bronx. You know, so tell me, tell, okay, let's go to the Bronx, right? Bronx was a very, very popular part of hip-hop.
SPEAKER_00Yeah.
SPEAKER_02So, what did you experience on the beginning of hip hop for the Bronx? Like, what was that feeling? Because we we know we're here in the records and we know what we felt in Philly, but I think in different places like Harlem and the Bronx and Philly, you seen something different. You felt something different.
SPEAKER_00Seeing and hear it. Uh I was fortunate enough to catch it at its the onset. Catch it while Curtis Blow did Christmas rap. Curtis Blow did the breaks, Furious Five did uh super rap. So that's from that's you know, so I was there when you had to go into record shops and hear the break beats. Yeah. So for me, DJing was taking two records and mixing them back and forth. Yeah. For me, it was Sheik Good Times. Yeah. Sherlin Got to Be Real. Freedom, get up and dance, bounce, rock, roll, skate, Vaughn Mason Little Cruz. Yeah, yeah, yeah. So it was taking those records and mixing them back and forth. That is hip hop at its purest from the DJ standpoint. And it I was like the fourth DJ on my block. The fourth guy that DJ on my block, but the one that just kept it. But at the time, there were these clubs in New York or in the Bronx that were housing these hip-hop parties and you know, housing the Cold Crush brothers. Right, right. Uh uh Grandmaster Flash, Grandmaster Theodore, uh Funky Four Plus One, Shah Rock. So all of that was stemming at that time. So I was able to catch it at that point.
SPEAKER_04Right.
SPEAKER_00And but then also to not only to be a hip-hop DJ, but to be a DJ. So not only to cut and scratch, but to be able to mix, to transition from record to record, and to play all genres. I don't like going to a party and just playing hip-hop or just playing RB. I like to run the whole gamut. That includes hip hop, RB, reggae, house music, and taking people on a journey, taking them back.
SPEAKER_01Right, right.
SPEAKER_00That's what we grew up on. And and hip hop has a lot of different variations of what is hip-hop. It has genera what I call generations every four years. Yeah. Uh 79 to 82 was a a a sound. 83 to 87 was a sound. That's the run DMC era. What's your favorite?
SPEAKER_01Oh wow.
SPEAKER_00I'd have to say between 83 and 92, that golden era of hip-hop.
SPEAKER_02I gotta say that too.
SPEAKER_00Yeah, I have to say, and the many genres that spawned out of it. Uh to appreciate Tribe Core Quest, to appreciate De La Soul. To appreciate Public Enemy, to appreciate Rock Him, to appreciate producer Larry Smith. For those who don't know who Larry Smith is, he was the one that produced Sucker MC's Run DMC. Okay. He's the sound of who Dini. Right. So that particular sound, uh, to appreciate uh the coming of Salt and Pepper, you know, the the girl MCs, to appreciate uh Howie T, Hitman Howie T.
SPEAKER_02We don't talk about them enough to me, Salt and Pepper. Yeah. Of what they what they've done in in hip hop as far as um women, because they were them and and uh Salt and Pepper and MC Light was kind of like pretty much out there by themselves at one point. So I feel like, you know, we didn't they probably feel that same way too, that we we we didn't uh I guess like dig into them more, you know what I'm saying? Um they had some good music, they had good party music, and I used to always like to go see them perform in um like in the different small clubs when they came to Philly and they they always rocked the stage, like they always had high energy. And it's like I was like with DJs and DJ mixes, I grew up at a time where you know the radio was everything.
SPEAKER_00Me too.
SPEAKER_02You know, it was everything. We used to camp by the radio. When I say camp by the radio, we used to sit and wait for the every this is everybody's moment or memory, sit and wait to hit that record button. And we just waiting for these DJs to start spinning and and or playing our favorite song, and then we we play it because we kind of knew when you was gonna play it, and of course they wasn't playing hip-hop, was only applied allowed to be played certain days, certain times, but even with your mix, people tune into your mix, they know when they hear your name, the echo on the radio, and they call your name and you're about to go in, it's like everybody turn their radio and they ready to party. Like, do you pick, I know you got a playlist, I know you got songs, and but I got a two-part question, right? When you get on the radio on a Friday night, yeah, do you be like, I'm about to kill them tonight? They're about to take these people on the whole never because we need it, you know what I'm saying? Yeah, we need it, like we need it because you know, like, this is the this is the end of the hard week, you know what I'm saying? I gotta do this. Like, have you ever felt like the pressure?
SPEAKER_00Yeah, but then you but then the here's the thing, and I get it's funny I'm saying this, because you get generations of DJs behind you that ask you the same thing, and I say, I put myself in that car on City Avenue. Right. I put myself like as I'm if I'm driving from the airport back to South Jersey. What is it that I want to hear? Particularly a female.
SPEAKER_01Uh-huh.
SPEAKER_00And now it's it's a lot harder now because tell me if you've been in your car for more than 10 minutes and your phone don't ring. Right.
SPEAKER_02My phone just rang this now, so exactly.
SPEAKER_00So it's my job to make them not want to answer the phone and and keep them in as long as possible. So getting back to your playlist, it's really trying to play what people want to hear, but then also add one or two or three of your joints that define you as a DJ. And they say, well, I know that Bent's gonna play this. Right. Or whatever. And then what I didn't do when I came to Philly, I've been in Philly since 2003. I didn't want to be something that I was not. Everybody knows that I'm from New York. Right, right. But I still represent Philly. Right. But you know I'm from New York. Right. I'm not trying to say that, you know, you know, yeah, I'm yeah, I love Philly, but everybody knows, you know, my my thing, and then what can I add? So when I came to Philly, the first thing I did was you go to these spots and you listen to what people because in music, every song has a history. I'm gonna give you an example. KC, I get lifted.
SPEAKER_02Yeah.
SPEAKER_00Great song here, yeah. Not so great in New York.
SPEAKER_02No.
SPEAKER_00If I played in New York, it'd be like, what are you doing? But great song here.
SPEAKER_03Yeah.
SPEAKER_00I'll give you another, uh, you know, vice versa. Uh Jeff Red, you called and told me. Great song in New York, but not here. No. Yeah, but I'm just saying, but yeah, but and and it's only we're only 90 miles apart. Yeah. Or the difference of house music. Here it's more of a Baltimore house. In New York, it's more of a Jersey-Chicago house. Right. So you have to know that you have to know the history of these songs and where it places. But I went to these clubs and said, okay, well, what are the Philly, what are those needle movers? And you learn that and you say, okay, if I'm gonna play here, I gotta represent them. Yeah, but I gotta represent me too. But I gotta feed you your food before I can even introduce my food. So that's what I had to do and not be somebody I'm not. Like, like, y'all are killing me right now because the Eagles are great and the Giants are not so great. Yes. And we won't stop. But I like the Eagles except when they play the Giants. But y'all just won a tip a year ago. But my point is, it's great to have that. When the Yankees, I'm a big Yankees fan. When the Yankees play the Phillies and Low and I, that was tough. I was living here. Uh I'm like, oh my goodness. You know, but I am a I am a historian. For those who don't know, I'm a history teacher. That's what I do every day. But I'm a big Sixer historian. Big, like when the Sixers won in '83, I was actually in school in Pennsylvania. So I remember when Moses came. I remember the year before y'all lost to the Lakers. Right. And Doc was like, y'all gotta get me something because we all wanted Doc to win. Right. So I'm a big Sixer fan. Big when AI was a lot of. He's from New York. Yeah. Yeah. Yeah, but I'm a bit, but I'm a big Sixer. Yeah, I you know, until y'all play the Knicks, you know, but but I love the Sixers. Yeah. But that's and that's it's great to have two sides to me. Yeah. You know, this side, and and when I people come to Philly, I can I can take them around. Like, okay, this is what we're gonna do. This is, you know, whatever. So yeah, it's been good.
SPEAKER_02Yeah, yeah. Have both of those experiences, I think that's probably why, like you're saying, you you you give Philly what we're used to or whatever, but you also like, let me give you a little bit of my hair. Exactly. And you know, and that that's probably like the game changer with with with you, you know, DJing here, you know what I mean. So um tell me so tell me something. Let's get into now you got in I went to an event, let's just say this. I went to an event, okay, right? And I went to a wedding. And they had the DJ set up, and I'm sitting there, I was um actually doing some um video and hosting stuff or whatever. But I watched the DJ, right? And they didn't mix not one record.
SPEAKER_00You say mix going from one record to the next, but uh a a a pure transition. Yeah, well, you didn't even know. No, they didn't. So he was he or she was just playing records.
SPEAKER_02Just playing records, and I I was like, people talk about AI. I'm like, let's talk about this. AI just gonna computer gonna do what it's due. But that's a human. And that human just robbed these people.
SPEAKER_00Yeah. Well, it depends on what the people want, but you're right. And the DJ sometimes is often overlooked of what they do. Uh I'm not disrespecting bands, I love bands because if it wasn't for bands, the essential music that we play would not be here. Right. But a lot of people would pay a band this and pay a DJ this, or they'll pay a host this and a DJ this, when the root of the party, what you just mentioned, starts and stops with the root of the radio. Yeah, exactly. If you look at hip-hop now, I mean, hip-hop back for me was Run DMC Jam Master J. Right. Who Dini Grandmaster D. You know, uh every, you know, Furious Five, Grandmaster Flash. The DJ has been kind of eliminated on a lot of these things, and that's a shame because the art form and what it's meant has been diminished. And DJs too are held accountable for it. You know, some, you know, and that's why I don't, you know, we can get into that all day. But yeah, what you heard I call a crime. That is a crime. It's a crime. It is a crime, yeah.
SPEAKER_02And I was like, at one point, it's at some point, when are you gonna start mixing these records? And and you know, and then some people started saying something to me, and I'm like, oh, I don't know this DJ, so I can't tell this person. They'd be like, what is they doing? I'm like, so people notice it, but sometimes DJs, I guess, they start not, they think people don't know. And they think, like, they don't understand, like, when you get a D somebody's DJing or somebody's playing on the radio or whatever like that, you they know when you messed up. They know when you played the wrong song. They know, like, wait a minute, I was just doing this and you just took me out there. You can't fool the people with the music because they know.
SPEAKER_00And then there are levels of DJing. To me, as a DJ, you should be able to play in any scenario. When I s what I mean by that, I remember I did a function in Atlantic City, and all we had were turntables. In case you don't know what a turntable is, and that's another story. That's where it started out. Um, I usually play, if you give me what they call a rider and you ask me what I want, I'm gonna want turntables. Right. I can play on a controller. I don't down anybody that plays on controllers, right? But you need to know how to play on everything based on just the art form or whatever, or based on whatever happened. So this guy goes, I say, I got turntables. Well, I can't play, I don't know how to play on turntables. And I was like, well, if you don't know how to play on turntables, to me, there's a part missing. You should be able to, you should be able to know that. Like if I go somewhere and it's a controller, I'll play on a controller. But if you put two turntables in front of me, I'll play on that. Right, right. Uh I prefer that. And I know realistically we've kind of we've translated. Yeah, I get it. But if you're going to call yourself a DJ, you should know how to do it. Cutting and scratching, yeah, you should know a little bit. You ain't gotta be, you know.
SPEAKER_02Well, that's part of DJing, though. That's I mean, that's part of the culture of DJing. That's like telling a rapper, you don't always gotta rhyme your music all the time. Like, you know what I'm saying? Like, no, that's that's what that's what a rapper do. You know what I mean? It's like like all the uh you don't have to do the scratching thing anymore.
SPEAKER_00Well, that's what DJs do, but you gotta know how to do it. And I and and and who you're doing it, who's in front of you? Right. Uh I kind of scratch with the grain of the music. I don't go against the grain. Because I'm always thinking about women listening to me, not the always just the hip hop head. Right. So if we if we're in a hip-hop cipher, then fine. I I I know that, but and mixing is the same thing. You should know how to mix. You should know, and you should know, like you're saying, because I always play when I'm at a wedding or whatever, to someone like somebody like you in the audience. Uh-huh. Checking me out.
SPEAKER_03Yeah.
SPEAKER_00And you you you can't, you always gotta be on your A game. How am I gonna transition? So when people come to me and ask me to play a song, I look at them crazy because they're thinking because they're thinking that we're just sipping a coffee and this point. No, we're we're coming up with we're coming up with an itinerary. I'm thinking five, ten, eight records down the road from what's playing. Right. So if it's eight o'clock, what I want this crowd at 8 30. And where am I gonna take them to nine o'clock and how am I gonna, you know, whatever. So when you come into me, especially if a if I have a dance for a pack, what can you possibly ask me that's going to be better than what I'm doing right now, besides break up my concentration? Right. And then sometimes the people come and ask you stuff, you put the record on, they're not even there. So you really you you really gotta think for everybody. Yeah, but but you just mentioned something, like, you know, yeah, people checking me out.
SPEAKER_02Yeah. So so new people coming up wanting to DJ, um, people taking classes, which I'm I'm I like that because they're being taught by a DJ. You know what I mean? It's something that you you gotta have a passion learn to, but like the things you're talking about as far as um everybody can't DJ a wedding. You know what I'm saying? Everybody can't DJ radio. And to think that you can get in there and DJ radio, you in a room with no people.
SPEAKER_00And no, no, no. You have no immediate response.
SPEAKER_02Yeah, you you you you don't know if anybody on a dance floor or not. You you in this room, you know what I mean, for hours just mixing records, and it's like it's a whole city's out here listening, but you don't really know the response. That's right. You just gotta keep going. So when I listen to I'm like, you know, that's why, you know, the shed boxes means a lot to me, especially with musicians and DJs, because you guys bring so much to the table. And as far as radio, radio is music, which the DJ play the music. But okay, so we that's a whole nother conversation and a whole nother show. But, you know, I respect I respect what y'all do. So teaching in these classes, y you're um you're a historian, so you uh you teach history, so when you sit down with uh even uh younger or older people and they get in into say DJing, you you you always gotta start with the history, right?
SPEAKER_00Yeah, but but the but there's a uh frame of reference. When I was growing up, old school music to me was the Motown music, Diana Ross and Supreme's Temptations. I teach ninth graders to twelfth graders. Okay. Some some eighth graders. They don't even know who TLC SWV is. So you have to talk about their frame of reference, what is their frame of old school. We are in an era right now where when we say old school music, you have to change your reference point. Where probably once was maybe 1975 to 1995, you gotta you gotta push it up ten years and say, Where's the meat of my old school audience? Because the per where is that person, the person that's 50 now was 25 at what year?
SPEAKER_01Right, right.
SPEAKER_00Or 15 at what year.
SPEAKER_01Right.
SPEAKER_00Uh so uh wh how old were you when when Biggie and Pac, we lost Biggie and Pac? Or how old were you here in Philly? Yeah. I call it the uh the Cameron, Dame Dash era, Beanie Siegel, Petey Crack era. Where were you? How old were you? So if I'm playing it now, you know, how old are you now? Right. That's your reference point. We have to get I that's the way I gotta think now. Like, you know, who's who am I who am I playing in front of and what's old school? There's certain songs that's always gonna transcend. You know, before I let go, came out as a matter of fact, that record by by Maze Frankie Beverly was actually on the maze live album as an extra cut before I let go. That record is arguably one of the best old school records of all time. But when it came out, it was just that. How we listen to music is different. We used to play what we call album country.
SPEAKER_02So wait a minute, that that record was it was on the live album from New Orleans. It was on it was the it was the A-side or a B side?
SPEAKER_00It was just the album itself, Frankie Maze and Frankie Brady did a live from New Orleans album. Okay. And before I let go was an actual cut on that album. That's when it was introduced to everybody. We as disc jockeys and DJs took that record and played it as a single. It was never really released as a single per se. The reps, the record reps at that time, when I say record reps, see when you made a when you made a song, it belonged to a certain company, Capital, Motown, later on, Def Jam. Yeah. They weren't really repping that record. It it developed on its own. Right. And we as DJs and radio people say, we're gonna play this record and we're gonna make this record a hit. Uh I'll give you another example. Michael Jackson on The Dangerous LP, Black and White was his first single, but we said, no, we don't want that. We want Remember the Time. And we made that. We dictated what was you know what was happening. That was a that was a you know a thing. So it's different now. It's really different now. You know?
SPEAKER_02Because um now it's like they sending you what they want you to play. You know what I mean? Like you you get like a song, like even before, you would get mixes, you know what I'm saying?
SPEAKER_04Yeah.
SPEAKER_02And and and and then they'd be like, which which the better mix? It could be like something different. They're giving you like three different of the same song, right? And then they'd be like, they send it to you guys first, right? They send it to you guys first, and you got you guys decide whether or not it's which one you're gonna put in the middle of the city.
SPEAKER_00And it depends on you, and it depends on your reach. Uh they just they can't. Yeah, but now it's a lot different. Well, people can get anything at any time. There's not such thing as an exclusive. As a DJ, you're going to have what makes you different than playing this record. How are you transitioning? Are you making a blend or certain matchup with this? That's the difference. And that's what you that's where we as DJs that's where we have to find our lane because I get people coming up with their with their phones and you know Shazam and they got they're telling you what to play. I'm like Yeah, yeah Wow, this is you know that it but that's where we that's what we live in right now. So the DJ now has to and like go back to what you said, you're gonna have to work. You can't just be playing record directly. Anybody can do that.
SPEAKER_02Yeah, yeah.
SPEAKER_00You know, so yeah.
SPEAKER_02So so what's next? What we um what you're working on um now, and I know you work with a lot of different you produced a lot of shows, you did programming. Um is you think uh with you being a pro a radio state radio station programmer, um how how do a person get to be in that position? You know, a lot of DJs you know which they don't understand, or younger DJs coming up, or radio personalities, you know, the being able to be um head of programming and things like that, it's like it's it's a big deal because you're you're kind of like making the decisions whether or not, you know.
SPEAKER_00And you're leading a bunch of people. Yeah. For me, my my radio history was after I was DJing for a while. When I went to college, I came out of college, I went to a small-time radio station in New Haven, Connecticut. It was on AM. For those that don't know, AM was a different frequency.
SPEAKER_03Yes.
SPEAKER_00And it was an RB station there. That's where I learned my radio stuff. So it was at that station, I learned production, okay, how to edit music. Yeah. I learned how to be on the air. Not just DJ, but I learned how to do this. So I learned how to be on the air. That's why I cut my teeth for the first five years, but I did everything. I did morning drive radio, I did afternoon drive radio, I can do everything. So when I came to the bigger market of New York than later Ohio and later Philly, it was, you know, we need you to do more than drive. Okay, I can do it. You're supposed to go to a smaller station or be an intern or whatever, but that doesn't really, everybody now they just want to jump in and do it. Right, right, right. And not really have the experience. And then when you get to that, you you kind of freeze up. So I always say, get your experience. I didn't go to a DJ school, I learned inside of a radio station how to do radio, and then that's when I was programming, make sure coordinate. That means you look you you you you you you know you lead a bunch of DJs, and there's a different way to play on the radio than in what you play in the street. Right, right. You know, like you said, in radio, you don't see the people.
SPEAKER_03Yeah.
SPEAKER_00So if you're playing in a club and you play a record and everybody sit down, you immediately react and put something on. Radio, you think you think you're rocking, and people could be turning you off and you don't you don't know. Yeah, yeah. So you have to think a little bit differently on, you know, and then because you know, for me, it's not what I want to play. It is, but do I want to what I want to play is everything people, everybody wants to hear. You have to constantly make decisions. And then if it's something new, or for me in my case, you know, you there's a lot of old school music out there that we just don't play. But I do.
SPEAKER_03Yeah.
SPEAKER_00And I put them in, and they're like, oh wow, I haven't heard that for. Or even if you had never heard it, does it sound good?
SPEAKER_03Yeah.
SPEAKER_00You know, in between this hit or that, you know, so you that's where it separates what I call the men from the boys and the women from the girls. Yeah. You know, so what is it that you're playing and is everybody like it? And and check your ego at the door.
SPEAKER_02So I know I know you did a lot of um, you did some sports radio. Yep. Um, you did uh you created a lot of different, curated a lot of different shows um with uh different rap artists, um and just keeping it going, you know. I see a lot of um rappers now and some artists transitioning to DJ, you know what I mean? And it's like it's like they they appreciate it now, and it's like they they they're going transitioning from uh being a rapper to like I just want to play the good music or I just want to play the music or whatever like that. So it's it's it's good to it's good to know that this profession is respected, you know. It is respected by a lot of people on all levels, whether it's corporate level, whether you're president of uh Fortune 500 Crown. It's like a DJ is respected because everybody depends on the DJ. Everybody.
SPEAKER_00Yeah. Well, you like to think that, yeah. You you do, and then you know, um everybody's DJ story is different. Um, you know, uh Jazzy Jeff's story is different than my story. Uh I know DJ Envy's story is different than my story, Frontmaster Flex's story is different than my story, Cosmic Kev's story is different than my story. So um it's just where your story is at and what what legacy are you leaving behind for people like you, any anybody listening, what legacy has bent rock or is bent rock gonna leave behind? Right. And it and like I said, I've been very fortunate that I have, you know, I'm in I'm in New York, Philly, Atlanta, right, I'm in North Carolina.
SPEAKER_04Right.
SPEAKER_00So, you know, you leave a legacy and you don't really hear a lot from your people, right? You just keep right, you just keep cranking it out and you just you stay true to it, right? But you like I said, the people will determine how good, bad, or different you are.
SPEAKER_02So, I mean, we're about to close out, but I just um I just wanted to say I appreciate you, you know what I mean. Um what you what you what you working on next? You got something that you could talk about or well, yeah.
SPEAKER_00Well, for me, all right. So for me, I'm all about I do something called classic spins. Okay. It's all about our history. It's all about because I think a lot of our uh people who have laid the foundation don't get the credit, and a lot of people want to hear old school music. Music itself has changed, the bands have died, so the original the originality of music has died, but there's such a legacy of RB along with hip-hop that has that doesn't get represented that I always do. Uh one of my favorite artists is Steve Arrington from Slave. Slave is one of my favorite groups. Okay. So if I had to create a concert, Slave would be one of those groups.
SPEAKER_03Okay.
SPEAKER_00So I like I did a I did a a song from Slave Watching You. I had a rapper from up in New York, Will Trax, he does the party, you know, so I did that. Yeah, I think it's a good one. I was I was gonna do it with Fat Man Scoop, but Fat Man Scoop unfortunately transitioned because I had one of my first syndication shows with was with Fat Man Scoop.
SPEAKER_01Okay.
SPEAKER_00And uh so uh but he passed away, so I couldn't do it with him. Another person that I I've I've DJ'd for Chubb Rock for a long time. I currently now DJ for Will Downing, Place is a place, and I play the old school music. Yeah I play the soul of the music. When I say that, that means RB, it means hip hop, it means reggae, because I'm Jamaican, like I'm Jamaican blood.
SPEAKER_01Okay.
SPEAKER_00So I do that. So that's just what I do, and I do, you know, here in Philly, Classics 1079. Yeah. I'm on the radio every day. Every day. Here, every day. Yeah, every day. So, and I like to shout out some DJs that have shown me love from day one here in Philly. J Ski, Touchstone, uh, Tactics, uh, JDS, uh, original block hugger. Uh, these are the guys that uh, you know, always looked out for me when I got here, yeah, made my transition, you know, just you know. Yeah. And a couple other, you know, like a couple, you know, and shout out to the other DJs, you know, Doc B, Cosmic. Like, I don't get into that. Like, because we're DJs.
SPEAKER_03Yeah.
SPEAKER_00Yeah, we're supposed to be better than everybody, but you know, you want to be, but but I want to acknowledge just the whole art form. Yeah. And here in Philly, I tell people, yeah, y'all mess with Philly, man. You come here, you better, you gotta come prepare.
SPEAKER_02You gotta come prepare.
SPEAKER_00You gotta come prepare.
SPEAKER_02Yeah. Well, I appreciate you, man. Like, you know, this is how we do, y'all. I got him in the building. Who knows? We might have him in the building spinning, you know. I mean, on the tables, you know what I mean? We don't have the tables in here. Yeah, yeah, yeah. That's what it's about.
SPEAKER_00I don't know if I mentioned DJ Tactics too. Tactics is my man, that's my number one guy. So I hate not mentioning people, but yeah, but yes, uh, and and if you're gonna do it, I need turntables.
SPEAKER_02Yeah, turntables.
SPEAKER_00I need turntables, yeah. Yeah, you know what I'm saying?
SPEAKER_02All right, y'all, you know how we do. We learn in the box and then we think out the box, and that's what we did today. We definitely learn in the box. I appreciate you, bro. All right, y'all. For the next episode, tune in. Make sure y'all catch our favorite DJ, Philly DJ, New York. However, y'all want to repent. Heavy hitter, too. Heavy hitter, that right. Heavy hitter, yes. Okay, we out, y'all. Thanks.