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[Brass band intro]
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[narrator]
It's been a long timesince I visited the South
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but don't get it twisted.
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From the moment 2 Live Crewand the Geto Boys hit the airwaves,
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the South was doing its thing.
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So it makes sense that I come here,
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to the birthplace of Martin Luther King,
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a key city in the civil rights movement,
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a city many people considerAmerica's Black Mecca,
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to find outwhere hip-hop was heading next.
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Welcome to Atlanta.
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[Killer Mike]
For a 100 years,Atlanta has been a place
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where, even in the midst
of Jim Crowism and segregation,
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black people carved a way for themselves.
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You have a 51 to 54% black population.
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You have African American leadershipfrom a mayoral perspective
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for the last 45 years.
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Never shall I let you down!
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Third most corporations of any city.
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The black dollar matters here.Black spirituality matters here.
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Black arts matter here.
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So, if you are an African American
with something to contribute
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to the culture and you're in Atlanta,
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you have a chance, culturally,
of breaking through.
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[drum break]
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[Speech]
People come from a lot of placesand move to Atlanta
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for that opportunity,for that bigger space.
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So you had a lot of peoplefrom a lot of different places.
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Bringing different musical vibesto the city,
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and Atlanta had its own sound,
you know what I mean?
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But it was sort of an offshoot
of what was going on in Miami, bass style.
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[crowd cheering]
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What was the flavor in Atlantain the late 80s?
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Uh, there was a relationship between
Atlanta and Miami at that time.
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What was translatedas a skating rink music,
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or as booty shake music, Miami bass.
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That's what the music was called.
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In Atlanta,
it was just called the straight bass.
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It had no identity.
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[frenetic beats]
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[narrator]
With Miami bassrattling woofers and skating rinks,
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Atlanta was still looking outwardsfor its hip-hop.
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So it's no surprisethat the city's first recognized MC
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wouldn't come from the ATL either.
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Instead it would be an Adidas rockingb-boy from the south Bronx
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who would lay downthe first seeds of hip hop in the ATL.
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♪Come on! Shake it!Come on, shake it! ♪
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♪Come on, shake it!Come on! ♪
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♪Come on, shake it!Come on, shake it! ♪
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-Yes, sir.
-What's up?
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-You good?
-Everything good, man.
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Um, so tell me like, you know,
your family came from the Bronx.
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-Yeah.
-Uh...
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Uh, why did your family
want to come to Atlanta?
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Basically, you know, Mom and Dad,
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wanted us to have a better life,
you know what I'm saying? So...
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I guess my dad saw the potential,
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so he was like, "I've got to get there
before it start blowing up."
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You know what I'm saying?
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-It has blown up since then.
-Yeah, major city. Major.
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[percussive beats]
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[interviewer]
What did people thinkof hip-hop initially here?
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Because you're coming from the Bronx,
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and were you trying to introduce people
to hip-hop and...
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Oh yeah, believe it or not,
me and my brother,
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we had a little Community Center
in the neighborhood we lived in.
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Uh, yeah.
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And my brother, he was like the DJ.
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So when he's DJing, I'm on the floorbreakdancing, you know what I'm saying?
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They really didn't understand it.
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They was like, "These people
come from New York.
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What are they doing?"
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Little man spinning on the floor,
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my man DJing with two turntables,so it was really different.
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So we really introduced hip-hop to them
down here.
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When I got through with the break dancingand stuff,
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I used to DJ at parties.
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And whenever I would throw onThe Egyptian Lover records,
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and the Pretty Tony songsfrom California and Miami,
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people packed the dance floor,but when I throw on Doug E Fresh,
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or something from New York,everybody go sit down.
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So I got smarter.
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I said if I get a chance to make a record,
I'll make an up-tempo record.
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[man]
We was workingon the Comin' Correct album,
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and while we was workingon that particular album,
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I noticed songs with repetitive hooks
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were starting to be more popular.
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And I was like,
Salt'N'Pepa got "Push It,"
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we need to come up
with something very repetitive."
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And, at the last minute, I was like,
"Let's do Shake it."
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And Shy D wrote the record,me and Mike Fresh put the beat together.
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And next thing you know,
we've got a hit record, man!
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♪One night I was coolingSitting in the tub ♪
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♪And I wanted to go outAnd go to a club ♪
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♪So I got out the tubAnd put my sneakers on ♪
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♪Yo, that's what you did, D ♪
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♪Homeboy, word, it's on ♪
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[MC Shy D]
I came with the New York sound,voice wise.
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The South and California, beat wise.
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And I just put it together,
and I made a good recipe.
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♪Jumped in the CadillacWent and got TP ♪
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♪And drove downtownAnd picked up LT ♪
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We used to call it shake dancingbefore it was called twerking.
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And then, that started the stripping thing
in the strip capital.
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So Atlanta was the shake dance capital.
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It just took Atlanta by storm,
man, like...
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you know, the visuals he had
for the videos,
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and the way the girls would dance
to the music in the club.
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It was just crazy.
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♪I say get out thereAnd let me see you ♪
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♪Shake it, come on, shake itCome on, come on, shake it ♪
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It was like Run-DMC had a son
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and sent him down south
to live with his mama.
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You know what I mean. [chuckling]
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He had the b-boy stance,the way he rocked his hat.
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Everything about Shy D was New York.
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♪And let me see you shake it! ♪
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What kind of response did you get
from people in Atlanta about that song?
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Believe it or not,
I'm going to be honest with you...
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-Atlanta wouldn't really support me,
-Wow.
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because they knew I was from New York.
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I don't got that Atlanta slang, you know?
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People still hear the New York in me,
you know what I am saying?
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So I didn't really get the love here.
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Kilo got the love.
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Kilo was the first to do that.
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[Synthesizer riff]
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[narrator] The Bronx bred Shy Dmay have been the first b-boy in Atlanta.
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Everybody down! Now! Now! Now!
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[officer] Get the car! The car! The trunk!
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[narrator] That wasn't enough for the ATL.
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The city needed someonewho could speak to their reality.
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And they'd find that in a nasal voiced MC
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hailing from the city'stough Bankhead neighborhood.
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♪There's a white girl in town ♪
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♪Name is cocaine ♪
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♪Get inside your brain ♪
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♪Play you like a lame ♪
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[Kilo]
Bankhead was a fearsome side of town.
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They used to get cut throats, really...
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Like, blade cuts at liquor store
type of stuff,
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back in those days, I remember, but...
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uh, it was where I went wild.
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♪CocaineCocaine ♪
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[reporter] Bankhead Courts is afflictedwith drugs and violence.
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[woman] It's hell. You can't even come outin the evening time.
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You're scared you might get shot!
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-[crowd screaming]
-[gunshots]
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[Kilo] It was a drug war. Crack was new.
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And Zell Miller was our governor then,
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and he designed this crewcalled the Red Dog Task Force Squad.
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[officer] Show me your hands!On your knees!
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[reporter] The name comesfrom a tactical maneuver in football.
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An all-out assaultagainst the quarterback.
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[officer] We're going to kill you,you want to stop!
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You want to stop! Reach and you're dead.
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[Kilo] What was happeningwith rap music everywhere,
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not only in Atlanta, was laundering.
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And I was...
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basically a launderer
at that point in time,
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for like posses or gangs.
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We had a gang back thencalled Strictly Business Posse.
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So they produced me.
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When I came out with my song "Cocaine,"
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I had done juvenile time.
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So, I wrote it downtown,on the floor, in the juvenile cell.
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"There's a white girl in town,
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her name is cocaine."
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♪Get inside your brain ♪
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♪Play you like a lame ♪
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♪Yeah, you on her good side ♪
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♪Cause she make you rich ♪
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♪The first time you hit her ♪
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♪Break you like a brick ♪
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[Kilo] I made a songbased off somebody's surroundings.
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You see from the window,your uncle sells it,
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your mom does it.You know what I'm saying?
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You get shoes from it.
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And so, it got your attention.
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?枚hat's what you get ♪
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♪For selling that crack cocaine ♪
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At that time, dope boys was
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paid in Atlanta.
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Driving all kinds of cars.
They were like spaceships back then.
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Rims.
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Like, what's going on with him?
What are you doing?
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Kilo is rapping about it.
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So he-- he struck a chord.
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[muffled police radio]
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[Killer MIke] When "Cocaine" dropped,it perfectly described the voice
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directly from the trap.
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In a way that only a kid
growing up in boy homes
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could describe the world falling apart
around him.
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With dopeness, harmony, melody.
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He was...
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visceral with the cuts,
with the shit that he was saying.
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♪Make you a big man ♪
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♪Buy you a Uzi ♪
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♪She say go kill your brotherOr you gonna lose me ♪
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It was actually a drug awareness songwhen I wrote it,
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but a lot ofpeople missed the message
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because they was having so much fun
with the word "cocaine."
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"Cocaine says she loves you,
but she really don't."
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♪She says "I'll always be there"But she really won't ♪
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[Kilo] People went wild.
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We did $60,000 out the trunk.
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-Crazy.
-Yeah.
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But I got signed from that one idea.
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And then, when I came out with my record,I was like 15 years old.
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[Kawan] Kilo was coming straight offof the base space.
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So he was coming off of Shy D.
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And his music was still fast.
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You know, "Cocaine" was still 120, 130,
somewhere in that space.
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But he was the first person we heardwho was from Atlanta
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that was like young like us.
Like, he felt like us talking.
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So he was the first Atlanta rapper,
but radio wasn't really playing his music.
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We didn't have enough hip-hop.
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Honestly. To even have that much space
on the radio.
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[narrator] While the ATL pioneerswere steadily developing their own style,
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there was still no major infrastructureto support the city's young hip-hop scene.
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But ready to fill the voidfor Atlanta's DJs and MCs
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was a dapper entrepreneurwith a flamboyant pitch.
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Hey, hi, hello!
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I'm that cool fly fellow.
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King Edward J, I say!
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[rolls r] Rocking Atlanta GA.
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Making Decatur sound much greater.
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Ha, ha! Yep!
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♪Go, go, goGo, go, go ♪
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[King] The good thing about Atlantawas it was hungry for a change.
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The music scene in Atlanta
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wasn't getting the respect
that it should've gotten.
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We had one radio station
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that would play rap music for one hour
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on Friday night.
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And they would play all the music
from East Coast and West Coast,
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but they wouldn't play
the music from right home.
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And so I decided
to open a business of my own.
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The J Shop.
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And here we are, ladies and gentlemen,
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at King Edward J Records and Tapes.
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This is little Yakimi,she's the youngest member of J team.
243
00:11:13,628 --> 00:11:16,005
It's me, Edward J, I say.
244
00:11:16,089 --> 00:11:17,924
Rocking Atlanta GA!
245
00:11:18,007 --> 00:11:19,759
We were a mini record company.
246
00:11:20,385 --> 00:11:22,011
First, it was just mainly
247
00:11:22,095 --> 00:11:24,138
selling records and tapes.
248
00:11:24,222 --> 00:11:25,640
[dirty laughing]
249
00:11:25,723 --> 00:11:30,603
After a while, we began to make beatsand rap to the beats.
250
00:11:30,728 --> 00:11:33,773
-Now getting into production.
-Yes, getting into production.
251
00:11:34,315 --> 00:11:37,110
And other DJs who wanted to prove
252
00:11:37,193 --> 00:11:40,029
how good they werewould come to the J team.
253
00:11:40,530 --> 00:11:44,951
People like Raheem the Dream.DJ Smurf. Shy D.
254
00:11:45,451 --> 00:11:48,663
Of course, Shy D was doing somethingon his own,
255
00:11:48,788 --> 00:11:52,583
but he came aboard the J Team as a DJ.
256
00:11:52,708 --> 00:11:55,044
Once he put you on that mixtape,
you was going to blow up.
257
00:11:55,128 --> 00:11:56,796
I mean, you could be a Joe Blow,
258
00:11:56,879 --> 00:12:01,175
but if he put you on one of his mixtapes,
your name was going to get out there.
259
00:12:01,509 --> 00:12:03,761
And, I mean, it was incredible.
260
00:12:03,845 --> 00:12:06,848
This man was selling tapes for like $15,
261
00:12:06,931 --> 00:12:09,392
13.75 or something. I mean, you know.
262
00:12:10,101 --> 00:12:11,102
That's an album!
263
00:12:11,727 --> 00:12:14,021
He was selling cassette tapes for that.
264
00:12:14,105 --> 00:12:17,191
We would get a nifty $13.50,
265
00:12:17,275 --> 00:12:20,445
for a 90-minute rock with the J Team.
266
00:12:20,528 --> 00:12:24,115
Right here, my dear,make that perfectly clear.
267
00:12:24,490 --> 00:12:27,034
[DJ Jelly]
You know, the mixtape scene was the radio,
268
00:12:27,201 --> 00:12:29,996
so we were doing something similar
to how New York was doing
269
00:12:30,079 --> 00:12:31,497
with their tapes of freestyles.
270
00:12:31,998 --> 00:12:35,751
So we basically sling the tapes
through all the neighborhoods.
271
00:12:35,835 --> 00:12:37,962
He was the ear to the streets.
272
00:12:38,045 --> 00:12:40,882
So, everything
that was coming out underground,
273
00:12:40,965 --> 00:12:42,758
it was on the J Tape first.
274
00:12:43,509 --> 00:12:45,761
If it were not for Edward J,
275
00:12:46,053 --> 00:12:48,473
I don't know that there would be
a hip-hop scene
276
00:12:48,556 --> 00:12:49,974
in the way that it is now.
277
00:12:50,558 --> 00:12:53,394
What they were doing
for the music scene in Atlanta
278
00:12:53,686 --> 00:12:54,937
was the music scene.
279
00:12:58,441 --> 00:13:01,694
[narrator] King Edward J and the J Teamamplified Atlanta's hip-hop scene.
280
00:13:01,944 --> 00:13:04,947
But it was still a long wayfrom getting love outside the 404.
281
00:13:05,323 --> 00:13:06,782
But that was about to change.
282
00:13:06,949 --> 00:13:09,285
Recognizing the fresh talent poolin the city
283
00:13:09,368 --> 00:13:11,621
and attracted by its historyas a Black Mecca,
284
00:13:11,954 --> 00:13:15,374
a polished R&B duo will comefrom Los Angeles to set up shop.
285
00:13:18,836 --> 00:13:22,673
[Ian] Atlanta was bubbling, but notto the point where we were ready to break.
286
00:13:23,299 --> 00:13:26,260
We had our artiststhat were making noise,
287
00:13:26,344 --> 00:13:29,222
but we were just a regional... city.
288
00:13:29,680 --> 00:13:32,308
You know, we-- we hadn't done anything
that broke...
289
00:13:32,391 --> 00:13:33,643
-Nationally.
-Okay.
290
00:13:33,726 --> 00:13:35,436
And accepted nationally.
291
00:13:36,145 --> 00:13:39,357
So, when LaFace came to Atlanta,
292
00:13:39,482 --> 00:13:41,817
they had Arista behind them, Clive Davis.
293
00:13:41,901 --> 00:13:45,154
And it was just somethingthat Atlanta hadn't seen before.
294
00:13:45,655 --> 00:13:48,950
LaFace records was the firstmajor record company, if you will,
295
00:13:49,534 --> 00:13:52,078
to descend upon ATL.
296
00:13:52,286 --> 00:13:55,665
You know, once LA and Babyface
decided to come to Atlanta,
297
00:13:55,748 --> 00:13:59,210
I think it was right around 89,
you know, it was a huge buzz in the city.
298
00:13:59,794 --> 00:14:03,589
And I think, more than anything,LA and Babyface wanted to come here to see
299
00:14:04,173 --> 00:14:07,760
what Atlanta wasfrom an authentic standpoint.
300
00:14:08,094 --> 00:14:09,804
I believe they struggled for a bit.
301
00:14:09,887 --> 00:14:15,226
You know, they were still signing
80s type bands with processed hair.
302
00:14:15,476 --> 00:14:18,145
They started to get more connectedhere in Atlanta
303
00:14:18,229 --> 00:14:20,231
when they connectedwith the Atlanta producers
304
00:14:20,314 --> 00:14:21,774
like Dallas Austin.
305
00:14:21,857 --> 00:14:23,859
When they started tapping into...
306
00:14:24,402 --> 00:14:26,404
our natural resources here
307
00:14:26,571 --> 00:14:28,739
is when things started
to make a turn for them.
308
00:14:29,949 --> 00:14:33,035
When you come here, there's a lot
of new people doing things new ways.
309
00:14:33,452 --> 00:14:36,831
People who haven? been in the industry
for long, which is very good.
310
00:14:36,914 --> 00:14:39,625
They were figuring out what to do
to start their label off.
311
00:14:40,543 --> 00:14:41,627
I was making records.
312
00:14:41,919 --> 00:14:45,089
I was kind of the first one...kind of doing music in the new sense.
313
00:14:45,172 --> 00:14:48,134
I made it first with Another Bad Creation,
which was the one that started to
314
00:14:48,384 --> 00:14:49,719
kind of rattle stuff around here.
315
00:14:49,885 --> 00:14:52,972
LaFace was one of the first ones to come
and say, "Look at all of this gold."
316
00:14:53,180 --> 00:14:56,017
Somebody needs to put the thing here
and give them an outlet out of here.
317
00:14:56,642 --> 00:14:57,768
Dallas Austin,
318
00:14:57,935 --> 00:15:01,230
he was the shit around herebecause he was the one producer.
319
00:15:01,314 --> 00:15:03,941
And I'm like, "Oh, he is doing it."
320
00:15:04,025 --> 00:15:06,277
So everybody was looking up to Dallas.
321
00:15:06,777 --> 00:15:10,740
And when LA and Babyfacemoved to Atlanta,
322
00:15:10,865 --> 00:15:12,742
I was working at a hair salon.
323
00:15:13,034 --> 00:15:16,370
And the woman I worked for,she was actually doing Pebbles' hair.
324
00:15:16,787 --> 00:15:19,874
And Pebbles was married to LA Reed, and...
325
00:15:20,458 --> 00:15:23,586
I was like, "You need to go tell Pebbles
I'm the bomb.
326
00:15:23,669 --> 00:15:24,712
She needs to holler at me."
327
00:15:24,962 --> 00:15:28,215
I didn't think she was going to do it,
but Pebbles called me at home that night.
328
00:15:28,299 --> 00:15:30,468
[ad libbing]
329
00:15:31,594 --> 00:15:33,638
It was Chili, me and Lisa,
330
00:15:33,971 --> 00:15:36,223
and we were calling ourselves TLC.
331
00:15:36,432 --> 00:15:38,434
It wasn't really girly,
332
00:15:38,809 --> 00:15:40,895
but it had so much hip-hop elements.
333
00:15:40,978 --> 00:15:44,440
Lisa, she came inlike a little feisty rapper,
334
00:15:44,523 --> 00:15:46,692
so she brought the hip-hop elements.
335
00:15:46,776 --> 00:15:48,944
♪Or can it be I'm a little too friendly ♪
336
00:15:49,028 --> 00:15:51,322
♪So to speak, hypothetically ♪
337
00:15:51,405 --> 00:15:53,032
♪Say I supply creativity ♪
338
00:15:53,115 --> 00:15:55,701
♪To what others must takeAs a form of self-hate ♪
339
00:15:55,785 --> 00:15:57,787
When we did get to LA Reed,
340
00:15:57,995 --> 00:15:59,997
he was like,"Who do you want to work with?"
341
00:16:00,081 --> 00:16:03,000
Only person I kept saying
is Dallas Austin, Dallas Austin,
342
00:16:03,084 --> 00:16:05,086
he has to be our producer.
343
00:16:05,294 --> 00:16:07,171
And he got it.
344
00:16:07,797 --> 00:16:10,341
♪Every now and thenI get a little crazy ♪
345
00:16:12,301 --> 00:16:14,345
♪That's not the way it's supposed to be ♪
346
00:16:14,428 --> 00:16:16,097
TLC came from out of nowhere
347
00:16:16,180 --> 00:16:19,934
and just wiped the floor with everything.
Dallas Austin put his foot in that.
348
00:16:20,017 --> 00:16:22,895
Back then, I knowthat he was heavily influenced
349
00:16:22,978 --> 00:16:24,230
by the New Jack Swing sound.
350
00:16:24,647 --> 00:16:27,733
But Dallas took itand made his own distinctive sound.
351
00:16:27,858 --> 00:16:30,861
The music still was dripping with hip-hop.
352
00:16:30,945 --> 00:16:33,114
Not necessarily Southern hip-hop,
but with hip-hop.
353
00:16:33,197 --> 00:16:35,991
♪What about your friends ♪
354
00:16:36,575 --> 00:16:40,079
At the same time that Dallas Austinwas having major success with LaFace,
355
00:16:40,371 --> 00:16:43,541
another young producer with a keen eyefor talent and deep roots
356
00:16:43,624 --> 00:16:45,418
in hip-hop was making a name for himself.
357
00:16:45,501 --> 00:16:47,837
[synthesizer beats]
358
00:16:50,798 --> 00:16:52,550
Thanks for doing this. We appreciate it.
359
00:16:52,633 --> 00:16:54,176
-All right! Come on.
-Cool.
360
00:16:54,844 --> 00:16:56,178
[Jermaine] I started as a dancer,
361
00:16:56,762 --> 00:16:58,431
dancing around the city of Atlanta.
362
00:16:58,514 --> 00:17:01,933
I was just opening up a bunch
of different shows like for Cameo and...
363
00:17:02,351 --> 00:17:04,353
um... groups Brick and SO--
364
00:17:04,437 --> 00:17:06,396
groups that was around the city
doing what they do.
365
00:17:06,605 --> 00:17:08,606
And bigger concerts
that would come to the city.
366
00:17:08,691 --> 00:17:10,692
♪And I always had to be home by ten ♪
367
00:17:10,817 --> 00:17:13,112
♪Right before the funWas about to begin ♪
368
00:17:13,194 --> 00:17:16,615
[Jermaine] My father tried to figure outa way for me to open up these shows.
369
00:17:17,074 --> 00:17:19,160
And the Fresh Fest came to Atlanta,
370
00:17:19,242 --> 00:17:21,327
it was like the only place to be at
371
00:17:21,412 --> 00:17:23,748
if you was into hip-hopat that particular point in time.
372
00:17:24,081 --> 00:17:25,750
♪The freaks come out at night ♪
373
00:17:26,333 --> 00:17:28,169
♪The freaks come out at night ♪
374
00:17:28,252 --> 00:17:30,796
We figured out how to get me to bethe opening act.
375
00:17:30,921 --> 00:17:34,300
And that was my birth into hip-hopand music, period.
376
00:17:34,383 --> 00:17:35,509
This is Jermaine!
377
00:17:35,843 --> 00:17:38,637
[voices talking over each other]
378
00:17:39,889 --> 00:17:41,724
[man] Open up man, open up!
379
00:17:41,807 --> 00:17:44,643
-See rapping has been very, very good...
-[all] to me!
380
00:17:44,935 --> 00:17:48,731
What were you learning from other artists
on that tour, when you were on the road?
381
00:17:48,814 --> 00:17:51,942
I was learning hip-hop. You know?
I was just learning about hip-hop.
382
00:17:52,693 --> 00:17:55,988
And something about me saidthat I could produce.
383
00:17:56,113 --> 00:17:57,114
I don't know what it was,
384
00:17:57,198 --> 00:17:59,617
but something told meI could write for other people.
385
00:17:59,700 --> 00:18:01,368
And I could put out my own artists.
386
00:18:03,204 --> 00:18:05,289
One time, I went to the mall...
387
00:18:05,706 --> 00:18:06,540
and...
388
00:18:06,624 --> 00:18:09,084
these guys walking around the mall,these two kids.
389
00:18:09,168 --> 00:18:10,044
And I was like...
390
00:18:10,920 --> 00:18:12,630
I'm watching the reaction of...
391
00:18:13,923 --> 00:18:16,258
the people at the mall to these kids.
392
00:18:16,383 --> 00:18:19,053
I'm like, "Look how they actingat the cookie company."
393
00:18:19,470 --> 00:18:21,430
The girls in the back, serving,
394
00:18:21,514 --> 00:18:23,599
acting like they seen them on TVor something.
395
00:18:23,682 --> 00:18:25,976
Screaming and like: "Oh, girl!"
396
00:18:26,101 --> 00:18:29,146
And giving them free shit, all this.
And I'm like, "What is this?"
397
00:18:29,230 --> 00:18:31,857
I just walked up to them like,
?o who are you all?"
398
00:18:31,941 --> 00:18:33,651
He's like, "What you mean?"
399
00:18:33,734 --> 00:18:34,693
"What you all do?"
400
00:18:34,777 --> 00:18:36,737
"We don't do nothing, we just kick it."
I'm like...
401
00:18:37,154 --> 00:18:38,447
"Y'all just kick it?"
402
00:18:38,989 --> 00:18:42,076
Immediately. my mind was just like,
?h, God.
403
00:18:42,368 --> 00:18:44,328
These guys need a record out right now."
404
00:18:46,872 --> 00:18:48,207
Yo, what? up, it? the Daddy Mac.
405
00:18:48,290 --> 00:18:50,709
And you know it? the Mac Daddy
and we Kris Kross.
406
00:18:51,752 --> 00:18:54,797
When I met Kris Kross,they weren't really jumping to do it.
407
00:18:54,880 --> 00:18:58,300
These kids didn't even knowthat this could possibly happen.
408
00:18:58,384 --> 00:19:00,261
So, when they met me,
409
00:19:00,553 --> 00:19:03,639
I just started asking them questionsabout rapping, like, "You all rap
410
00:19:03,806 --> 00:19:05,933
the way I see ya'll rappingother people's records,
411
00:19:06,642 --> 00:19:07,977
we can make our own song."
412
00:19:08,060 --> 00:19:09,645
So we went to the studio
413
00:19:10,062 --> 00:19:11,397
and made "Jump."
414
00:19:11,647 --> 00:19:14,733
♪Jump, jumpDaddy Mac will make you jump, jump ♪
415
00:19:14,817 --> 00:19:18,153
Kris Kross represented somethingthat I had never seen before.
416
00:19:18,404 --> 00:19:23,033
The coolness of being a rapperand the attitude of getting girls
417
00:19:23,117 --> 00:19:24,827
and all that was already in their head.
418
00:19:24,994 --> 00:19:25,828
-So...
-It's crazy.
419
00:19:25,911 --> 00:19:28,956
For them to get a hit record,
it was like, "This ain't nothing."
420
00:19:29,039 --> 00:19:32,334
I was at my grandmother's houseand I saw Kris Kross on TV,
421
00:19:32,543 --> 00:19:35,671
and I was like, "Oh my God!
I want to be with them!
422
00:19:35,754 --> 00:19:37,756
That's who I feel like I need to be with."
423
00:19:37,840 --> 00:19:38,674
You know?
424
00:19:38,757 --> 00:19:41,051
They had their clothes backwards,jumping all around.
425
00:19:41,135 --> 00:19:42,761
And J created them, you know?
426
00:19:42,887 --> 00:19:45,848
He said, "Turn your pants inside outand do this, do that."
427
00:19:46,015 --> 00:19:50,102
And they did it and they followed his lead
and look at the success that they had.
428
00:19:50,185 --> 00:19:51,562
Everybody was jumping.
429
00:19:51,645 --> 00:19:53,564
[Kawan] They on tour with Michael Jackson?
430
00:19:53,647 --> 00:19:58,485
Some Atlanta niggas is on tour
with Michael Jackson? That's crazy.
431
00:19:59,320 --> 00:20:01,739
[reporter] Call it rap, call it hip-hop.Whatever you call it,
432
00:20:01,822 --> 00:20:04,325
in the case of Kriss Kross,call it successful.
433
00:20:04,408 --> 00:20:06,577
Kriss Kross is not only shaking up
the music world,
434
00:20:06,869 --> 00:20:10,581
they've also managed to spark
fashion craze.
435
00:20:10,831 --> 00:20:12,458
I was in college at Alabama A&M
436
00:20:12,541 --> 00:20:16,795
and they had grown-ass men
wearing their pants backwards.
437
00:20:17,379 --> 00:20:19,214
So, if you want to know
the impact of "Jump,"
438
00:20:19,298 --> 00:20:21,133
that was the motherfucking impact
of "Jump."
439
00:20:21,216 --> 00:20:24,345
Much appreciated, thank you.Looks all right, what do you think?
440
00:20:24,553 --> 00:20:26,847
-A little bit bigger.-A little bit bigger, thank you.
441
00:20:27,932 --> 00:20:30,643
Kriss Kross,we didn't really consider it hip-hop.
442
00:20:30,893 --> 00:20:32,186
There was a void that was there.
443
00:20:32,728 --> 00:20:34,813
And that's not to insult it,
you know what I mean?
444
00:20:35,314 --> 00:20:37,733
Because the success is not debatable.
445
00:20:38,150 --> 00:20:39,818
It was the popular soundthat Jermaine did,
446
00:20:39,902 --> 00:20:42,821
in a way that he always deserveshis credit and his respect for that.
447
00:20:42,905 --> 00:20:45,115
Jermaine gave us a group
out of the stratosphere,
448
00:20:45,199 --> 00:20:47,910
but that was still a group
based on the sound outside of Atlanta.
449
00:20:48,327 --> 00:20:50,371
You know,they weren't the grimy hip-hop, but...
450
00:20:50,871 --> 00:20:54,750
you have to give credit to Kriss Kross
for opening up the national stage
451
00:20:54,833 --> 00:20:56,460
and international stage for Atlanta.
452
00:20:56,543 --> 00:20:59,755
1992 was the first year that we noticed
453
00:20:59,922 --> 00:21:02,883
that this is workingbecause Kriss Kross was popping,
454
00:21:03,175 --> 00:21:05,094
TLC had got signedand they had a record out,
455
00:21:05,177 --> 00:21:06,470
it was starting to blow.
456
00:21:06,553 --> 00:21:08,764
Then you had Arrested Development who,
457
00:21:08,847 --> 00:21:11,642
we had friends in that group as well,
it's like, this year,
458
00:21:11,850 --> 00:21:13,978
I got three people who I know
who was on Arsenio.
459
00:21:15,145 --> 00:21:17,982
Like, I taped Arsenio three times
for some people I know.
460
00:21:18,399 --> 00:21:20,067
[Rodney] When we look back on that era,
461
00:21:20,150 --> 00:21:22,820
we see how the industrywas able to come in
462
00:21:22,903 --> 00:21:24,655
and take a lot of raw talent,
463
00:21:25,197 --> 00:21:26,699
shape it and mold it.
464
00:21:26,782 --> 00:21:29,493
But in terms of getting
to the root of Atlanta culture,
465
00:21:29,576 --> 00:21:30,995
that hadn't quite happened yet.
466
00:21:31,078 --> 00:21:34,999
Organized Noize, to me,
is the first ones to present to us
467
00:21:35,124 --> 00:21:36,583
the sound of Atlanta.
468
00:21:36,834 --> 00:21:38,627
They had decided,
"We want some lyrics.
469
00:21:38,711 --> 00:21:40,254
We want some hip-hop cats."
470
00:21:45,843 --> 00:21:48,387
[mellow guitar groove]
471
00:21:52,683 --> 00:21:55,269
[narrator] From the pioneering bounceof Shy D and Kilo Ali,
472
00:21:55,352 --> 00:21:58,188
to the crossover successof TLC and Kris Kross,
473
00:21:58,313 --> 00:22:00,399
Atlanta's hip-hop scene was growing fast.
474
00:22:01,150 --> 00:22:01,984
To many, though,
475
00:22:02,067 --> 00:22:04,695
the city's real soul and soundhave yet to be tapped.
476
00:22:05,154 --> 00:22:08,282
But in a basement in Southeast Atlanta,a trio of producers,
477
00:22:08,407 --> 00:22:10,868
Rico Wade, Sleepy Brown and Ray Murray,
478
00:22:10,951 --> 00:22:13,328
were working hardon bringing all the pieces together.
479
00:22:13,996 --> 00:22:16,540
The three friends went by the nameof Organized Noize.
480
00:22:16,749 --> 00:22:17,666
And, lucky for us,
481
00:22:17,750 --> 00:22:19,668
someone at LaFace Recordsfound out about them.
482
00:22:19,835 --> 00:22:20,794
What's up, gentlemen?
483
00:22:20,919 --> 00:22:22,212
-Hey, what's up?
-What's up, man?
484
00:22:22,421 --> 00:22:24,506
Thank you for this, much appreciated.
485
00:22:30,137 --> 00:22:32,765
[interviewer] So, tell me how you guyshooked up with LaFace Records.
486
00:22:33,140 --> 00:22:36,143
We were real good friends
with Tionne-- T-Boz. [chuckles]
487
00:22:37,436 --> 00:22:41,774
And that's when LaFace first came here,
and she ended up getting a deal
488
00:22:42,608 --> 00:22:45,486
with Pebblesbecause she was doing Pebble's hair.
489
00:22:46,028 --> 00:22:47,780
So, the same thing kind of happenedfor us.
490
00:22:47,863 --> 00:22:51,033
She introduced us to Pebbles
and we went um...
491
00:22:51,116 --> 00:22:53,327
I'll never forget,
we had the interview with her.
492
00:22:53,410 --> 00:22:55,621
[elevator ping]
493
00:22:56,038 --> 00:22:58,957
And she comes out of the elevator,it was like she was walking slow,
494
00:22:59,041 --> 00:23:00,459
was gorgeous.
495
00:23:00,542 --> 00:23:01,585
She walks in the room,
496
00:23:01,668 --> 00:23:03,754
we all sitting there
with our mouths open like...
497
00:23:04,171 --> 00:23:06,215
It was cool. She was really nice, man.
498
00:23:06,298 --> 00:23:09,218
She listened to us andevery time a beat played,
499
00:23:09,301 --> 00:23:11,720
she asked who did the beatand everybody would point at me.
500
00:23:12,596 --> 00:23:14,264
Who played the bass line? Point at me.
501
00:23:14,389 --> 00:23:16,391
She said,
"Okay, let me introduce you to LA."
502
00:23:16,475 --> 00:23:18,435
So, they held a little meeting.
503
00:23:18,977 --> 00:23:20,979
It was really the start for us, you know.
504
00:23:21,188 --> 00:23:22,815
Pebbles said the production was dope.
505
00:23:22,898 --> 00:23:24,650
Yes, Pebbles liked the production.
506
00:23:24,733 --> 00:23:26,110
Pebbles loved to even meet--
507
00:23:26,276 --> 00:23:29,071
Pebbles in audition
to get call backs, it was like,
508
00:23:29,488 --> 00:23:31,323
"We're going to make it!
We can make beats!"
509
00:23:31,615 --> 00:23:34,243
So, that's where it was like,
now we find a rap group.
510
00:23:34,785 --> 00:23:36,537
We need people who really can rap.
511
00:23:36,620 --> 00:23:39,248
I don't need nobody
that I got to write no raps for.
512
00:23:40,624 --> 00:23:41,917
I need some MCs.
513
00:23:42,042 --> 00:23:44,044
[gong strike]
514
00:23:46,463 --> 00:23:49,091
I was working at Lamonte's Beauty Supplyin East Point,
515
00:23:49,258 --> 00:23:50,509
Headland and Delowe.
516
00:23:50,926 --> 00:23:52,261
A girl that worked there,
517
00:23:52,553 --> 00:23:54,888
she told me that two guys from her school
518
00:23:55,222 --> 00:23:57,766
wanted to come over there,
basically come rap or whatever.
519
00:23:57,850 --> 00:24:00,102
I guess they caught the bus to the plaza.
520
00:24:01,937 --> 00:24:04,690
When these kids came,they might have been 16, 15.
521
00:24:05,440 --> 00:24:07,526
They had on cut-off shorts with thermals.
522
00:24:07,943 --> 00:24:09,319
-Country niggas.
-Yeah!
523
00:24:09,403 --> 00:24:10,487
They were fly, man!
524
00:24:10,821 --> 00:24:13,407
I remember standing in the parking lot,
letting them niggas rap,
525
00:24:13,532 --> 00:24:14,658
and thinking like, "Yeah,
526
00:24:14,908 --> 00:24:17,369
this is that. This is it. This is it.
527
00:24:17,536 --> 00:24:18,996
I found some MCs. This is it."
528
00:24:19,913 --> 00:24:21,415
School is now in session.
529
00:24:22,583 --> 00:24:25,127
♪Time and time againSee I be thinking about that future ♪
530
00:24:25,252 --> 00:24:28,046
♪Back in the day when we were slavesI bet we was some cool ass niggas ♪
531
00:24:28,130 --> 00:24:30,007
♪But now we vulturesSlam my nigga back out ♪
532
00:24:30,090 --> 00:24:31,592
-How are you doing?
-All right.
533
00:24:31,800 --> 00:24:33,051
-Big fan.
-Cool, thanks.
534
00:24:34,052 --> 00:24:35,053
How's your day going?
535
00:24:35,137 --> 00:24:36,597
Uh... Super fantastic.
536
00:24:37,431 --> 00:24:39,933
♪See now in the ghettoOr should I be saying Lakewood ♪
537
00:24:40,017 --> 00:24:42,603
♪You better be strappedcause them niggas just ain't good ♪
538
00:24:42,686 --> 00:24:46,106
[interviewer] So first of all,let's talk about you two auditioning.
539
00:24:46,440 --> 00:24:48,150
How serious were you guys at that time?
540
00:24:48,233 --> 00:24:50,402
Was that just kind of a hobby
or were you like,
541
00:24:50,485 --> 00:24:52,529
"No, this is dead serious.
We need to make this."
542
00:24:52,613 --> 00:24:54,489
No, we was dead ass serious, you know?
543
00:24:54,907 --> 00:24:55,949
We always...
544
00:24:56,241 --> 00:24:59,203
were MCs first,
so we took pride in it.
545
00:24:59,411 --> 00:25:00,871
It was lyricism, you know?
546
00:25:00,954 --> 00:25:03,081
Before us, you had Raheem the Dream.
547
00:25:03,332 --> 00:25:06,126
Shy D. Me and Dreused to listen to Kilo Ali.
548
00:25:06,210 --> 00:25:08,337
We used to be in high school
bumping that shit.
549
00:25:08,420 --> 00:25:10,047
Like, the production was crazy.
550
00:25:10,839 --> 00:25:14,259
So, you know to come behind that,
like, we were just straight busting.
551
00:25:14,551 --> 00:25:16,845
♪Just being a hustlerServing on all your customers♪
552
00:25:16,929 --> 00:25:19,514
♪Rent was due on the 1st of the monthSo I'm hustling ♪
553
00:25:19,598 --> 00:25:22,351
That day, we just kept trading our bars
back and forth.
554
00:25:22,976 --> 00:25:25,020
And it was maybe eight minutes long.
555
00:25:25,395 --> 00:25:27,481
They rapped for about 30 minutes a piece,
556
00:25:27,773 --> 00:25:30,484
And I was like,
"Damn, are they ever going to stop?"
557
00:25:31,235 --> 00:25:32,444
Jesus Christ!
558
00:25:33,987 --> 00:25:36,406
♪I?e been slipping, slowly but surely ♪
559
00:25:36,531 --> 00:25:38,992
♪Niggas I used to hang withWants to act like they don't know me ♪
560
00:25:39,076 --> 00:25:40,410
♪Come and listen to my story ♪
561
00:25:40,494 --> 00:25:42,329
Man, these boys...
562
00:25:43,455 --> 00:25:44,665
were so metaphoric.
563
00:25:45,457 --> 00:25:47,459
It was so metaphoric.
They had all the punchlines.
564
00:25:47,542 --> 00:25:50,545
I'm rolling reefer out of a Regal,
how can I refrain?
565
00:25:50,629 --> 00:25:52,881
That drove Rico nuts when he said that.
566
00:25:52,965 --> 00:25:55,717
♪I'm rolling reefer out of a Regal,How can I refrain ♪
567
00:25:55,801 --> 00:25:56,843
[voices] Ohhh!
568
00:25:56,927 --> 00:25:57,970
We was over there like,
569
00:25:58,053 --> 00:26:03,141
"Goddamn! Oh, shit! Oh, shit! Oh, shit!"
We was fucking them up.
570
00:26:03,433 --> 00:26:04,810
They was just hip-hopped out.
571
00:26:05,310 --> 00:26:06,687
They was phrased out.
572
00:26:06,770 --> 00:26:09,564
To find these guys from the South
and to be Southern,
573
00:26:10,107 --> 00:26:12,776
and have those kinds of skills,
that skill set,
574
00:26:13,360 --> 00:26:14,278
and to be young!
575
00:26:14,736 --> 00:26:16,571
This is the putty that we need, per se,
576
00:26:16,655 --> 00:26:19,783
no disrespect to their creativity
and their talent, but
577
00:26:19,950 --> 00:26:21,535
it's the putty we need to play with.
578
00:26:21,702 --> 00:26:23,912
They was like,
"You're coming with us to The Dungeon."
579
00:26:23,996 --> 00:26:26,248
It was like, "All right."
So that was our initiation.
580
00:26:28,542 --> 00:26:31,128
All right, check this out,
we're at The Dungeon.
581
00:26:31,586 --> 00:26:35,048
Rico Wade house, you know what I'm saying?
Where we do all the stuff, you know?
582
00:26:35,132 --> 00:26:36,550
You all know Big Boi.
583
00:26:36,633 --> 00:26:38,802
[men] Ohhh!
584
00:26:39,303 --> 00:26:41,471
Wait a minute,
I've been hearing a lot about The Dungeon,
585
00:26:41,555 --> 00:26:43,015
where all your beats get made.
586
00:26:43,098 --> 00:26:46,268
I heard it's real funky in there.
Let's go and get some of that flavor.
587
00:26:46,351 --> 00:26:47,519
Goodie good, I? with that.
588
00:26:48,228 --> 00:26:51,023
♪Well, it's the M-I-crooked letterComing around the South ♪
589
00:26:51,106 --> 00:26:53,650
♪Rolling straight Hammers and VoguesIn that old Southern slouch ♪
590
00:26:53,734 --> 00:26:56,361
Now, we, like, down here
in The Dungeon, right?
591
00:26:56,445 --> 00:26:58,447
-You know?
-Ain't no thing but a chicken wing.
592
00:26:58,530 --> 00:27:01,283
How did you guys end up in The Dungeon?
Tell me about that.
593
00:27:01,658 --> 00:27:04,119
The actual dungeon
with the dirt basement floors.
594
00:27:04,202 --> 00:27:07,164
It was my mom's basementthat we would run wires down to.
595
00:27:07,247 --> 00:27:09,166
So, we took the little equipmentwe did have
596
00:27:09,249 --> 00:27:10,917
and we was there working on beats.
597
00:27:11,335 --> 00:27:13,712
From the time you walk in that area,you open that door,
598
00:27:13,795 --> 00:27:16,214
it's a lot of graffiti.People were tagging.
599
00:27:16,298 --> 00:27:18,633
♪Who raise yo' block?The one and only OutKast ♪
600
00:27:18,717 --> 00:27:21,678
♪Many a nigga falling fastAnd I continue blasting, swiftly ♪
601
00:27:21,762 --> 00:27:24,389
It wasn't even really a basement,
it was a crawl space.
602
00:27:24,473 --> 00:27:28,477
Really muddy, no real walls,no real structure just a few poles.
603
00:27:28,560 --> 00:27:31,605
And that's where our whole crew--that's where we all hung out at.
604
00:27:31,730 --> 00:27:34,024
[Big Boi] Sofas, those raggedy cushionsout of it,
605
00:27:34,107 --> 00:27:35,859
nails coming out of that motherfucker.
606
00:27:36,318 --> 00:27:37,652
Nobody had a job.
607
00:27:38,153 --> 00:27:39,571
Everybody had sleeping bags.
608
00:27:39,654 --> 00:27:42,032
It was like a big slumber party,
seven days a week.
609
00:27:42,115 --> 00:27:44,451
It was almost like camp,
you know what I mean?
610
00:27:44,618 --> 00:27:46,828
You didn't have to worry about your mama
messing with you,
611
00:27:46,912 --> 00:27:48,789
you didn't have to worry about no chores.
612
00:27:48,872 --> 00:27:50,582
So, when it says Dungeon Family,
613
00:27:50,791 --> 00:27:53,043
we definitely are a family, man,
614
00:27:53,126 --> 00:27:54,753
because we spent time together.
615
00:27:54,878 --> 00:27:56,380
Nobody's going home.
616
00:27:56,797 --> 00:27:59,049
Everybody's rapping and writing
all day long.
617
00:27:59,132 --> 00:28:01,426
They may step outside and play
football for a minute,
618
00:28:01,510 --> 00:28:03,011
may have a little smoke break.
619
00:28:03,136 --> 00:28:05,222
[T-Boz] I don't smoke or drink,
620
00:28:05,722 --> 00:28:07,557
and that's all they was doing.
621
00:28:07,641 --> 00:28:10,519
I don't got time to be in there
with all these drunk people
622
00:28:10,727 --> 00:28:11,853
and all this weed.
623
00:28:11,937 --> 00:28:16,400
♪We're gonna get high ♪
624
00:28:18,693 --> 00:28:21,488
A lot a lot a lot a lot a lot of weed.
625
00:28:21,571 --> 00:28:24,241
♪High ♪
626
00:28:24,324 --> 00:28:27,702
♪High ♪
627
00:28:27,786 --> 00:28:29,329
A lot a lot of weed.
628
00:28:29,788 --> 00:28:30,789
Just a lot of weed.
629
00:28:31,206 --> 00:28:33,208
This was the gold era of hip-hop
with Philly blunts,
630
00:28:33,333 --> 00:28:35,585
you see the little Philly joints
all over the floor.
631
00:28:36,211 --> 00:28:39,089
But, you know,we was all ready to be
632
00:28:39,339 --> 00:28:40,882
selfless, meant to support
633
00:28:41,299 --> 00:28:43,969
Outkast, make sure they succeed,that's what's important.
634
00:28:44,094 --> 00:28:47,013
That's what's imperative.That's what's first and foremost.
635
00:28:47,097 --> 00:28:49,558
It was like a collaborative effort
of the whole squad.
636
00:28:49,641 --> 00:28:52,978
It was everybody's baby
because we were all one crew,
637
00:28:53,061 --> 00:28:54,521
and this was our first shot.
638
00:28:54,604 --> 00:28:57,190
We're just trying
to put Atlanta out there,
639
00:28:57,274 --> 00:28:58,942
and let people know Atlanta is here
640
00:28:59,025 --> 00:29:02,237
and they got some real players
in this game down here, you know?
641
00:29:02,487 --> 00:29:04,448
Our Southern music different
than everybody else,
642
00:29:04,531 --> 00:29:06,032
because we've been here for so long.
643
00:29:06,199 --> 00:29:07,826
It's different,
we got something to say.
644
00:29:07,909 --> 00:29:10,036
We tell about our real lives, you know?
Like that.
645
00:29:10,412 --> 00:29:11,872
[wholesome 50s music]
646
00:29:18,336 --> 00:29:20,672
[Christmas bell music]
647
00:29:26,219 --> 00:29:29,723
LA calls, we're doing a Christmas album.A LaFace Christmas album.
648
00:29:29,806 --> 00:29:31,391
Everybody got to turna Christmas song in.
649
00:29:31,975 --> 00:29:33,435
What were you thinking at that point?
650
00:29:33,810 --> 00:29:34,644
Fuck!
651
00:29:35,312 --> 00:29:36,563
A Christmas song?
652
00:29:36,646 --> 00:29:39,357
Man, they trying to fuck our career
before it even gets started.
653
00:29:39,524 --> 00:29:40,484
It's hip-hop!
654
00:29:41,026 --> 00:29:43,445
This is hip-hop. Finna sell us out.
655
00:29:44,029 --> 00:29:46,156
Come on, we're for the-- come on.
Even though,
656
00:29:46,865 --> 00:29:48,241
I knew about Run DMC.
657
00:29:48,950 --> 00:29:50,160
I knew about Kurtis Blow.
658
00:29:50,660 --> 00:29:52,287
So I knew it had worked before.
659
00:29:53,455 --> 00:29:56,124
So, in my mind I say,
"I've got to go sell this shit."
660
00:29:56,208 --> 00:29:57,709
Was like, "I know what we'll do.
661
00:29:58,084 --> 00:30:01,087
We just goddamn do a song
about what we do on Christmas.
662
00:30:01,171 --> 00:30:03,673
Like, we ain't had a Christmas tree.
We was in The Dungeon.
663
00:30:03,924 --> 00:30:05,842
So we just rapped
about what we did on Christmas.
664
00:30:06,218 --> 00:30:07,719
And it turned out to be Player? Ball.
665
00:30:08,136 --> 00:30:10,972
♪It's beginning to look a lot like, what?Follow my every step ♪
666
00:30:11,056 --> 00:30:13,433
♪Take notes on how I creptI's bout to go in depth ♪
667
00:30:13,517 --> 00:30:16,019
♪This is the way I creep my season,Here's my ghetto rep ♪
668
00:30:16,102 --> 00:30:18,605
♪I kept, to say the leastNo, no it can't cease ♪
669
00:30:18,688 --> 00:30:20,982
[Maurice] They talk aboutthis Players Ball,
670
00:30:21,149 --> 00:30:23,151
which had always been legend and lore
671
00:30:23,276 --> 00:30:26,196
in Atlanta's black hustlers♪community.
672
00:30:26,446 --> 00:30:28,823
-It always took place--
-On Christmas Day.
673
00:30:28,907 --> 00:30:33,161
♪All the players cameFrom far and wide ♪
674
00:30:33,537 --> 00:30:36,289
[Ian] It was almost like
an anti Christmas song, to be honest.
675
00:30:36,373 --> 00:30:37,457
-Yes.
-You know what I am saying?
676
00:30:37,666 --> 00:30:39,793
It's not a holiday for us.
It's another day at work.
677
00:30:40,085 --> 00:30:43,088
We've still got to get out of here,
we've got to hustle. We've got to survive.
678
00:30:43,171 --> 00:30:47,259
♪When the Player? Ball is happeningAll day ery'day ♪
679
00:30:47,342 --> 00:30:50,387
Ain't no Chimneys in the ghetto,
I won't be hanging my socks on chimneys.
680
00:30:50,470 --> 00:30:51,680
♪Ain't no chimneys in the ghetto ♪
681
00:30:51,763 --> 00:30:53,890
♪So I won't be hanging my socksOn no chimney ♪
682
00:30:53,974 --> 00:30:56,393
♪I'm fit as a tick, fix me a plateI got the remedy ♪
683
00:30:56,476 --> 00:30:58,979
♪Some greens and that ham, notDon't need no ham ♪
684
00:30:59,062 --> 00:31:00,730
♪Hocks don't play me likeI'm smoking rocks ♪
685
00:31:00,814 --> 00:31:01,856
♪I got the munchies ♪
686
00:31:01,940 --> 00:31:05,360
Oh my God! They were so dope, you know?
687
00:31:05,443 --> 00:31:07,362
It was a soundthat you hadn't heard before.
688
00:31:07,445 --> 00:31:11,283
And they were so different,
but they were so dope together.
689
00:31:11,366 --> 00:31:13,660
♪Hallelujah, hallelujah ♪
690
00:31:13,743 --> 00:31:17,581
Big Boi, he likes to party.
He liked the cars, you know, the girls.
691
00:31:17,664 --> 00:31:20,083
♪'Cause I'm a playerDoing what the players do ♪
692
00:31:20,166 --> 00:31:22,294
[Khujo] Big Boi is a wordsmith.
693
00:31:22,544 --> 00:31:23,670
He can make words
694
00:31:24,170 --> 00:31:25,672
rhyme that don't rhyme.
695
00:31:25,755 --> 00:31:27,048
♪I? gettin curious 'cause the house
696
00:31:27,132 --> 00:31:28,758
♪Smelling stank of chitlinsOld as bitches ♪
697
00:31:28,842 --> 00:31:30,677
♪I make no wishes'Cause the mobbing folk ♪
698
00:31:30,760 --> 00:31:32,596
♪Niggas in the back getting tipsy ♪
699
00:31:32,679 --> 00:31:34,681
♪Off the nog and high as hellOff the contact smoke ♪
700
00:31:34,764 --> 00:31:37,267
And Dre was always
a little bit more the eclectic one.
701
00:31:37,350 --> 00:31:38,935
♪So tell me what did you expect? ♪
702
00:31:39,019 --> 00:31:40,228
♪You thought I'd break my neck ♪
703
00:31:40,312 --> 00:31:42,230
♪To help y'all deck the-- Oh now ♪
704
00:31:42,314 --> 00:31:44,858
[Mr. DJ] Dre is the philosopher,
he makes you think.
705
00:31:44,941 --> 00:31:47,152
Even some of his verses, to this day,
706
00:31:47,235 --> 00:31:48,445
I'm just now getting.
707
00:31:48,612 --> 00:31:50,989
Andre 3000 can rhyme
708
00:31:51,072 --> 00:31:53,575
a 32-bar rhyme,
709
00:31:54,200 --> 00:31:58,747
and you'll be on the edge of your seat
from bar one to bar 32.
710
00:31:58,830 --> 00:32:01,833
♪It goes give me tenAnd I'll serve you then now we bend ♪
711
00:32:01,916 --> 00:32:05,378
♪The corner in my CadillacMy heart does not go pittypat for no rat ♪
712
00:32:05,545 --> 00:32:07,505
♪I'm leaning backMy elbows out the window ♪
713
00:32:07,589 --> 00:32:10,383
♪Coke, rum, indo fills my bodyWhere's the party ♪
714
00:32:10,467 --> 00:32:13,678
♪We roll deep we dip to undergroundSee a lot of hoes around ♪
715
00:32:13,762 --> 00:32:15,555
♪I spit my game while waiting countdown ♪
716
00:32:15,639 --> 00:32:18,058
♪A five fo♪ a three twoHere comes the one ♪
717
00:32:18,141 --> 00:32:20,852
♪A new year has begunP-Funk spark another one ♪
718
00:32:20,935 --> 00:32:24,981
♪All the players came from far and wide ♪
719
00:32:25,190 --> 00:32:26,316
[Rico] Player's Ball came on.
720
00:32:26,399 --> 00:32:29,361
It was, "Oh shit. It's on the radio!"
721
00:32:29,903 --> 00:32:31,237
And I just remember I liked it.
722
00:32:31,321 --> 00:32:33,073
Like, aw man,
723
00:32:33,990 --> 00:32:34,949
didn't know that
724
00:32:35,408 --> 00:32:36,701
it really was going to take off.
725
00:32:36,826 --> 00:32:40,372
The song, and you know,
debuts on the album.
726
00:32:41,081 --> 00:32:43,750
It begins to move up the charts, so...
727
00:32:44,125 --> 00:32:45,585
LA Reid tells Rico,
728
00:32:46,044 --> 00:32:48,088
"All right. This song is moving.
729
00:32:48,672 --> 00:32:51,383
You have to get your boys
to do a whole album."
730
00:32:51,466 --> 00:32:54,427
♪Get up, stand upSo what's said, you dickhead? ♪
731
00:32:54,511 --> 00:32:57,138
♪See when I was a youngsterUsed to wear them fuckin' Pro Keds ♪
732
00:32:57,222 --> 00:32:59,933
♪My mama made me do itBut the devil, he made me smart ♪
733
00:33:00,016 --> 00:33:01,101
[Big Boi] It was a long process.
734
00:33:01,184 --> 00:33:03,770
Southernplayalistic,we worked on that shit for a long time.
735
00:33:03,853 --> 00:33:07,315
And for months,Organized Noize was making beats
736
00:33:07,399 --> 00:33:09,275
while we was laying vocals and...
737
00:33:09,609 --> 00:33:12,153
Cee Lo would come through,or Gipp would come through
738
00:33:12,362 --> 00:33:13,613
and it was all hands on deck.
739
00:33:13,822 --> 00:33:16,866
♪I don? recall ever graduating at all ♪
740
00:33:16,991 --> 00:33:19,577
♪Sometimes I feelI'm just a disappointment to y'all ♪
741
00:33:19,661 --> 00:33:22,539
♪Every day, I just lay aroundThen I can't be found ♪
742
00:33:22,622 --> 00:33:25,583
♪Always asking "gimme some"Living life like a bum ♪
743
00:33:26,042 --> 00:33:27,836
[Cee Lo] Git up, Git out"was my first verse
744
00:33:27,919 --> 00:33:29,796
and it was such a humble momentfor everybody.
745
00:33:29,879 --> 00:33:31,881
Everybody was just so proudto be a part of something
746
00:33:32,340 --> 00:33:34,467
that we knew was real.
We felt it in our bones.
747
00:33:34,551 --> 00:33:36,094
And we were just introducing
748
00:33:36,302 --> 00:33:39,055
who we were and where we were from
for the first time.
749
00:33:39,139 --> 00:33:41,141
♪I write the deep ass rhymes ♪
750
00:33:41,224 --> 00:33:42,767
♪So, let me take ya away ♪
751
00:33:42,851 --> 00:33:45,895
♪Back to when a nigga stayedIn Southwest Atlanta, ay ♪
752
00:33:45,979 --> 00:33:48,732
[Killer Mike] Organized Noize, Outkastand The Dungeon Family gave us a sound.
753
00:33:48,815 --> 00:33:51,901
They look like us, walk like us,talk like us.
754
00:33:51,985 --> 00:33:54,154
Are into Cadillacs and Chevrolets,
755
00:33:54,279 --> 00:33:56,614
or walk around in flip flops and socks,
just like us.
756
00:33:56,781 --> 00:33:57,991
[Da Brat] Southernplayalistic.
757
00:33:58,074 --> 00:33:59,993
You know?
Is what you played in your Cadillac.
758
00:34:00,076 --> 00:34:03,370
It was collard greens and cornbread
and fish and grits.
759
00:34:03,455 --> 00:34:05,290
You know what I'm saying? It just--
760
00:34:05,372 --> 00:34:07,167
-You could feel that.
-You could feel that.
761
00:34:07,250 --> 00:34:09,002
You could feel the Southern in it.
762
00:34:09,502 --> 00:34:11,629
♪You need to git up, git outAnd git something ♪
763
00:34:12,213 --> 00:34:14,883
♪How will you make itIf you never even try ♪
764
00:34:14,966 --> 00:34:17,676
♪You need to git up, git outAnd git something ♪
765
00:34:17,761 --> 00:34:20,513
♪'Cause you and IGot to do for you and I ♪
766
00:34:20,597 --> 00:34:22,265
[Big Boi] We was proud to be from Atlanta.
767
00:34:22,849 --> 00:34:25,602
We was putting our city on the mapand we wanted to let you know
768
00:34:25,935 --> 00:34:27,227
exactly where we was from.
769
00:34:27,312 --> 00:34:30,272
Whether it was East Point, College Park,Decatur, The Swats,
770
00:34:30,397 --> 00:34:34,027
like, we embodied all that,
and we repped the whole city.
771
00:34:34,319 --> 00:34:37,405
What do you remember hearing
from radio programmers in New York?
772
00:34:37,489 --> 00:34:38,406
"They country."
773
00:34:39,240 --> 00:34:40,950
"We ain't playing that country shit."
774
00:34:41,033 --> 00:34:42,035
"Whatever."
775
00:34:42,243 --> 00:34:45,705
"I got nothing against the guys,
but you know, I can't really relate."
776
00:34:46,664 --> 00:34:49,542
And I was like, "We're country?
Like, that's all you've got to say?"
777
00:34:49,626 --> 00:34:52,796
You're not really taking the time
to listen what they're talking about.
778
00:34:52,879 --> 00:34:54,881
[police siren]
779
00:34:58,802 --> 00:35:00,637
When we were at the Source Awards
780
00:35:00,720 --> 00:35:03,556
it was very New York! New York was heavy.
781
00:35:03,640 --> 00:35:04,724
Brooklyn!
782
00:35:05,683 --> 00:35:06,518
What up?
783
00:35:07,936 --> 00:35:11,940
That particular Source Awards
was, like, so historic.
784
00:35:12,023 --> 00:35:14,400
You have the East Coast-West Coast beef
going on.
785
00:35:14,484 --> 00:35:16,945
The East Coast don't loveDr Dre and Snoop Dogg?
786
00:35:17,529 --> 00:35:19,030
[booing]
787
00:35:19,614 --> 00:35:21,699
[Cee Lo] The tension in the roomwas so thick,
788
00:35:21,783 --> 00:35:23,201
you could cut it with a knife.
789
00:35:23,284 --> 00:35:25,119
These motherfuckers
they came to fight!
790
00:35:26,913 --> 00:35:31,251
So, we just kind of looking,
kind of naively, back and forth, like,
791
00:35:31,334 --> 00:35:33,837
"East-West. East-West"
792
00:35:35,338 --> 00:35:37,465
It was myself, Big Boi, Dre
793
00:35:37,549 --> 00:35:39,634
and we don't want any parts of the beef.
794
00:35:39,717 --> 00:35:41,469
You know, we're just happy to be here.
795
00:35:41,845 --> 00:35:43,847
All right! Hold up!
796
00:35:44,264 --> 00:35:45,431
And the winner is...
797
00:35:45,640 --> 00:35:47,475
-Outkast!-Outkast!
798
00:35:51,729 --> 00:35:53,523
When they announced that Outkast won,
799
00:35:53,648 --> 00:35:56,317
I was almost in a complete state of shock.
800
00:35:56,401 --> 00:35:58,361
I was like, "Holy crap!
801
00:35:58,486 --> 00:36:00,738
We did it! We won!"
802
00:36:01,239 --> 00:36:02,949
[interviewer] When you guysgot Best New Artist,
803
00:36:03,032 --> 00:36:05,618
what did it feel like just to be thereas a southern act?
804
00:36:05,702 --> 00:36:06,870
How did that feel?
805
00:36:07,245 --> 00:36:09,205
It was dope to be recognized, you know.
806
00:36:09,289 --> 00:36:11,165
That was like one of the top honors.
807
00:36:11,249 --> 00:36:14,002
Just like the hip-hop mecca, you know?
Madison Square Garden.
808
00:36:14,252 --> 00:36:17,422
Just a boy from East Point.
It was just like, "Whoa. Whoa."
809
00:36:18,172 --> 00:36:20,174
[booing]
810
00:36:23,136 --> 00:36:25,430
And then they booed us when we won,it was like...
811
00:36:26,723 --> 00:36:28,391
That's fucked up. You know?
812
00:36:29,017 --> 00:36:30,101
Yeah!
813
00:36:32,729 --> 00:36:33,563
Word.
814
00:36:33,771 --> 00:36:34,606
What's up?
815
00:36:35,523 --> 00:36:38,401
Goodie Mob in the house!We want to say, what's up in New York?
816
00:36:38,610 --> 00:36:40,528
'Cause we from down South!
817
00:36:40,653 --> 00:36:43,865
It's New York up in this, you know?And you all live here.
818
00:36:44,073 --> 00:36:45,658
This is y'all city.
819
00:36:45,742 --> 00:36:47,452
They were trying to be all diplomatic,
820
00:36:47,535 --> 00:36:49,829
and like, "We know this your city."
821
00:36:49,913 --> 00:36:51,873
Trying to pay homage, if you will.
822
00:36:52,415 --> 00:36:55,668
But then he does something that's very--
it's a very southern sensibility.
823
00:36:55,752 --> 00:36:58,087
He looks at Andre and he's like,
"So what's up?"
824
00:36:58,254 --> 00:37:01,132
Which means,
he wants you to talk your shit. [laughing]
825
00:37:01,257 --> 00:37:02,425
"So what's up, Dre?"
826
00:37:04,761 --> 00:37:06,763
Yeah, first of all, you know?
827
00:37:07,347 --> 00:37:09,599
We want to thank God.Just, saying dead serious,
828
00:37:09,682 --> 00:37:11,684
because if it wasn't for him,we wouldn't be here.
829
00:37:12,477 --> 00:37:13,728
But it's like this, though.
830
00:37:13,978 --> 00:37:15,855
I'm tired of folks,you know what I'm saying?
831
00:37:18,107 --> 00:37:19,692
The close-minded folks, you know?
832
00:37:19,776 --> 00:37:21,778
We've got a demo tapeand nobody want to hear it,
833
00:37:21,861 --> 00:37:24,197
but the South got something to say,that's all I got to say.
834
00:37:28,701 --> 00:37:30,870
[Da Brat] Andre was very emotional.
835
00:37:31,955 --> 00:37:32,789
And...
836
00:37:33,247 --> 00:37:35,792
if you didn't believe anything
that they've ever said,
837
00:37:36,042 --> 00:37:37,460
you knew he meant that.
838
00:37:37,669 --> 00:37:40,088
Did that kind of put the battery
in your back a little bit?
839
00:37:40,171 --> 00:37:41,547
The battery was already there,
840
00:37:41,631 --> 00:37:43,549
they just put the jumper cables
on that motherfucker.
841
00:37:43,633 --> 00:37:46,260
Because what they did
was step in the ant bed.
842
00:37:46,469 --> 00:37:48,888
It just made us, you know,
strive to be better
843
00:37:48,972 --> 00:37:51,182
than we already were, which was like
[whistles].
844
00:37:51,307 --> 00:37:52,141
You know what I mean?
845
00:37:52,976 --> 00:37:53,977
It's like, you know...
846
00:37:55,144 --> 00:37:57,647
we're going to show you all motherfuckers,
you know what I am saying?
847
00:37:57,814 --> 00:37:59,983
[edgy piano chords]
848
00:38:07,365 --> 00:38:09,242
[narrator] Outkast's winat The Source Awards
849
00:38:09,325 --> 00:38:10,952
taught The Dungeon family two things:
850
00:38:11,202 --> 00:38:12,996
that they were amongst the bestin hip-hop,
851
00:38:13,413 --> 00:38:15,581
and that the Southwas far from being understood.
852
00:38:16,416 --> 00:38:18,793
But their next crew would clear upany misunderstandings
853
00:38:18,876 --> 00:38:20,586
about what the South stood for
854
00:38:21,004 --> 00:38:22,422
and what they stood against.
855
00:38:22,505 --> 00:38:25,341
♪When the scene unfolds ♪
856
00:38:25,425 --> 00:38:27,677
♪Young girls thirteen years old ♪
857
00:38:27,760 --> 00:38:30,304
♪Expose themselvesTo any Tom, Dick, and Hank ♪
858
00:38:30,888 --> 00:38:34,267
♪Got more stretch marks than these hoesHollin♪they got rank ♪
859
00:38:34,350 --> 00:38:36,436
Tell me about how Goodie Mob
kind of came together.
860
00:38:36,519 --> 00:38:38,604
After the success of Outkast,
861
00:38:38,688 --> 00:38:40,273
it was real, you know what I mean?
862
00:38:41,107 --> 00:38:45,069
Everybody has their ownindividual aspirations
863
00:38:45,153 --> 00:38:47,280
and appointed places.
864
00:38:47,363 --> 00:38:49,657
So we needed somethingwhere we could all be introduced
865
00:38:49,824 --> 00:38:51,451
as a unit, and...
866
00:38:51,534 --> 00:38:55,413
it was the humility - you know,
and the practicality of Rico Wade
867
00:38:55,496 --> 00:38:57,040
that brought the Goodie Mob together.
868
00:38:57,123 --> 00:39:02,670
♪Who's that peeking in my windowPow, nobody now ♪
869
00:39:02,754 --> 00:39:06,299
♪Who's that peeking in my window, pow! ♪
870
00:39:06,507 --> 00:39:08,342
[Rico] We got a chanceto introduce Goodie Mob.
871
00:39:08,426 --> 00:39:11,596
What's up, this is one fourthof the Goodie Mob, Cee Lo Green.
872
00:39:11,679 --> 00:39:13,097
[Rico] Cee Lo, Big Gipp.
873
00:39:13,181 --> 00:39:14,265
They call me Big Gipp.
874
00:39:14,348 --> 00:39:15,641
Yes, what's up?
875
00:39:15,933 --> 00:39:17,018
Khujo and T-Mo.
876
00:39:17,101 --> 00:39:18,311
What's up, this is T-Mo.
877
00:39:18,394 --> 00:39:21,981
Goodie representing all the wild childsout there, nothing but the fire.
878
00:39:22,065 --> 00:39:23,191
♪Uh, pow ♪
879
00:39:23,274 --> 00:39:25,693
♪Who's that peeking in my window ♪
880
00:39:25,777 --> 00:39:27,987
We wanted to be totally differentfrom Outkast.
881
00:39:28,071 --> 00:39:29,822
[interviewer]
What was the vision for Goodie Mob?
882
00:39:29,906 --> 00:39:33,326
We wanted to be more edgy,
a little more edgier than Outkast was.
883
00:39:33,409 --> 00:39:34,827
A little bit edgier than that was.
884
00:39:34,911 --> 00:39:37,705
And God bless the first single,
"Cell Therapy,"
885
00:39:37,872 --> 00:39:40,249
just ended up being a hip-hop classic.
886
00:39:40,333 --> 00:39:43,294
♪Me and my family movedIn our apartment complex ♪
887
00:39:43,503 --> 00:39:46,172
♪A gate with the serial codeWas put up next ♪
888
00:39:46,255 --> 00:39:49,217
♪They claim that this communityIs so drug free ♪
889
00:39:49,300 --> 00:39:50,968
♪But it don't look that way to me ♪
890
00:39:51,052 --> 00:39:52,553
It was original,
891
00:39:52,637 --> 00:39:55,681
it was eccentric
and it was also politically charged.
892
00:39:55,765 --> 00:39:57,058
[Khujo] We was likethose ghetto politicians
893
00:39:57,141 --> 00:39:59,811
in the neighborhood,and our thing was straight focusing on
894
00:40:00,228 --> 00:40:02,814
just really representing
what was going on
895
00:40:03,147 --> 00:40:05,066
in Atlanta at that time,
896
00:40:05,775 --> 00:40:07,819
through the perspective of the youth.
897
00:40:07,902 --> 00:40:10,488
♪Listen up little niggaI'm talking to you ♪
898
00:40:10,696 --> 00:40:13,282
♪About what yo little assNeed to be going through ♪
899
00:40:13,366 --> 00:40:16,744
[Khujo] I don't even think LaFaceeven knew what they had at that time, man.
900
00:40:16,828 --> 00:40:19,705
They didn't knowhow politically incorrect we were.
901
00:40:19,789 --> 00:40:21,415
They were like,"That's a catchy hook."
902
00:40:22,041 --> 00:40:25,002
"That's a crazy hook, man.
Hold on now, what?"
903
00:40:25,086 --> 00:40:27,672
♪Concentration campsLaced with gas pipelines ♪
904
00:40:28,172 --> 00:40:33,386
♪Infernos outdoors like they had backWhen Adolf Hitler was living in 1945 ♪
905
00:40:33,970 --> 00:40:36,305
♪Listen to me now, believe me later on ♪
906
00:40:36,389 --> 00:40:39,559
[Big Boi] Social commentary wasin the forefront of what they did.
907
00:40:39,642 --> 00:40:43,146
Outkast, we was real slick. Player.
908
00:40:43,604 --> 00:40:44,438
Super cool.
909
00:40:44,522 --> 00:40:47,483
Goodie Mob was like in your face.
You know what I mean? Like...
910
00:40:48,442 --> 00:40:50,069
motherfucker, you know what I'm saying?
911
00:40:50,153 --> 00:40:52,155
-[thudding on door]
-[man] Who is it?
912
00:40:52,280 --> 00:40:54,282
And way ahead of its time.
913
00:40:54,657 --> 00:40:56,742
They was talking about stuff
that's going on right now.
914
00:40:56,826 --> 00:40:59,328
-[boom]
-This is the Red Dog police department.
915
00:40:59,412 --> 00:41:03,374
[police shouting] Just get on the ground.
Get your head on the ground.
916
00:41:07,962 --> 00:41:10,214
♪One to da two da three da four ♪
917
00:41:10,298 --> 00:41:12,884
♪Dem dirty Red Dogs done hit the door ♪
918
00:41:12,967 --> 00:41:15,678
♪And they got everybodyOn they hands and knees ♪
919
00:41:15,761 --> 00:41:18,014
♪And they ain't gonna leaveUntil they find them keys ♪
920
00:41:18,097 --> 00:41:20,725
♪Now if dirty Bill ClintonFronted me some weight ♪
921
00:41:20,808 --> 00:41:23,352
♪Told me to keep twoBring him back eight ♪
922
00:41:23,436 --> 00:41:25,271
[Maurice]
Dirty South plays it out so clearly.
923
00:41:25,354 --> 00:41:28,774
What we're talking about hereis the militarization of the police,
924
00:41:28,858 --> 00:41:30,443
and the creation of the Red Dog Police.
925
00:41:30,943 --> 00:41:33,196
But what we're also talking about here
926
00:41:33,487 --> 00:41:35,907
is Bill Clinton's three strike rule,
927
00:41:36,199 --> 00:41:38,367
on a national level, 1994.
928
00:41:39,327 --> 00:41:41,829
When this bill is law,three strikes and you're out
929
00:41:41,913 --> 00:41:43,206
will be the law of the land.
930
00:41:43,706 --> 00:41:45,458
And it will be used to build prisons
931
00:41:45,541 --> 00:41:48,836
to keep 100.000 violent criminalsoff the street.
932
00:41:49,420 --> 00:41:53,299
This overwhelmingly incarcerated black menand increased the federal prisons
933
00:41:53,382 --> 00:41:54,634
by 800%.
934
00:41:54,926 --> 00:41:57,011
We're still eviscerated by crack cocaine,
935
00:41:57,094 --> 00:42:00,765
and the transition of a trillion dollarsthat was supposed to go to education
936
00:42:00,848 --> 00:42:04,727
that went to a war on drugs,and created the school to prison pipeline.
937
00:42:05,228 --> 00:42:07,897
They're really giving you that underbelly.
938
00:42:07,980 --> 00:42:10,399
That counter-narrative to Atlanta
as the black mecca.
939
00:42:10,483 --> 00:42:12,985
♪See in the 3rd gradeThis is what you told ♪
940
00:42:13,110 --> 00:42:15,488
?欣ou was bought, you was sold ♪
941
00:42:15,571 --> 00:42:19,408
Goodie Mob has gospelthat demands a certain reverence.
942
00:42:19,492 --> 00:42:23,663
They are militant mind stated almost,
they're fiercely black, fiercely Southern.
943
00:42:23,746 --> 00:42:26,040
♪What you really knowAbout the dirty South ♪
944
00:42:26,123 --> 00:42:28,626
♪What you really knowAbout the dirty South ♪
945
00:42:28,709 --> 00:42:31,170
"What you really know
about the dirty South?"
946
00:42:31,254 --> 00:42:32,838
That says it all, right there.
947
00:42:33,547 --> 00:42:36,133
It just meant, you know,it was dirty. Gritty.
948
00:42:36,425 --> 00:42:38,719
Like, our soil is like red clay.
949
00:42:39,011 --> 00:42:41,430
So, that shit is hardto get off your shoes.
950
00:42:41,514 --> 00:42:43,474
Once you get it on you,
you can't get it off.
951
00:42:43,557 --> 00:42:45,142
So, once you are touched by this,
952
00:42:45,226 --> 00:42:47,436
it's going to go with you wherever you go.
953
00:42:47,520 --> 00:42:50,147
♪When I'm too sober, year olderNow I'm almost legal ♪
954
00:42:50,273 --> 00:42:52,775
♪Wanted to live the life of Cadillacs,Impalas and Regals ♪
955
00:42:52,858 --> 00:42:55,152
♪Fucking around with the hoesBusting nets in their mouth ♪
956
00:42:55,236 --> 00:42:58,030
♪Kickin' that same southern slangLookin' for love off in yo' jaw ho ♪
957
00:42:58,114 --> 00:42:59,323
It gave us an identity.
958
00:42:59,407 --> 00:43:02,493
You were grimy if you were in New York.
You were gangster if you were West Coast.
959
00:43:02,994 --> 00:43:05,246
But the dirty South was mad.
960
00:43:05,788 --> 00:43:09,083
It was hot, sticky, you know
[laughing] what I mean?
961
00:43:09,166 --> 00:43:11,460
The filthy, nasty, dirty South.
962
00:43:11,544 --> 00:43:13,838
Yeah, you've got to understand,
we're the South.
963
00:43:13,921 --> 00:43:16,090
We're, you know,we are the Carolinas, we're Florida,
964
00:43:16,173 --> 00:43:19,468
we're Mississippi, Alabama, Louisiana,we're Texas, like--
965
00:43:19,552 --> 00:43:22,513
we never thought we were uncool,
we just thought...
966
00:43:23,347 --> 00:43:24,557
y'all was tripping.
967
00:43:24,640 --> 00:43:26,309
[chuckling] You know what I mean?
968
00:43:26,392 --> 00:43:28,811
♪What you niggas knowAbout the Dirty South♪
969
00:43:29,312 --> 00:43:33,691
♪Yeah, the Dirty South ♪
970
00:43:36,152 --> 00:43:38,362
[narrator] In the decade between Shy Dand The Dungeon Family,
971
00:43:38,446 --> 00:43:40,573
Atlanta's hip-hophad grown from shake music
972
00:43:40,656 --> 00:43:41,907
to slick metaphors.
973
00:43:41,991 --> 00:43:44,577
And in the meantime,the city had built an industry,
974
00:43:44,910 --> 00:43:46,120
and an identity.
975
00:43:49,373 --> 00:43:51,584
This was just the beginning for the Southas a whole.
976
00:43:52,585 --> 00:43:54,587
Because now it was morethan a collection of states.
977
00:43:54,754 --> 00:43:56,213
It was the dirty South.
978
00:43:56,797 --> 00:43:59,592
And unified by this new identity,the south was poised
979
00:43:59,675 --> 00:44:03,888
to wrest power from the East and Westand become the new center of hip-hop.
86901
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