Paul Revere, Leroy Castro, Chris It discussed on The Big Picture
Let Me Licensing Record. You listen to license still very much. Only half of it. I only like the real rap rap shit don't like I can't listen to five year right or no sleep till Brooklyn by Paul Revere. Slow all the now hit. It does are Roman and stealing and like those are among my still my favorite songs I don't listen to girls. I don't thirty-seven-year-old there's definitely a time in my life where I feel like the only thing that my friends cared about. Where the memorizing lyrics Paul Revere which they did and which I did and and just watching Eddie Murphy concerts like that was like the the boy brain for like ten years. There's something there about even in the maturity scale to their operating in the same with the same energy. It's like do you. WanNa listen to Beastie boys or watch raw and hold it now. Hit like the segment of the movie where they explain how it came about is simultaneously the dumbest thing I've ever seen. They're like you know on that Leroy Castro Song where they say. Hey Leroy like just like that. Knowing that they just wanted to grab a small piece of something he loved and then a small piece of something they love and small piece of so many loved and put it together in a record is so obvious. Yeah and yet I never really thought about it when I listen to it. Like that was what they were thinking. I thought that they were trying to construct. Some Mozart style. Masterpiece of sonic integration. They were just like. Here's a cool sound. I heard once I'd like it to be in my song and I almost know too much about sampling now in the difficulties of sampling. And how you could never make license L. You could never make pulse boutique in twenty twenty because of all how expensive it would be impossible to gain the rights and there was a wild west aspect to it but the actual creation of it is still. What's so cool to me and still there is there. Is this whole era. Where when it was still flying a little bit under the radar in terms of of business. The challenge was to do it more and more artfully and guys really took that as okay. You'RE GONNA throw the gauntlet down and flip that sample this way. And you're going to do it this way and now. I think it's kind of more of a like Connie can afford to buy the Aretha Franklin tapes you know and that's how and it's kind has fucking incredible stuff with samples but when you listen to like large professor or q tip or havoc. Do something with record. It's different. It just felt different back then. I completely agree with you. let's go to number two. What's your number two Chris it's sabotage.