How old is mama said knock you out

We recorded everything at my house, I had a studio in the garage. DJ Bobcat: There used to be so many people coming in to the studio. When I produce I take what you're telling me and I enhance it.

If I was a chef and you came to my restaurant and said, "Hey, I want some spaghetti. What are you used to, do you like mushrooms in it, do you like olives in it? Talk to me. That's the way I work with my artists. That's why they came to me. There was no samplers yet. He called up some of the homies from Farmers Blvd. I just thought it was crazy. Bob was always super creative, super talented, and was always about it.

When I heard it I was like, "Yo, let's get it! Def Jam had already given the album to Marley. Marley was already doing his thing. But LL felt like we needed one more song and he knew what I could do.

Marley Marl: I was accepting all dopeness. They initially brought a disc and it had that on there. You got to put the right kicks on it. I started going into the bags. I started pulling out beats to go with and add on to it.

The beat that they had with it — it was okay — but it was definitely not the beat that we came out with. I turned to her for advice after the response to Walking with a Panther. I got booed at a Yusef Hawkins event.

I was there to be supportive and they booed me because somehow I wasn't connected to the community. I was already energized when we went to record, but her advice was in the back of my mind. DJ Bobcat: We started having this conversation about how we grew up with bullies. I was telling him the story about how when I was little we had a king of school and this dude tried to bully me. Marley Marl: We got in the studio in the evening.

I might've been a little pissed off. The process was we go hit a club like The Tunnel or Limelight, come home, and then run up in that lab and tap out something hot. You capture the average vibe of the club. In other words, records are high, records are low, records are loud, records are quiet.

And you get an overall sonic average. Then you walk out of there with something in your brain and you just lock in. Marley Marl: That day I was tired as hell. I was like, "Yo Clash engineer record it. I respect Marley. He is one of the guys that I was listening to before I started really getting it cracking. He gave me an on a disc to reinforce it.

Marley was tired. He said he was up late, so he went upstairs and he went to sleep. When Marley went to sleep we started recording. At first, LL was rapping different from the ways we were spitting the stuff at the condo. I was sitting around in a room full of dudes. The SP12 is playing. I'm writing it down.

I'm drinking beer and Old English is filling my mind and shit. We got back on the vibe that we had at the condo. I was listening for the subtleties. LL was getting really upset like he normally does with me.

He was cussing and Clash had already started recording and he caught right when he said, "Come on man. Paris Barclay Director : My career is the perfect combination of things. I started as a musician and a composer playing a lot of instruments. That was first expressed in high school musical theater and in college.

Then I went to New York, got a job in advertising, and those things kind of fused. The music video became the sort of apotheosis of all of that. All the rap artists who are doing videos couldn't find Black directors. There were very few working like Lionel Martin and Rolando Hudson. And we thought it would work, but it didn't really work until LL Cool J came. It was maybe my 10th music video ever. The process was you got the song from Russell Simmons.

I wasn't exactly thinking about it in black-and-white. I was thinking of it more as a boxing match. I took that challenge head-on and I was victorious. Oh, yeah. I was beefing, moaning, and griping about what people were saying with Walking With a Panther.

In other genres, people appreciate it when a guy like Prince does experimental albums and projects. It was right from the spirit. It was a combination of many things. It seemed like the thing that really threw people off, more than the music, was the album cover. So I was like the first dude over the wall with the champagne and the diamonds and all of that [ laughs ], so I caught all the bullets and shrapnel.

But in life, you have to operate based on the amount of info you have at that time. I was celebrating; having fun. I was just having fun. It was part of the zone. All of those artists that I mention on that song, I support all three of them now with the station; I play all of their music.

I believe in lifting them up and I support them on the platform. But you know, the whole battle thing is part of hip-hop. What do you mean by that? Most people would recognize the guy is an amazing boxer, but for some reason they never want to give him his props like they give Manny Pacquaio.

Sometimes I feel like I get a little bit of a double-standard treatment. I think people judged me by adult standards when I was a child and never gave me a chance to grow up. You still perform it live. Man, listen. You could be passing it to the backseat, you could be passing it to the driver. I wrote what I wrote. You have people who wish the statue of David has sweatpants on. Like, come on, man. That was my level of evolution.

That is funny. Ha, ha, ha! I did know girls with those names, but that was me thinking generally and being inspired. Yeah, a lot of stuff that I did helped. I was inspired by the records that we sampled and the artists that came before me, so I have nothing weird to say about that. I feel great that I was able to start something that turned into such a huge thing for the global culture.

Me coining that phrase, the G.