Speaker 1: Jason and Fonzie.
Speaker 2: We love the 80s.
Speaker 3: Yeah man.
Speaker 2: What did you say?
Speaker 4: What's that other girl on Scooby Doo? The one with the glasses.
Speaker 1: Velma? Daphne, she was cute.
Speaker 4: Which one with the glasses? Velma, yeah yeah I like that one.
Speaker 2: Solving the mysteries.
Speaker 4: Nobody wanted to hit Thelma, everybody wanted that Daphne, right?
Speaker 2: The Mystery Machine.
Speaker 1: What about the monsters they always had on that show?
Speaker 2: It was corny, man.
Speaker 1: I knew it was Mr. Phillips!
Speaker 2: Yeah. Stupid.
Speaker 4: Scooby Doo man, back that it was stupid but it is mad whack now.
Speaker 1: The Phantom was one of the creatures.
Speaker 2: Ah yeah.
Speaker 1: The 10,000 volt monster, remember that guy? He was running around.
Speaker 4: Oh, in the intro right?
Speaker 1: Yeah, he was running around with like an electric suit on. It's a 10,000 volt monster.
Speaker 2: Yeah.
Speaker 4: Damn, taking it back man, used to come on with the little demons with the eyes opening up.
Speaker 1: Yeah. What about commercials back then? Old, like the cavity creeps?
Speaker 2: Yeah, yeah man.
Speaker 1: What happened to them?
Speaker 3: The priest was just talking about depravity. No the crusty.
Speaker 1: New crest Joe, new crest Joe.
Speaker 5: What about the Indian with the tear in his eye? The guy was just standing next to the pollution.
Speaker 1: Oh right! I forgot about that one. Ah man, on the side of the parkway.
Speaker 5: Yeah, he was just standing there with the tear.
Speaker 1: What was that for? Like, don't pollute.
Speaker 5: Yeah, that was don't pollute.
Speaker 1: Man, you brought it back!
Speaker 3: Yo, what about the dog from Crime Wizards?
Speaker 2: McGruff. Word.
Speaker 3: Ah yeah yeah. What's it called, the jolly green giant?
Speaker 5: Ahhh man. Yeah he still got a little play right now.
Speaker 3: Yeah it's like he still got his job right now, right?
Speaker 1: Yeah, the Indian. Always getting his find.
Speaker 3: What about the old lady, the "Where's The Beef" lady?
Speaker 1: Wasn't it two ladies?
Speaker 3: Nah it was ... somebody got sued, right? One of them was on Different Strokes I think, man.
Speaker 2: Oh yeah she did play on Different Strokes, the old lady with the glasses.
Speaker 3: She blew up, right? After awhile.
Speaker 1: Where's the beef ... I thought there was a ...
Speaker 3: She was on the Golden Girls.
Speaker 1: Oh yeah.
Speaker 3: She out of a job right now, yeah.
Speaker 1: I don't think she's alive anymore.
Speaker 3: Matter of fact, she was on The Facts of Life, you don't remember?
Speaker 2: Nah. [crosstalk 00:03:14]
Speaker 6: What's up with Blair?
Speaker 2: Ah, Blair was banging [crosstalk 00:03:19] back then.
Speaker 1: Yeah, Blair's about this big now. Blair blew up.
Speaker 2: Yeah, Blair ....
Speaker 1: But the Indian, I can't get over the Indian commercial.
Speaker 2: That's taking it back, man. I saw someone just standing there.
Speaker 1: It was a commercial, I guess people were polluting the reservations.
Speaker 2: Yeah.[crosstalk 00:03:37]
Speaker 1: And he was standing on a hill, there was a parkway down below, and there was a tear in his eye. We shouldn't be laughing.
Speaker 3: It was like subliminal, man. It was in every little kid's head.
Speaker 1: I never littered, I still don't because of that. Because of the Indian.
Speaker 3: That was real. [crosstalk 00:03:59]
Speaker 5: Pics, pics, pics.
Speaker 3: Ohhh. Yo that was taking it back, pics pics.
Speaker 5: That's like, that's WHT era.
Speaker 1: Wait, did you guys ... are you all from New York?
Speaker 5: Yeah.
Speaker 1: Did you guys get the U channel, do you remember that?
Speaker 5: Yeah yeah, I remember the U channel.
Speaker 1: There's a few channels that you could get like ...
Speaker 5: That was on your television set.
Speaker 1: Yeah!
Speaker 4: You had the black and white exclusive.
Speaker 3: Oh you talking about with the big line?
Speaker 4: Yeah, the U channel.
Speaker 1: That was like an alternative channel, that had like B movies and concerts and stuff.
Speaker 4: Yeah, lots of those channels never worked.
Speaker 1: No, they didn't.
Speaker 4: Pirate TV channels.
Speaker 1: So we're here with Black Mark, and Killa Priest.
Speaker 3: That's right baby.
Speaker 2: That's right, BM, no baby mothers on the black market.
Speaker 1: Reminiscing about the 80s.
Speaker 3: Yeah man, we like to do that sometimes.
Speaker 1: Yeah.
Speaker 3: Just take it back man, I'm just looking through the paper right now. What's up out there?
Speaker 2: Yo, what's good? [crosstalk 00:05:02] England, London, what's good London?
Speaker 6: Yeah London, the album's gonna be fire, man. You know, we can't wait for it to drop. It's gonna be on March 22nd, again, it's gonna be banging.
Speaker 1: Who's doing production on this record now?
Speaker 6: We got a whole lotta different people [crosstalk 00:05:17]
Speaker 2: Got Ronald Browns, [crosstalk 00:05:20]
Speaker 6: We got some cats from the UK.
Speaker 1: Get outta here.
Speaker 6: Yeah.
Speaker 2: Yeah, God's wrath.
Speaker 6: Yeah.
Speaker 1: Nice.
Speaker 2: We got our Holland.
Speaker 1: They got some good producers out there [crosstalk 00:05:29]
Speaker 6: Big up to Holland. Holla.
Speaker 2: Yeah yeah. They treat hip-hop like ...
Speaker 1: Royalty.
Speaker 2: Yeah.
Speaker 1: I went over there once ... This has gotta be in the late, no early 90s. There was a billboard in the subway for GangStarr.
Speaker 2: Wow.
Speaker 1: You don't see that in New York.
Speaker 2: Yeah. Damn.
Speaker 1: Yeah like a huge billboard the size of that wall there for GangStarr.
Speaker 6: That's crazy.
Speaker 1: They know more about American hip-hop then we do.
Speaker 6: I know man, it's sad.
Speaker 1: And they constantly pay tribute to the old stuff.
Speaker 2: Yeah.
Speaker 1: Like we were talking about earlier, all of the mid to late 80s ... They still play that on the radio out there.
Speaker 2: [crosstalk 00:06:10]
Speaker 3: They come to these shows with the album from their crib, right? Like sign this, with the catalog literally slapping in your face like "Yo" here, I got your whole catalog. They be serious with it man, it's like you can't help but respect them back, man. You know what I mean?
Speaker 1: [crosstalk 00:06:27] The first time I saw Cool Herc was in the UK, oddly enough.
Speaker 2: Yeah that's where a lot of hip-hop pioneers is at right now, overseas like Afrika Bambaataa, you know, Jazzy Jay.
Speaker 1: Yeah, he was playing like everything from the beginning up to the late 80s. And kids were break-dancing, doing head spins on stage.
Speaker 3: Yeah.
Speaker 1: Yeah, I was like what? You don't see this in New York anymore. Or anywhere in America.
Speaker 2: Unless there's a budget.
Speaker 1: Yeah, exactly.
Speaker 2: Budget ... you get some poppas.
Speaker 1: So do you guys want to do a little verses here?
Speaker 3: No, paint style or freestyle? You want us to verse it or reverse it? Reverse is saying it backwards.
Speaker 1: Yeah, [crosstalk 00:07:18] all right well I'll just pick some beats and if you guys aren't feeling them, then too bad.
Speaker 5: All right we're gonna say Father Father.
Speaker 1: That means change the beat? I'll try and be quick, but you know. All right. Do you guys want to go now or ...
Speaker 5: Father Father.
Speaker 1: You're delirious.
Speaker 4: Yeah man, it's kinda late so you know.
Speaker 3: Yeah, it's early in the morning. People that are waking up right now going to work.
Speaker 5: All the graveyard shift workers right now.
Speaker 3: All you CO's and judges getting ready to go to court tomorrow. [crosstalk 00:07:55]
Speaker 4: Freestyle or paid style?
Speaker 1: All right let's see what happens.
Speaker 4: That's the part when you open up the door. Yeah dawg, you just caught doing what you ain't supposed to be doing. This is the freestyle beat right here.
Speaker 2: Nature's Sounds.
Speaker 5: Yeah yeah.
Speaker 2: Pick up our Rugged Man.
Speaker 5: Die Rugged Man, Die in stores.
Speaker 2: We doing it on Noah's Ark right now.
Speaker 5: Say Live Rugged Man, Live. That's the remake.
Killah Priest (born Walter Reed) is best known as being an affiliate of the Wu-Tang Clan, part of several supergroups (the HRSMN, Sunz of Man, and Black Market Militia), and for weaving themes of spirituality and politics into his lyricism. The Brooklyn born emcee first appeared on the 1994 Gravediggaz album 6 Feet Deep, rapping on the tracks, "Diary of a Madman" and "Graveyard Chamber." Following this release, Killah Priest made two appearances on two Wu-Tang Clan members' solo albums in 1995, Ol' Dirty Bastard's Return to the 36 Chambers and GZA's Liquid Swords, respectively. He then released his first solo album, Heavy Mental via Geffen Records in 1998, with the label signing him by way of taking the sound advice of GZA himself. Killah Priest then went on to release his second solo effort in 2000, View from Masada, solidifying his reputation as one of the most intriguing artists originating within the extensive family of the Wu-Tang Clan. Although the album was fairly well-received by critics, it suffered commercially, resulting in Priest being dropped by Geffen and inspiring him to start his own imprint Proverbs Music. With over a dozen projects to his name, Killah Priest recently released the follow-up to 2009's The Untold Story of Walter Reed in February 2017 with a Part 2. With over two decades in The Game, Killah Priest's repertoire also includes several film cameos and a plethora of guest features, plus an incessant hunger to continue raising the bar as a socially conscious artist.