WEBVTT

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Chuck Baby, as he's
often called on stage,

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was born in Gaston,
North Carolina in 1935.

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The oddest, Go-Go-related thing
to happen in America in 1935

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was that Porky Pig
made his debut.

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It's true.

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The first major Looney-Tune
characters in the short feature

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titled, I Haven't Got a Hat.

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This is sho' you right and
sho' you wrong for two reasons.

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In the last 20
years of his life,

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Chuck Baby was rarely
seen-- this is Chuck Brown.

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In DC, they call him Chuck Baby.

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He's important because,
remember he's the founder,

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the blueprint--

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was rarely seen without a hat.

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In fact, Thomas Sayers Ellis is
the only known photo laureate,

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and the only photo
laureate known

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to have taken such a photo.

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And that rarity occurred
one evening at Joe's Pub

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in New York City in 2007.

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But no one has seen
the photograph,

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and TSE never even
showed it to Chuck Baby

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because Chucky B
did not like to be

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photographed unless he was
wearing one of his signature

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hats.

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Nor did he like to be
photographed smoking.

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That day he was doing both.

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The late life reinvented
Mafioso, godfather of Go-Go,

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didn't mind holding a
fine, Cuban cigar, posed

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for the camera,
asked who suggests

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the mixture of fine
living and power.

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But he, too, did not want
the youth of the city

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thinking it was cool to smoke.

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In fact, his persona as
the godfather of Go-Go

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is a direct rival to the
very notion of gangster rap.

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One of his great
gifts was the way

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he could satisfy and balance
both local and federal

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interests in Washington DC.

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Local ambassador and
federal folk hero, his mama.

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Chuck was country
just like the rest

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of Real DC, a cool-ass Bama.

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In DC, if you don't fit in
or if you look different,

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we call you a Bama.

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And that's just
short for Alabama.

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It means you're
up from the South.

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Everybody in DC is
a Bama so it's odd

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that we call each other that.

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So the pronoun "he,"
instead of "his" works.

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His mama played accordion,
a little piano, or Chuck

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would say, a little piana.

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A little piana and
blue harmonica.

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Man, she could sing.

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And she was very
religiously inclined,

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so much so, her little, "give
a fuck, Chuck Baby, don't."

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I ought to explain that, sorry.

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I know this stuff.

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Sometimes the Go-Gos there
fights, fist fights break out.

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That happens; people smoke
and drink and they fight.

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And every time the
fight breaks out,

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the audience starts
singing a chant

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that goes, (SINGING) Chuck
Baby don't give a fuck.

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Say what?

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Chuck Baby don't give a fuck.

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And on the bandstand, Chuck
is saying, that ain't true.

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You know I love you.

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What y'all saying?

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And they keep it
going, (SINGING)

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Chuck Baby don't give a fuck.

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Say what?

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So the column is fast
coming into play.

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But in a real way, because
Chuck Baby don't give a--

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and he made it.

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You'll hear the song
that he made out of that.

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Blah, blah, blah, blah, blah,
blah, blah, blah, blah, blah.

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Grew up in the Holy
sanctified church.

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Chuck left home.

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Chuck hobo, Chuck
preach, Chuck boxed,

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Chuck's went to
Lawton penitentiary

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all before joining
a band, ironically

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without a trap drummer.

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Think about what
Go-Go is, and think

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about the fact that Chuck's
first band didn't even

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have a drummer.

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A band called Los
Latinos, which he left

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to form the Soul Searchers.

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And the hidden from hands
African-telephone conversation

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that exists between
Go-Go and Hip Hop.

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It is a song called "Ashley's
Roachclip" from the LP Salt

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of the Earth, not Busting Loose.

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Think about that "Ashley's
Roachclip," not Busting Loose,

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that has become one of Go-Go's
most sampled star players.

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I would like to add here, out of
fact and respect to the members

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of the Soul Searchers that
"Ashley's Roachclip" was not

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written by Chuck Brown.

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However, it was
written and nuanced

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by an albino brother named Lloyd
Pinchback, who played saxophone

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and flute for the
original Soul Searchers,

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and who now works in
the special collections

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section at the
Library of Congress,

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and continues to play to this
day on the local Go-Go scene

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with a band known
as Proper Utensils.

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Yes, there are grown
up Go-Go bands,

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but the point of "Ashley's
Roachclip" is the breakbeat.

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And the breakbeat
is, in my opinion,

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the legal tender of Hip Hop.

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Do you hear what I'm saying?

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There's a Go-Go song that exists
that you probably don't know,

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that I think is the
legal tender of Hip Hop.

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And you've heard it 1,000 times.

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But do you know the title
"Ashley's Roachclip?"

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Probably not, right?

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That's how it goes.

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And the breakbeat
is, in my opinion,

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the legal tender of Hip Hop, in
the same way that the pocket--

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that beat you heard-- is
the most important currency

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of Go-Go.

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Many a Go-Go pocket has
become a Hip Hop breakbeat.

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Go-Go does the grunt work,
and Hip Hop makes it art.

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The Soul Searchers were
onto something, something

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very full and original.

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And then something
crazy happened.

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Chuck Brown heard Grover
Washington Junior's

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classic song Mr. Magic.

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Boom, boom, boom, boom.

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Boom, boom, boom.

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Mm, mm, mm, mm, mm, mm.

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Guitar-- mm, mm, mm.

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[MIMICING GUITAR SOUND]
Tambourine-- no saxophone--

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That beat, that
boom-ta, boom, boom--

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is a foundation of Go-Go.

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And became obsessed
with the way it sounded,

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the way it was
organized, produced,

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and most importantly,
the beat of it,

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the steady pocket supporting
the gathering of instruments,

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especially the guitar
and tambourine.

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Mr Magic opened
the door for Go-Go

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and drummer, Ricky Wellman,
who would eventually

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leave Chuck Brown and the Soul
Searchers after Busting Loose

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to tour for years as
Miles Davis's drummer.

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Wellman added the
foot and the sock

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that Chuck had been
having trouble getting

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serious drummers to lock into.

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No one talks about this,
but quite a few drummers

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were fired from
the Soul Searchers,

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or as Chuck liked to say, "son,
I'm going to have to miss you."

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I love that.

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I have so many friends who
played for Chuck and they say,

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he'd pick up the phone, "hey,
Chuck, what's going on?"

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"Son, I'm going to
have to miss you."

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That's so country.

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I love that.

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For not wanting to
play a straight pocket

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or any variation of
its beat kin all night.

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"Ashley's Roachclip."

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[MUSIC PLAYING]

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Doesn't sound like
Go-Go yet, does it?

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Doesn't sound like Hip Hop yet.

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Sounds like you're driving
around the town with just

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silk shirt onto
your car, leaning,

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looking for your
lady or your man

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or your kids or
some poetry books.

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Pan wide angle waving at people.

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Flute, a flute.

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Flute means intellectualism.

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Here we go.

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Uh!

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That tambourine, that
church up in their, church.

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Now it's summer time.

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You're having a
picnic with your lady.

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Some sushi, some eggs.

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But you just got paid.

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You're waiting for
the Hip Hop breakbeat.

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I know you are.

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And when you hear it,
you got to tell me

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what song you know it from.

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That's my favorite part.

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[MUSIC PLAYING]

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A chuckling guitar.

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I just sped the blues up.

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[MUSIC PLAYING]

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Peace.

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You know it.

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Come on now.

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It's been in 50 songs.

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Made most popular by who?

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Eric B and Rakim,
"Paid in Full."

00:10:08.800 --> 00:10:13.710 align:middle line:90%


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Tons of songs.

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However, I cannot stress enough
the hidden-gem significance

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of a song like
"Ashley's Roachclip"

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from Eric B and
Rakim's, "Paid in Full,"

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all the way up to J Dilla's
"Bass and--" I can't get

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internet on here.

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You can.

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I tried.

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I would really love to.

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Real quick.

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Lovely, Hannah.

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So we know the significance
of Eric B and Rakim.

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We know the significance
now in Hip Hop of J Dilla.

00:10:43.400 --> 00:10:46.260 align:middle line:90%


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Oh, yes.

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Sorry.

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We know the significance
of Eric B and Rakim.

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We know the
significance of J Dilla.

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But I want you to
show Dilla's approach

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because it's more recent.

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It's called "Key and--" I
think it's "Key and Bass Duet."

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[MUSIC PLAYING]

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Whereas Eric B came at
it from the breakbeat,

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Dilla came through
the front door.

00:11:15.025 --> 00:11:15.525 align:middle line:90%
The intro.

00:11:15.525 --> 00:11:20.612 align:middle line:90%


00:11:20.612 --> 00:11:21.570 align:middle line:90%
You missed that change.

00:11:21.570 --> 00:11:22.980 align:middle line:90%
Look at that.

00:11:22.980 --> 00:11:23.550 align:middle line:90%
Do it again.

00:11:23.550 --> 00:11:27.433 align:middle line:90%


00:11:27.433 --> 00:11:27.975 align:middle line:90%
That collage.

00:11:27.975 --> 00:11:32.070 align:middle line:90%


00:11:32.070 --> 00:11:33.905 align:middle line:84%
Up to J Dilla's
"Bass and Key Duet."

00:11:33.905 --> 00:11:36.030 align:middle line:84%
It has been sampled by the
likes of over 50 artists

00:11:36.030 --> 00:11:40.140 align:middle line:84%
over several genres,
including Moby, OK?

00:11:40.140 --> 00:11:43.080 align:middle line:84%
But if "Ashley's Roachclip"
is Go-Go's shining gift to Hip

00:11:43.080 --> 00:11:48.480 align:middle line:84%
Hop, then Doug E Fresh and
Slick Rick's 1985 released "The

00:11:48.480 --> 00:11:50.100 align:middle line:90%
Show--" I can't.

00:11:50.100 --> 00:11:53.520 align:middle line:84%
If you weren't around in 85, I
can't explain to you how huge

00:11:53.520 --> 00:11:55.410 align:middle line:90%
that was on the streets.

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I mean, when I say "The
Show," do we know "The Show?"

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OK, now.

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Not "La Di Da Di" now, "The
Show--" released "The Show"

00:12:02.580 --> 00:12:04.770 align:middle line:90%
either saved or destroyed Go-Go.

00:12:04.770 --> 00:12:08.790 align:middle line:84%
It certainly transformed
the laid back way Go-Go lead

00:12:08.790 --> 00:12:11.040 align:middle line:84%
talkers stood still
standing behind--

00:12:11.040 --> 00:12:14.520 align:middle line:90%


00:12:14.520 --> 00:12:16.440 align:middle line:84%
before Doug E Fresh
hit "The Show."

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This is how Go-Go
lead talkers talk.

00:12:18.120 --> 00:12:19.380 align:middle line:90%
This is how they did it.

00:12:19.380 --> 00:12:20.710 align:middle line:90%
Your mic was on the stand.

00:12:20.710 --> 00:12:21.360 align:middle line:90%
You stood up.

00:12:21.360 --> 00:12:24.060 align:middle line:90%


00:12:24.060 --> 00:12:29.350 align:middle line:84%
I see you back there J.M.W,
what kind of shirt is that?

00:12:29.350 --> 00:12:30.410 align:middle line:90%
Give the band something.

00:12:30.410 --> 00:12:32.820 align:middle line:90%
[LAUGHTER]

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But after "The Show," after
"The Show," that whole line up--

00:12:38.460 --> 00:12:41.170 align:middle line:90%
I'll tell you about it--

00:12:41.170 --> 00:12:42.250 align:middle line:90%
came in motion.

00:12:42.250 --> 00:12:43.900 align:middle line:90%
Lead talkers went from that to--

00:12:43.900 --> 00:12:50.500 align:middle line:90%


00:12:50.500 --> 00:12:52.720 align:middle line:84%
that's a whole other
part of speech.

00:12:52.720 --> 00:12:55.470 align:middle line:84%
Well, they went
from noun to verb--

00:12:55.470 --> 00:12:57.220 align:middle line:84%
It certainly transformed
the laid back way

00:12:57.220 --> 00:13:00.458 align:middle line:84%
Go-Go lead talkers stood behind
a standing microphone and mic

00:13:00.458 --> 00:13:01.750 align:middle line:90%
stand and approached the crowd.

00:13:01.750 --> 00:13:04.180 align:middle line:84%
And also opened the
door for Go-Go drummers

00:13:04.180 --> 00:13:05.950 align:middle line:84%
to move through the
third and fourth gears

00:13:05.950 --> 00:13:11.500 align:middle line:84%
of the Go-Go pocket with an
open-high hat, open high-hat.

00:13:11.500 --> 00:13:14.020 align:middle line:84%
Before "The Show," the
high-hat remained closed

00:13:14.020 --> 00:13:16.600 align:middle line:84%
when it was only used as
an occasional mouth, whose

00:13:16.600 --> 00:13:19.240 align:middle line:84%
commentary was
sliced between beats.

00:13:19.240 --> 00:13:22.630 align:middle line:84%
It was the oral moment
in the metronomic.

00:13:22.630 --> 00:13:25.690 align:middle line:84%
After "The Show," drummers
like William "Ju Ju" House--

00:13:25.690 --> 00:13:29.440 align:middle line:90%
of EU, and you had Grace Jones.

00:13:29.440 --> 00:13:31.380 align:middle line:84%
Grace Jones, "Slave
to the Rhythm,"

00:13:31.380 --> 00:13:33.730 align:middle line:90%
that's actually a Go-Go song--

00:13:33.730 --> 00:13:36.280 align:middle line:84%
fame and Quentin "Footz"
Davidson of Rare Essence,

00:13:36.280 --> 00:13:38.470 align:middle line:90%
allow their high-hats to talk.

00:13:38.470 --> 00:13:41.920 align:middle line:84%
But two cymbal, top
lip, bottom lip talk

00:13:41.920 --> 00:13:44.800 align:middle line:84%
that added a new currency,
which was indeed,

00:13:44.800 --> 00:13:48.550 align:middle line:84%
pocket full of
coin-like to the beat.

00:13:48.550 --> 00:13:51.340 align:middle line:84%
Structurally and stage
visually, "The Show"

00:13:51.340 --> 00:13:54.520 align:middle line:84%
caused the beginning of the
end of the traditional, Go-Go,

00:13:54.520 --> 00:13:58.030 align:middle line:84%
linear frontline
of horn players who

00:13:58.030 --> 00:14:00.640 align:middle line:84%
did dance steps in a
tradition of bands like,

00:14:00.640 --> 00:14:03.400 align:middle line:84%
the Bar-Kays; Earth, Wind
& Fire; and The Commodores,

00:14:03.400 --> 00:14:04.790 align:middle line:90%
to name a few.

00:14:04.790 --> 00:14:07.060 align:middle line:84%
The days of a James
Brown trumpet player,

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spinning his horn in unison
with Fred Wesley, Maceo Parker,

00:14:13.000 --> 00:14:16.780 align:middle line:84%
and St Clair Pinckney
side-to-side stage sway were

00:14:16.780 --> 00:14:19.990 align:middle line:84%
quickly put to rest by
the more open, roaming,

00:14:19.990 --> 00:14:23.080 align:middle line:84%
arm waving like some
octopus or something--

00:14:23.080 --> 00:14:25.720 align:middle line:84%
that's what Slick Rick said
on his lecture last album,

00:14:25.720 --> 00:14:28.960 align:middle line:84%
waving your arms like it's
octopus or something--

00:14:28.960 --> 00:14:32.170 align:middle line:84%
of Hip Hop and Go-Go bands
as they incorporated more rap

00:14:32.170 --> 00:14:34.270 align:middle line:84%
songs into their
live shows, also

00:14:34.270 --> 00:14:38.140 align:middle line:84%
adopted the footwork of Hip
Hop performance, Hip Hop style,

00:14:38.140 --> 00:14:41.020 align:middle line:84%
and Hip Hop attitude,
including the use

00:14:41.020 --> 00:14:44.380 align:middle line:84%
of the n-word, and
mad profanity while

00:14:44.380 --> 00:14:46.520 align:middle line:90%
free-styling in the pocket.

00:14:46.520 --> 00:14:48.700 align:middle line:84%
This is the change
from "Busting Loose"

00:14:48.700 --> 00:14:52.080 align:middle line:90%
and that pocket post "The Show."

00:14:52.080 --> 00:14:53.000 align:middle line:90%