WEBVTT

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[GOGO MUSIC PLAYING]

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(RAPPING) We're going
to try something new.

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Because we don't know
really what to do.

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So we're going to
try something--"

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Lead talker, keyboard,
bass drum, verse.

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Freestyling in a real
dark club on a weekend.

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Everybody been to the bar.

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This brother's name
is Anwan Glover.

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He's one of the actors on the
TV show The Wire, Slim Charles.

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(RAPPING) This year
I ain't drink--

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I ain't drink no Cristal.

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Because they talk
about Cristal too much,

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so I drink the Dom P
and the XO, and the '92.

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So all ya'll niggas,
I just feel--

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No congas yet.

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Wait for the congas.

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(RAPPING) Listen up.

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[INAUDIBLE] for the uptown crew.

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Uh, yeah, hey.

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Feel it.

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This is how we're
going to twist to them.

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Fuck!

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What.

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Yeah.

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Listen.

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I remember back in 1988 when
I first stepped on the stage,

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I didn't give a fuck
about [INAUDIBLE]

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rocking the motherfucking
38, but motherfucking slugs

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in the gate.

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Had to get my own way out.

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Never crossed my [INAUDIBLE].

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[INAUDIBLE]

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No doubt.

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Now I got a [INAUDIBLE] for you.

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[INAUDIBLE]

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So what is a go-go pocket,
and why can't anyone else

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do it like DC?

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And is this fact, the
fact of the feel of it,

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the homegrown vibe of
it, the real reason

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why go-go has not, as they say
political considerations aside,

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gone national?

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The two people probably
responsible for the pocket

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are the drum and
the conga player,

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and the DC conga players
play on a four set.

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Two congas and two smaller
junior congos, not bongos.

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A go-go pocket is
a conversation,

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a grammar between these
two types of drummers.

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Here's a quick history
lesson on the conga players

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who have helped shape and
define the deep percussive

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fabric of the DC pocket.

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As stated earlier, the first
recorded in studio pocket

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was played by Gregory
"Bright Moments"

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Gerran on "Bustin' Loose."

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Gerran used a two
set, and after touring

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with the Soul Searchers, split
to play with Gil Scott-Heron.

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To our knowledge, he has
not played go-go since.

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While the Soul Searchers were
away enjoying the success

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of "Bustin' Loose" a young
band named Rare Essence,

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also known around town as
the Baby Soul Searchers,

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added the two--

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It's true-- They used
to open for and copy,

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and they actually
copied and conquered.

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Added two junior
congas to their pocket,

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and with Tyrone "Jungle Boogie"
Williams hitting the skins,

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more percussive
definition was added

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to the basic home base first
gear pattern made popular

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by "Bustin' Loose."

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Milton "Go-Go Mickey" Freeman
replaced Jungle Boogie

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and continued to expand
what could and could not fit

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into the pocket.

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The Junkyard Band, a group of
youngins from the Barry Farms

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dwelling in Southeast DC
emerged playing buckets,

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tin cans, and toy horns,
and after appearing in

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Def Jam's "Tougher Than Leather"
and recording two singles--

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"Sardines" and "The Word"
for Def Jam Records--

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had the nerve to abandon their
plastic homemade instruments,

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graduating themselves
from a pocket to what they

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coined as a socket.

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So after that, after that the
pocket was old folk's business.

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Old people in the go-go,
Chuck Brown and them,

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they danced slow.

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They come in the club.

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The youngins come
in ready to go.

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So the pocket wasn't
good enough anymore.

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So Junkyard Band created
something called the socket.

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Played by a young fellow
named Wink or Winko,

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The Junkyard-- the J Y
B, Junkyard Band, socket,

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and the murder of
their drummer Heavy One

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constitutes the end of
the Golden Age of go-go.

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I'm going to let you hear
Junkyard on the buckets

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and then I'm going to let
you hear a Junkyard socket.

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It all started 1979.

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Two groups of nappy
headed dirt poor youngins,

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down in the projects, Barry
Farms, Southeast Washington DC.

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One group, led by none other
than himself, The Heavy One.

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Another group led by Buggs.

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Both groups, playing on
boxes, buckets, and can,

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didn't know what
they were doing.

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Just having some fun.

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Even the drum set is made
of buckets and crates.

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[GOGO MUSIC PLAYING]

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Come on, Big Daddy.

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In 1980, came Derek McCray.

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He brought together the two
groups, Heavy One's group

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and Buggs's group.

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He made one group.

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They called it Junkyard Band.

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They called him Big Daddy.

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They took the band out
on the streets of DC,

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performing all around.

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Became a tourist attraction.

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Became a commercial attraction,
playing on boxes, buckets,

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and cans on the streets of DC.

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(SINGING) Here's a story
about the Junkyard Band

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that started four years ago.

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We were playing in
the alley [INAUDIBLE]

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in Southeast Barry Farms.

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Southeast Barry Farms.

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The Junkyard Band--

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They had a Radio Shack Casio.

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You can hear it
in the background.

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[GOGO MUSIC PLAYING]

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The public started loving it.

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We were finally getting
our [INAUDIBLE]..

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And when sitting [INAUDIBLE]
Foot loose Rob, Little

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[INAUDIBLE] and Reeses.

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It's mostly chitlin buckets.

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[GOGO MUSIC PLAYING] [INAUDIBLE]
It's the Junkyard Band!

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You feel all right?

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This it.

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Now imagine that.

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Five years later, we grew up.

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We listened to hip hop.

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Hip hop's everywhere.

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We want to be hard.

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We want to be tough.

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We about to be in high school.

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Girls don't like buckets.

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The pocket is old.

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We got jobs now, fresh gear.

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So usually that'd be like,
well, do what you want to do.

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You're going to suck anyway
because you're just some bucket

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players.

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But these kids
took over the city.

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[GOGO MUSIC PLAYING]

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Give me a socket, [INAUDIBLE].

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Whoo!

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Right from the old school.

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That cowbell.

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[INAUDIBLE RAPPING]

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Congas.

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Lead talk.

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What if that's a prosody?

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What if that's a rival
to iambic pentameter?

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[INAUDIBLE RAPPING]

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Four-- congas.

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Talking that talk.

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In a foot.

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[INAUDIBLE]

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"Bustin' Loose" was both
a blessing and a curse,

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because it took the
Soul Searchers out of DC

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for more than a year.

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And they returned,
they discovered

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that their sound
had been duplicated

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and watered down, musically,
for the consumption

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of young bodies and young ears.

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They heard aspects of
themselves everywhere,

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in EU, Rare Essence, Trouble,
who became Trouble Funk.

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Oh.

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Yeah.

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That's a great song.

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Who had become
Trouble Funk and who

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has signed with
Sugarhill Records

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and released the now
classic hybrid of golden age

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go-go meets early
rap "Pump Me Up."

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Everybody knows that song.

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Pump, pump me up.

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You got to hear that
real quick, hold up.

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That's a big deal.

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I hated the song,
but you know what?

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New York-- this is a
go-go song that I hated,

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but New York, hip
hop people loved it.

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[GOGO MUSIC PLAYING]

00:09:04.560 --> 00:09:06.150 align:middle line:90%
That's a busy pocket, right?

00:09:06.150 --> 00:09:08.220 align:middle line:90%
It's not even a pocket.

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It becomes what we call crank.

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Like, machine like.

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The vibraslap.

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You hear the timbales
going crazy in there.

00:09:16.170 --> 00:09:19.750 align:middle line:90%


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Very street, right?

00:09:20.650 --> 00:09:23.800 align:middle line:90%
Very jungle, actually.

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Just in the activity of it.

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But check it out.

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This is a Sugarhill
Records release.

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This comes right after
"Rapper's Delight."

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Pump, pump, pump, pump me up!

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Bass.

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They actually don't try to rap.

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So you know the youngins
hated them, if they say--

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It's well-organized.

00:10:03.980 --> 00:10:10.920 align:middle line:90%


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Pump, pump, pump, pump me up!

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Like the man with the
super S on his cape,

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we gonna jump to the
funk like we got no way.

00:10:18.500 --> 00:10:20.600 align:middle line:90%
Very Sugarhill.

00:10:20.600 --> 00:10:22.915 align:middle line:90%
We weren't having that in DC.

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They loved it in London.

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As well as in all other
bands, those bands

00:10:28.310 --> 00:10:29.510 align:middle line:90%
were using as opening acts.

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Truth be known,
the city rejected

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Chuck Brown on his return and
the future of go-go struggled

00:10:33.860 --> 00:10:37.320 align:middle line:84%
for quite a few years on the
live circuit until, of course,

00:10:37.320 --> 00:10:39.350 align:middle line:84%
he found the perfect
studio and live

00:10:39.350 --> 00:10:41.900 align:middle line:84%
blend with "it
don't mean a thing,

00:10:41.900 --> 00:10:44.030 align:middle line:90%
if it ain't got the go-go swing.

00:10:44.030 --> 00:10:45.530 align:middle line:84%
It go doo wop,
doo wop, doo wop."

00:10:45.530 --> 00:10:47.517 align:middle line:84%
Chuck Brown remade Duke
Ellington's classic.

00:10:47.517 --> 00:10:49.100 align:middle line:84%
And that just took
the city back over.

00:10:49.100 --> 00:10:51.080 align:middle line:90%
And only he could hear it.

00:10:51.080 --> 00:10:53.900 align:middle line:84%
Only he could hear in the
jazz licks and scatting riffs

00:10:53.900 --> 00:10:57.800 align:middle line:84%
of "Moody's Mood for Love" the
rhythm of a famous woodpecker

00:10:57.800 --> 00:11:01.110 align:middle line:84%
pecking wood and hidden in Porky
Pig's "A-b-b-b-b that's all

00:11:01.110 --> 00:11:01.610 align:middle line:90%
folks."

00:11:01.610 --> 00:11:03.290 align:middle line:90%
Chuck loved to sample cartoons.

00:11:03.290 --> 00:11:05.180 align:middle line:84%
The feeling of a
brand new groove.

00:11:05.180 --> 00:11:08.030 align:middle line:84%
But go-go's smooth sound
of a brand new groove

00:11:08.030 --> 00:11:10.782 align:middle line:84%
didn't last long, and the
effects of the CIA sponsored

00:11:10.782 --> 00:11:12.740 align:middle line:84%
crack epidemic and the
influence of gangsta rap

00:11:12.740 --> 00:11:14.750 align:middle line:84%
soon took hold of the
streets in Washington DC,

00:11:14.750 --> 00:11:17.390 align:middle line:84%
and the pocket under
attack spoke back,

00:11:17.390 --> 00:11:20.150 align:middle line:84%
and more and more
homegrown go-go rappers

00:11:20.150 --> 00:11:24.770 align:middle line:84%
like Fat Rodney, Vinny D,
Rapping Reds, and Stinky Dink

00:11:24.770 --> 00:11:28.040 align:middle line:84%
made weekly appearances
with specific go-go bands.

00:11:28.040 --> 00:11:31.560 align:middle line:84%
And it wasn't all
male energy either.

00:11:31.560 --> 00:11:37.250 align:middle line:84%
In fact, in 1986 to 1988
Meshell Ndegeocello,

00:11:37.250 --> 00:11:40.250 align:middle line:84%
then known as-- we
all know her, right?

00:11:40.250 --> 00:11:42.620 align:middle line:84%
Then known in DC as
Michelle Johnson,

00:11:42.620 --> 00:11:45.800 align:middle line:84%
rapped and played bass for
Little Benny and the Masters

00:11:45.800 --> 00:11:47.810 align:middle line:84%
and released a
single titled "Who's

00:11:47.810 --> 00:11:49.590 align:middle line:90%
that Knocking at the Door."

00:11:49.590 --> 00:11:52.130 align:middle line:84%
It's hard to find that single
anywhere other than on wax,

00:11:52.130 --> 00:11:56.720 align:middle line:84%
but Ndegeocello did revisit her
go-go roots on a CD "Cookie:

00:11:56.720 --> 00:11:58.730 align:middle line:84%
The Anthropological
Mixtape" with a song

00:11:58.730 --> 00:12:02.330 align:middle line:84%
called "Barry Farms," a
narrative of experience

00:12:02.330 --> 00:12:06.560 align:middle line:84%
over seductive go-go beat that
reroutes the usual male energy

00:12:06.560 --> 00:12:08.960 align:middle line:84%
by regendering and
redefining go-go's

00:12:08.960 --> 00:12:10.633 align:middle line:90%
so-called freak-a-deak zone.

00:12:10.633 --> 00:12:12.050 align:middle line:84%
It's one of the
critiques of go-go

00:12:12.050 --> 00:12:15.050 align:middle line:84%
and hip hop is the
high masculinity.

00:12:15.050 --> 00:12:16.430 align:middle line:90%
But listen to what Michelle--

00:12:16.430 --> 00:12:19.040 align:middle line:84%
Right, who's queer,
but who came up,

00:12:19.040 --> 00:12:20.840 align:middle line:90%
cut her teeth in go-go bands.

00:12:20.840 --> 00:12:22.850 align:middle line:84%
The only female
musician in those days

00:12:22.850 --> 00:12:25.280 align:middle line:90%
did with go-go sound.

00:12:25.280 --> 00:12:26.600 align:middle line:90%
The narrative is a bit rated x.

00:12:26.600 --> 00:12:28.227 align:middle line:90%
A bit adult, so you know.

00:12:28.227 --> 00:12:29.060 align:middle line:90%
[GOGO MUSIC PLAYING]

00:12:29.060 --> 00:12:30.740 align:middle line:90%
So go-go music is party music.

00:12:30.740 --> 00:12:34.810 align:middle line:90%


00:12:34.810 --> 00:12:37.795 align:middle line:84%
He slowed it down
because it's love time.

00:12:37.795 --> 00:12:45.620 align:middle line:90%


00:12:45.620 --> 00:12:47.660 align:middle line:84%
Cuz you know there no
love songs in go-go.

00:12:47.660 --> 00:12:54.670 align:middle line:90%


00:12:54.670 --> 00:12:55.720 align:middle line:90%
Size 'em on up.

00:12:55.720 --> 00:13:11.820 align:middle line:90%


00:13:11.820 --> 00:13:15.723 align:middle line:90%
[SINGING]

00:13:15.723 --> 00:13:24.872 align:middle line:90%


00:13:24.872 --> 00:13:27.865 align:middle line:90%
She was about 17.

00:13:27.865 --> 00:13:31.470 align:middle line:90%
Just young and fine.

00:13:31.470 --> 00:13:34.500 align:middle line:84%
She had the kind of
kisses that made you sad.

00:13:34.500 --> 00:13:37.740 align:middle line:84%
You never hear women macking
on women in go-go songs.

00:13:37.740 --> 00:13:41.283 align:middle line:84%
She liked to flirt with me,
then act like she didn't know me

00:13:41.283 --> 00:13:45.062 align:middle line:90%
when her friends came around.

00:13:45.062 --> 00:13:46.026 align:middle line:90%
But I didn't mind.

00:13:46.026 --> 00:13:50.860 align:middle line:90%


00:13:50.860 --> 00:13:52.670 align:middle line:84%
Because when her
friends weren't around,

00:13:52.670 --> 00:13:55.212 align:middle line:84%
Shorty and I, we'd hang out real
tight; just sit up and talk.

00:13:55.212 --> 00:14:03.860 align:middle line:90%


00:14:03.860 --> 00:14:07.920 align:middle line:84%
But one night she wanted to
see just how far it could go.

00:14:07.920 --> 00:14:10.878 align:middle line:90%


00:14:10.878 --> 00:14:12.850 align:middle line:90%
Just how far I would go.

00:14:12.850 --> 00:14:15.748 align:middle line:90%


00:14:15.748 --> 00:14:17.206 align:middle line:84%
She couldn't love
me without shame.

00:14:17.206 --> 00:14:18.581 align:middle line:84%
She only wanted
me for one thing.

00:14:18.581 --> 00:14:24.640 align:middle line:90%


00:14:24.640 --> 00:14:28.460 align:middle line:84%
But you can teach
your boy to do that.

00:14:28.460 --> 00:14:31.082 align:middle line:90%
Can you love me without shame?

00:14:31.082 --> 00:14:32.249 align:middle line:90%
I need you when I feel pain.

00:14:32.249 --> 00:14:33.249 align:middle line:90%
You like ot mess around.

00:14:33.249 --> 00:14:46.800 align:middle line:90%


00:14:46.800 --> 00:14:48.480 align:middle line:84%
Stop it before we get
to the nasty part.

00:14:48.480 --> 00:14:51.857 align:middle line:84%
So for a while the
pocket struggled

00:14:51.857 --> 00:14:53.940 align:middle line:84%
to find new patterns and
conversations with itself

00:14:53.940 --> 00:14:56.460 align:middle line:84%
to match this newfound hip
hop influence boldness.

00:14:56.460 --> 00:14:59.640 align:middle line:84%
Michelle represents one
aspect of that boldness.

00:14:59.640 --> 00:15:02.190 align:middle line:84%
Tupac came to DC and
performed with go-go bands.

00:15:02.190 --> 00:15:05.250 align:middle line:84%
Scarface of the Ghetto Boyz
was a frequent stage presence

00:15:05.250 --> 00:15:07.500 align:middle line:90%
at Backyard Band shows.

00:15:07.500 --> 00:15:13.650 align:middle line:84%
Biz Marquee and Cut Master
Cuvee dropped the single

00:15:13.650 --> 00:15:16.830 align:middle line:84%
"To My Boys," A roll call-ish
go-go beat dedication

00:15:16.830 --> 00:15:18.930 align:middle line:84%
song that pays homage
to Rare Essence

00:15:18.930 --> 00:15:22.110 align:middle line:84%
by saying the names of
go-go members White Boy Funk

00:15:22.110 --> 00:15:22.860 align:middle line:90%
and Foote.

00:15:22.860 --> 00:15:24.840 align:middle line:84%
While a student at
Howard University,

00:15:24.840 --> 00:15:27.240 align:middle line:84%
Sean Combs heard
go-go but gave up

00:15:27.240 --> 00:15:30.090 align:middle line:84%
on it when he was rejected
during a dance audition

00:15:30.090 --> 00:15:31.830 align:middle line:90%
by Rare Essence.

00:15:31.830 --> 00:15:32.730 align:middle line:90%
It's true.

00:15:32.730 --> 00:15:36.450 align:middle line:84%
Puffy tried out to be a
backup dancer for a go-go band

00:15:36.450 --> 00:15:38.190 align:middle line:90%
when he was in college.

00:15:38.190 --> 00:15:41.610 align:middle line:84%
And then when they
rejected him he turned off

00:15:41.610 --> 00:15:45.210 align:middle line:84%
from go-go, and years later when
Rare Essence went to New York

00:15:45.210 --> 00:15:48.330 align:middle line:84%
to record for Andre
Harrell, Puffy

00:15:48.330 --> 00:15:50.250 align:middle line:84%
rejected all their
singles after he was big.

00:15:50.250 --> 00:15:51.640 align:middle line:90%
It was a big deal.

00:15:51.640 --> 00:15:54.810 align:middle line:84%
So he put his foot
in go-go's ass,

00:15:54.810 --> 00:15:56.910 align:middle line:84%
and the street
knows him for that.

00:15:56.910 --> 00:16:00.210 align:middle line:84%
Years later, the Puffy produced
Biggie Style would influence

00:16:00.210 --> 00:16:02.850 align:middle line:84%
a whole generation of new
go-go rappers, including

00:16:02.850 --> 00:16:07.170 align:middle line:84%
Los, of Backyard,
who made the song

00:16:07.170 --> 00:16:10.590 align:middle line:84%
"Warning" by Biggie a
weekly staple at backyard

00:16:10.590 --> 00:16:14.400 align:middle line:90%
shows in 1996 and 1999.

00:16:14.400 --> 00:16:16.530 align:middle line:84%
I would play it, but
we're running out of time.

00:16:16.530 --> 00:16:18.510 align:middle line:84%
As the hardening
surface of go-go,

00:16:18.510 --> 00:16:20.760 align:middle line:84%
fueled by the
proximity of Baltimore

00:16:20.760 --> 00:16:22.350 align:middle line:84%
and the hit series
The Wire, continued

00:16:22.350 --> 00:16:26.370 align:middle line:84%
to borrow from hip hop, there
was really a go-go love song

00:16:26.370 --> 00:16:29.790 align:middle line:84%
until Chuck Brown, in search
of a way to again re-establish

00:16:29.790 --> 00:16:36.630 align:middle line:84%
his mafioso-like ambassadorship
and in a rapidly changing DC,

00:16:36.630 --> 00:16:38.700 align:middle line:84%
released the Chucky
Thompson produced

00:16:38.700 --> 00:16:40.350 align:middle line:84%
"We're About the
Business," which

00:16:40.350 --> 00:16:43.020 align:middle line:84%
featured a clean and steady
and spacious cover of the love

00:16:43.020 --> 00:16:45.840 align:middle line:84%
theme from the
film The Godfather.

00:16:45.840 --> 00:16:47.230 align:middle line:90%
May play that.

00:16:47.230 --> 00:16:49.270 align:middle line:90%
Let me try it.

00:16:49.270 --> 00:16:52.578 align:middle line:84%
It's the closest go-go
has come to a love song.

00:16:52.578 --> 00:16:55.554 align:middle line:90%
[GOGO MUSIC PLAYING]

00:16:55.554 --> 00:17:32.310 align:middle line:90%


00:17:32.310 --> 00:17:34.730 align:middle line:90%
You can see where that's going.

00:17:34.730 --> 00:17:37.230 align:middle line:84%
That's important because that's
produced by Chucky Thompson,

00:17:37.230 --> 00:17:38.430 align:middle line:90%
who was actually a part of--

00:17:38.430 --> 00:17:40.650 align:middle line:84%
Puffy didn't realize
he had, in his crew,

00:17:40.650 --> 00:17:43.100 align:middle line:84%
someone who he
had met at Howard,

00:17:43.100 --> 00:17:44.400 align:middle line:90%
who was a big Chuck Brown fan.

00:17:44.400 --> 00:17:45.640 align:middle line:84%
And he worked with
him for years.

00:17:45.640 --> 00:17:47.182 align:middle line:84%
So anyway, I can
tell you that story.

00:17:47.182 --> 00:17:48.270 align:middle line:90%
But blah, blah, blah.

00:17:48.270 --> 00:17:53.260 align:middle line:90%


00:17:53.260 --> 00:17:55.870 align:middle line:84%
OK. whole gen--
da-da-da-da-da-da-da-da.

00:17:55.870 --> 00:17:59.320 align:middle line:84%
His mafioso ambassadorship
like [MUMBLING]..

00:17:59.320 --> 00:18:02.090 align:middle line:84%
Thompson, who played
congas and keyboards

00:18:02.090 --> 00:18:04.090 align:middle line:84%
during the beginning of
the bucket age of go-go,

00:18:04.090 --> 00:18:06.400 align:middle line:84%
left DC and honed
his craft as a member

00:18:06.400 --> 00:18:10.810 align:middle line:84%
of Bad Boy Entertainment's hit
man team of in-house producers

00:18:10.810 --> 00:18:12.220 align:middle line:90%
during the 1990s.

00:18:12.220 --> 00:18:14.440 align:middle line:84%
Thompson, who produced
that song, right,

00:18:14.440 --> 00:18:17.710 align:middle line:84%
Thompson's production of
Nas's "One Mic" in 2002

00:18:17.710 --> 00:18:19.720 align:middle line:84%
is legendary, as
it was conceived

00:18:19.720 --> 00:18:22.210 align:middle line:84%
during a short beef
between Nas and Jay-Z.

00:18:22.210 --> 00:18:24.910 align:middle line:84%
The music rises and calms,
rises and calms, on the three,

00:18:24.910 --> 00:18:27.520 align:middle line:84%
and "One mic, all
I need is one mic."

00:18:27.520 --> 00:18:29.680 align:middle line:84%
Rises and calms like the
moment before a fight,

00:18:29.680 --> 00:18:31.990 align:middle line:84%
the fight itself, and the
not so calm afterwards.

00:18:31.990 --> 00:18:33.640 align:middle line:84%
The marriage of
go-go and hip hop

00:18:33.640 --> 00:18:37.030 align:middle line:84%
finally came home in 2007
when Thompson and Chuck Brown

00:18:37.030 --> 00:18:40.270 align:middle line:84%
released "Chuck Baby" with
Chuck's daughter KK holding

00:18:40.270 --> 00:18:43.840 align:middle line:84%
down the hype spot, flowing sort
of like Eve, above a bouncing

00:18:43.840 --> 00:18:47.470 align:middle line:84%
beat pushed by horns and
riddled with the referencing

00:18:47.470 --> 00:18:49.490 align:middle line:90%
punctuation of plastic buckets.

00:18:49.490 --> 00:18:51.560 align:middle line:84%
So when Chuck turned to
Chucky Thompson and said,

00:18:51.560 --> 00:18:52.540 align:middle line:90%
give me something new.

00:18:52.540 --> 00:18:53.890 align:middle line:90%
Give me something different.

00:18:53.890 --> 00:18:56.890 align:middle line:84%
Chucky Thompson turned back
to his roots and said, Chuck,

00:18:56.890 --> 00:18:59.290 align:middle line:84%
I want you to use the
buckets in your song.

00:18:59.290 --> 00:19:01.670 align:middle line:90%
And Chuck was like, what?

00:19:01.670 --> 00:19:02.420 align:middle line:90%
This is what came.

00:19:02.420 --> 00:19:04.230 align:middle line:90%
This is what happened.

00:19:04.230 --> 00:19:06.020 align:middle line:90%
Listen underneath.

00:19:06.020 --> 00:19:09.749 align:middle line:84%
Maybe he created the sound, but
he didn't create the bucket.

00:19:09.749 --> 00:19:16.520 align:middle line:90%
[MUSIC - CHUCK BROWN, "CHUCK"]

00:19:16.520 --> 00:19:18.378 align:middle line:90%
That's the bucket.

00:19:18.378 --> 00:19:19.670 align:middle line:90%
Taking the place of the congas.

00:19:19.670 --> 00:19:22.600 align:middle line:90%


00:19:22.600 --> 00:19:26.312 align:middle line:84%
Well baby girl K,
tell me what cha do.

00:19:26.312 --> 00:19:27.440 align:middle line:90%
[INAUDIBLE]

00:19:27.440 --> 00:19:29.650 align:middle line:84%
And Chucky B, let
them know what we do.

00:19:29.650 --> 00:19:31.640 align:middle line:84%
I used to say I would
never not in my days,

00:19:31.640 --> 00:19:32.580 align:middle line:90%
never change my ways.

00:19:32.580 --> 00:19:35.060 align:middle line:84%
Too good at getting away
with all them games I played.

00:19:35.060 --> 00:19:37.730 align:middle line:84%
Smooth walker, slick
talker, anything I did,

00:19:37.730 --> 00:19:40.850 align:middle line:84%
get out of a jam quicker
than MacGyver, ya dig?

00:19:40.850 --> 00:19:42.050 align:middle line:90%
I think I'm sprung now.

00:19:42.050 --> 00:19:45.346 align:middle line:84%
I seen a dude up town who makes
me want to settle down and have

00:19:45.346 --> 00:19:45.990 align:middle line:90%
his son now.

00:19:45.990 --> 00:19:47.250 align:middle line:90%
He might be the one now.

00:19:47.250 --> 00:19:48.570 align:middle line:90%
I can't explain it myself.

00:19:48.570 --> 00:19:50.280 align:middle line:90%
I let my daddy Chuck Brown.

00:19:50.280 --> 00:19:53.520 align:middle line:84%
I've been around the world
from London to Chicago,

00:19:53.520 --> 00:19:56.150 align:middle line:84%
but I ain't never
met a girl like you.

00:19:56.150 --> 00:19:59.210 align:middle line:90%
Shorty take a look into my eyes.

00:19:59.210 --> 00:20:00.856 align:middle line:84%
Said she heard I
was a crazy guy.

00:20:00.856 --> 00:20:03.960 align:middle line:84%
I hit and run, the
Georgie Porgie type.

00:20:03.960 --> 00:20:06.944 align:middle line:84%
You like to kiss the
girls and make them cry.

00:20:06.944 --> 00:20:09.310 align:middle line:84%
I told her, don't believe
the hype because I'm cool.

00:20:09.310 --> 00:20:10.530 align:middle line:90%
Enough about me.

00:20:10.530 --> 00:20:12.050 align:middle line:90%
Let's talk about you.

00:20:12.050 --> 00:20:14.450 align:middle line:84%
I want to get to know
you and make you my boo.

00:20:14.450 --> 00:20:15.710 align:middle line:90%
It's all on you--

00:20:15.710 --> 00:20:17.162 align:middle line:90%
Here we go!

00:20:17.162 --> 00:20:18.740 align:middle line:90%
Chuck baby, don't give a what.

00:20:18.740 --> 00:20:19.452 align:middle line:90%
And she said.

00:20:19.452 --> 00:20:20.660 align:middle line:90%
Chuck baby don't give a what.

00:20:20.660 --> 00:20:21.232 align:middle line:90%
And he said.

00:20:21.232 --> 00:20:22.440 align:middle line:90%
Chuck baby don't give a what.

00:20:22.440 --> 00:20:24.372 align:middle line:90%
And they said.

00:20:24.372 --> 00:20:25.580 align:middle line:90%
Chuck baby don't give a what.

00:20:25.580 --> 00:20:26.582 align:middle line:90%
And you said.

00:20:26.582 --> 00:20:27.790 align:middle line:90%
Chuck baby don't give a what.

00:20:27.790 --> 00:20:29.792 align:middle line:90%
That ain't true.

00:20:29.792 --> 00:20:31.000 align:middle line:90%
Chuck baby don't give a what.

00:20:31.000 --> 00:20:32.416 align:middle line:90%
I love all of you.

00:20:32.416 --> 00:20:33.624 align:middle line:90%
Chuck baby don't give a what.

00:20:33.624 --> 00:20:34.560 align:middle line:90%
You know what I do.

00:20:34.560 --> 00:20:36.950 align:middle line:90%
Chuck baby don't give a what.

00:20:36.950 --> 00:20:38.240 align:middle line:90%
So I shoot a couple of jokes.

00:20:38.240 --> 00:20:39.675 align:middle line:90%
He laughing, he giggling.

00:20:39.675 --> 00:20:42.260 align:middle line:84%
Tell by the look in his eyes,
he know I'm feeling him.

00:20:42.260 --> 00:20:44.810 align:middle line:90%


00:20:44.810 --> 00:20:46.760 align:middle line:90%
So that's the height.

00:20:46.760 --> 00:20:49.340 align:middle line:84%
That's the last
amazing Chuck Brown

00:20:49.340 --> 00:20:52.780 align:middle line:84%
song before his death, produced
for him and Chucky Thompson.

00:20:52.780 --> 00:20:53.780 align:middle line:90%
I'm looking at the time.

00:20:53.780 --> 00:20:54.920 align:middle line:84%
So I'm going to kind
of stop right there.

00:20:54.920 --> 00:20:55.580 align:middle line:90%
But don't go.

00:20:55.580 --> 00:20:59.350 align:middle line:84%
We're going to do Q&A.
I'm going to read a poem.

00:20:59.350 --> 00:21:00.000 align:middle line:90%