{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://nphm.aviaryplatform.com/iiif/cr5n875166/manifest","type":"Manifest","label":{"en":["Kendricks, Thomas \"DJ Slugo\""]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/548/original/OHA_Mark_2.0_Transp._copy.png?1752767076","metadata":[{"label":{"en":["Narrator(s)"]},"value":{"en":["Thomas Kendricks (Full Name)"]}},{"label":{"en":["Refer to as"]},"value":{"en":["DJ Slugo"]}},{"label":{"en":["Narrator Pronouns"]},"value":{"en":["he/him"]}},{"label":{"en":["Interview Summary"]},"value":{"en":["\u003cp\u003eIn this Oral history Thomas “DJ Slugo” Kendricks discusses growing up in Robert Taylor homes, learning to DJ and helping to found a community and culture of ghetto house music. He shares important information about education, project parties and the city of Chicago’s Plan for Transformation.\u003c/p\u003e (summary)"]}},{"label":{"en":["Public Housing Affiliation"]},"value":{"en":["Former Resident"]}},{"label":{"en":["Public Housing Locations"]},"value":{"en":["Robert Taylor Homes"]}},{"label":{"en":["Themes"]},"value":{"en":["Administration of Public Housing","Architecture/Design","Celebrations and Holidays","Community (Overarching)","Creative Practices/Outlets","Displacement","Education","Empowerment","Identity","Loss and/or Grief","Mentorship and/or Role Models","Music","Personal Growth","Plan for Transformation","Race and/or Racial Identity"]}},{"label":{"en":["Content Warnings"]},"value":{"en":["Death","Demolition and/or Displacement","Environmental Racism","Gangs","Police Interactions","Substance (drugs or alcohol) use and/or addiction and/or trade"]}},{"label":{"en":["Decades Covered"]},"value":{"en":["1960s","1970s","1980s","1990s","2000s"]}},{"label":{"en":["Life Dates"]},"value":{"en":["1969 (Birth)"]}},{"label":{"en":["Race, Ethnicity"]},"value":{"en":["Black, African American, and/or African Diasporic"]}},{"label":{"en":["Interview materials available"]},"value":{"en":["Audio—.wav","Audio—other","Transcript—rough PDF","Finding aid—polished PDF"]}},{"label":{"en":["Oral Historians"]},"value":{"en":["Dr. ShaDawn \"Boobie\" Battle (Interviewer)","jellystone robinson (Post-Production by)"]}},{"label":{"en":["Interview Date"]},"value":{"en":["2025-07-16 (Recorded)"]}},{"label":{"en":["Method of Interview"]},"value":{"en":["in-person"]}},{"label":{"en":["Recording Location(s)"]},"value":{"en":["Chicago, IL (Both)"]}},{"label":{"en":["Audio Quality Notes"]},"value":{"en":["Good"]}},{"label":{"en":["Language"]},"value":{"en":["english (primary)"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eEach oral history interview is considered to be co-created, ‘joint work’ among the oral historian, narrator, and, in this case, the National Public Housing Museum.\u003c/p\u003e\r\n\u003cp\u003eNPHM manages the components of copyright (reproduction, distribution, adaption, performance, and display) using Creative Commons Licenses. Most interviews are shared with Attribution and Non-Commercial 4.0 International licenses (CC BY-NC 4.0 Deed), meaning that they can be reproduced, distributed, performed, and displayed for the general public IF the user:\u003c/p\u003e\r\n\u003cp\u003eCredits the co-creators (Attribution), and\u003cbr\u003eDoes not make money from the usage (Non-Commercial). \u003cbr\u003eNarrators also have the option to apply a No-Derivatives License to their interview(s), meaning that the public is forbidden from adapting the work. These works are published under an Attribution-NonCommercial-NoDerivs 4.0 International license (CC BY-NC-ND 4.0 Deed).\u003c/p\u003e\r\n\u003cp\u003ePlease contact the NPHM Oral History Programs Manager if you are interested in downloading a copy of any of the interview materials (audio file, transcript, or finding aid contents).\u003c/p\u003e\r\n\u003cp\u003eNote that the final decision about whether to share downloadable copies and whether to allow usage remains with the narrator. \u003c/p\u003e"]}},{"label":{"en":["Preferred Citation"]},"value":{"en":["\u003cp\u003eWhen using an interview from the NPHM Oral History Archive, use the narrator's full name the first time you reference them. Use the narrator's \"Refer to As\" name in additional mentions of their name. \u003c/p\u003e\r\n\u003cp\u003ePlease use the following formatting when citing the interview in academic settings:\u003c/p\u003e\r\n\u003cp\u003eBibliography Example\u003c/p\u003e\r\n\u003cp\u003ePegues, Janetta Sue. Interviewed by Francesco De Salvatore. National Public Housing Museum Oral History Archive, [insert URL], recorded June 18, 2018, accessed June 2, 2024: pp. 10-15.\u003c/p\u003e\r\n\u003cp\u003eBibliography Format\u003c/p\u003e\r\n\u003cp\u003e[NarratorFullName in Last, First Middle order]. Interviewed by [InterviewerFullName in First Middle Last Order]. National Public Housing Museum Oral History Archive, [insert URL], recorded [write out full date of interview], accessed [write out full date of most recent access]: pp. [pages of transcript cited]. \u003c/p\u003e\r\n\u003cp\u003eFootnote Example\u003c/p\u003e\r\n\u003cp\u003eJanetta Sue Pegues, interviewed by Francesco De Salvatore, National Public Housing Museum Oral History Archive, [insert URL], recorded June 18, 2018, accessed June 2, 2024: pp. 10-15. \u003c/p\u003e\r\n\u003cp\u003eFootnote Format\u003c/p\u003e\r\n\u003cp\u003e[NarratorFullName in First Middle Last Order], interviewed by [InterviewerFullName in First Middle Last Order] National Public Housing Museum Oral History Archive, [insert URL], recorded [write out full date of interview], accessed [write out full date of most recent access]: pp. [pages of transcript cited]. \u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eIn this Oral history Thomas \u0026ldquo;DJ Slugo\u0026rdquo; Kendricks discusses growing up in Robert Taylor homes, learning to DJ and helping to found a community and culture of ghetto house music. He shares important information about education, project parties and the city of Chicago\u0026rsquo;s Plan for Transformation.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eEach oral history interview is considered to be co-created, \u0026lsquo;joint work\u0026rsquo; among the oral historian, narrator, and, in this case, the National Public Housing Museum.\u003c/p\u003e\r\n\u003cp\u003eNPHM manages the components of copyright (reproduction, distribution, adaption, performance, and display) using Creative Commons Licenses. Most interviews are shared with Attribution and Non-Commercial 4.0 International licenses (CC BY-NC 4.0 Deed), meaning that they can be reproduced, distributed, performed, and displayed for the general public IF the user:\u003c/p\u003e\r\n\u003cp\u003eCredits the co-creators (Attribution), and\u003cbr /\u003eDoes not make money from the usage (Non-Commercial).\u0026nbsp;\u003cbr /\u003eNarrators also have the option to apply a No-Derivatives License to their interview(s), meaning that the public is forbidden from adapting the work. These works are published under an Attribution-NonCommercial-NoDerivs 4.0 International license (CC BY-NC-ND 4.0 Deed).\u003c/p\u003e\r\n\u003cp\u003ePlease contact the NPHM Oral History Programs Manager if you are interested in downloading a copy of any of the interview materials (audio file, transcript, or finding aid contents).\u003c/p\u003e\r\n\u003cp\u003eNote that the final decision about whether to share downloadable copies and whether to allow usage remains with the narrator.\u0026nbsp;\u003c/p\u003e"]}},"provider":[{"id":"https://nphm.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["National Public Housing Museum"]},"homepage":[{"id":"https://nphm.aviaryplatform.com/","type":"Text","label":{"en":["National Public Housing Museum"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/548/original/OHA_Mark_2.0_Transp._copy.png?1752767076","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/311/976/small/Kendricks_DJSlugo_InterviewVideo_2025.07.18.mp4_1781126250.jpg?1781126252","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/311976","type":"Canvas","label":{"en":["Media File 1 of 2 - Kendricks__DJ_Slugo_Interview_Video_2025.07.18.mp4"]},"duration":5402.581,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/311/976/small/Kendricks_DJSlugo_InterviewVideo_2025.07.18.mp4_1781126250.jpg?1781126252","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/311976/content/1","type":"AnnotationPage","items":[{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/311976/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-nphm.s3.wasabisys.com/collection_resource_files/resource_files/000/311/976/original/Kendricks__DJ_Slugo_Interview_Video_2025.07.18.mp4?1781126236","type":"Video","format":"video/mp4","duration":5402.581,"width":640,"height":360},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/311976","metadata":[]}]}],"annotations":[]},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183","type":"Canvas","label":{"en":["Media File 2 of 2 - DJ_Slugo's_Interview.mp3"]},"duration":5402.664,"width":640,"height":40,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/304/183/small/DJ_Slugo.png?1774882021","type":"Image","format":"image/png"}],"items":[{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/content/1","type":"AnnotationPage","items":[{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-nphm.s3.wasabisys.com/collection_resource_files/resource_files/000/304/183/original/DJ_Slugo's_Interview.mp3?1773180690","type":"Audio","format":"audio/mpeg","duration":5402.664,"width":640,"height":40},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183","metadata":[]}]}],"annotations":[{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584","type":"AnnotationPage","label":{"en":["DJ Slugo Transcript [Transcript]"]},"items":[{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Oral History Interview with \n\nThomas “DJ SLUGO” Kendricks\n\n\n\n\n\nOral History Archive\n\nThe National Public Housing Museum\n\nConducted July 2025, Processed January - February 2026\n\n\n\n\n\nThe following oral history is the result of a recorded interview with Thomas “DJ Slugo” Kendricks conducted by Dr. ShaDawn “Boobie” Battle. This interview was conducted in one session on July 18th, 2025, and is part of The National Public Housing Museum’s Oral History Archive. Readers should keep in mind they are reading a transcript of the spoken word, rather than written prose and are encouraged to refer directly to the original audio when possible. The following transcript was created Otter.ai and edited and stylized by jellystone robinson. The narrator has reviewed and approved this transcript. Readers should also bear in mind that the beliefs, opinions, and/or any offensive language expressed by the Narrator do not represent The National Public Housing Museum","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=0.0,0.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thomas “DJ Slugo” Kendricks: DJ Slugo, Chicago. Robert Taylor Homes for 49th and state, apartment 905, Shequita son. You feel what I'm saying so - thats basically it.   Talk to me about growing up like,like you grew up in 80s.\n\nSlugo: I grew up well, I grew up in, I guess the 70s, because I'm born in 69 so you can say 80s. I graduated high school 87 so","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=0.0,22.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: okay 70's and 80's so what was Chicago like back then growing up?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=22.0,23.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DJ Slugo: It actually wasn't - I ain't gonna say it wasn't bad - it was bad, but it wasn't as bad as it got. So when I when I first moved there, actually, we stayed with my grandmama first in 4848 then we moved from there. My mom got her own apartment in 4950 and then we were in 4950 but I remember our introduction, me and my brother's introductions to the projects: somebody, while we were moving in, somebody snatched, I think it was a lamp or something from by the elevator. And my uncle at the time was like, this is how y'all prove yourself. Go get that lamp back and don't come back without it. So that was our introduction to the projects, like you got to stand your ground. Don't let nobody play with you over here. So that's how we were introduced to the project. It was, it was, it was It got real rough later on, like when drugs, it was really, it really got bad when the crack epidemic, when the crack -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=23.0,94.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Can you talk about that?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=94.0,97.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DJ Slugo: So it's like me coming up - the roughest drug we had was alcohol and weed. Like we would smoke joints and drink, we used to drink this Mad Dog, 2020, the orange Jubilee that was us, me and my buddies, and smoke a little joint - paper joint. So we weren't really, you know, drugs wasn't no thing for us. Like drugs was taboo when we were coming up, like if you do drugs, it was - people frowned on you. But when the crack epidemic hit, it just changed. It changed everything and everybody. It turned people who weren't drug dealers into drug dealers. It turned people who were dibbling, dabbling and drug usage into heavy users. It made the kids worse because of their moms and their dads being hooked on this particular drug. So kids was fending for they self. Like kids was raising they self, and I watched a lot of my associates and neighbors and things of that nature, where the mama was strung out on crack, and the kids, I don't want to pour babies out. Diaper ain't been changed for a day or two things of that nature. And then it would be like, say, a mom had her daughter, the daughter would get kicked out of an old apartment in one of the building now she gotta live with her mama. You got four or five people all living with their families. So you got a daughter and her two kids, the mama, plus the kids, then your brothers and sisters. So it was just people stacked on top of people on top of people. Like you gotta always tell people this if you want to imagine a project, here's your visual. You got 160 apartments, some of 'em are two bedrooms, some of 'em are three bedrooms. I don't know if it was, I don't know if I think the end apartments were all three bedrooms. I don't know if there were four bedrooms. I'll have to ask somebody. But yeah, two, yeah, they probably four bedrooms. Cause because our apartment on the 05 was three bedrooms. So yeah, the end apartments was four bedrooms. Then you got your dining room, of course, you got your kitchen, which wasn't that enormous, and then you got your living living room. It was just 160 apartments. Just say one to three families living in each apartment, everybody low income, and then we're all coming outside, going to school, grocery store, wherever it is, everybody's low income. So imagine the thinking and the attitudes of people coming outside. I'm hurting, you hurting, she hurting. everybody financially scrapped and then you expect this to be a beautiful environment. There's no way who ever built that thought that that project was gone work to - I always told people, the projects was a project. It was an experiment.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=97.0,280.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: It was an experiment. Because it's like, I think people, I don't want to say they did it for their enjoyment. I don't know if it was for their enjoyment, but somebody was sitting back saying, All right, let's see if this works. And I don't know nobody in their right mind could think that was going to work. 160 apartment they stacked on top of each other with gates, like when you coming outside. The first thing you see is a gate. And if anybody ever been to prison, they know what I'm talking about. You really looking at a synchronized prison. You know what I'm saying, so you see the gates, and that's the first thing you see before you go to school or you're walking down the hall, say the elevators is broke, which was majority of the time. So you got to take the stairs, and everybody peed in the hallways - like this was just a norm. So you walking down a pissy hallway, you smelling that odor all the way down, you know what I'm saying, and then on your way to school. And then, depending on what building you was in, it's certain buildings you couldn't walk through because you were from - you didn't even have to be affiliated. So, like, if you were from, where we from, they called the Red buildings, and then 43rd and all that, all the way back, was the white buildings. And then DuSable (high school) and Beethoven (high school) were, like, they were supposed to be almost neutral zones, but they wasn't. It was like, like, for instance, I was, I was one of the smarter kids. My mom won't let me go to Beasley (elemantary school). I couldn't go to Beasley because of the gangs on the opposite end. They was on 53rd, I couldn't go on 53rd, I was on 49th and my mom was like, no. She told the teachers and the principal to know he can't come here.  \n\nBattle : Why you called a project, a project? Cause, it's a project. Experiement - yeah.  Is that representation?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=280.0,372.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=372.0,372.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Okay.  So this is my - one of my reasons for wearing this is because of your project - But this is my nine. This is my new logo. And this is the nine. What could be 4939 59 whatever. But this is the building representation of the buildings. So that's my representation of the Robert Taylor Home. You know, so, so, you know, I meanone thing I will say positive about it, is it? It built us as entrepreneurs. It built our character. There's no place where we can go and not know what's going on, because we were raised to keep our head on the swivel. We're sharper and faster than a lot of people, because we had to, we were raised to live fast. You know, I'm saying like you always had, you got to be on your toes. And then you go to these cities or different places and they - we always call them country. But it's not that their country is just that they're slower, they're more relaxed. You know, I be going out the country and talking to people about my upbringing, and sitting at the table with 'em, and they looking at me like, Bro, that's not normal, bro. It's not normal to hear gunshots and be like, \"aw, they ain't shooting at us.\" No, the average person hear gunshots, you about to hit the deck, but we used to be trying to see the distance of where it's coming from, or how close it is to us. That's not normal, you know, I'm saying. So we a lot of the stuff that we considered normal, you know, seeing people get killed, and then we back out playing basketball or softball or football on the same spot where this blood spilled spot is at, you know I'm saying so - it's just crazy, like, getting older than thinking back to all of the stuff, like, what we went through and what we actually escaped. I talked to a few of my old high school friends, and was like, y'all know we got PTSD, and don't know it? Like all of us like we got PTSD! Like, it's certain stuff that triggers us, and that's why you always - people be saying \"Why always when they get around each other, turns into an altercation? It ain't that - everybody already traumatized, you know? You know what I'm saying so, it's like, you mix trauma, traumatization with alcohol and drugs. What do you expect to happen? You know what I'm saying - so, it's like, I myself, like, if it's clubs and things like that, I don't frequent with those spots anymore, because I always tell people, like, even in my DJ days, I was like, Y'all know the devil enters a club at midnight. If you ever want to go to - go to the club and then go about","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=372.0,690.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"go about 11 -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=690.0,690.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":", and then at midnight, watch the change in the people's demeanor, how they eyes change, especially when they tipsy, you know, especially if they giving girls drinks free before midnight and letting them in before 11. They gonna be in there. They gonna be drinking. They gonna be part - they gonna be cool! At midnight,","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=690.0,725.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":", they looking at - \"What is she staring at? What is she looking at?\" She just got here. What's your beef with her? You don't even know her, but they looking at they mean mugging you. \"Can I help you? Is it somebody over here  you know, or something like that?\" You said, What's wrong with him? Like, I ain't even did nothing.  And then don't be no cute girls - three, four of y'all, and then y'all coming and these girl -  yeah, who they think they is, you know what   I'm saying? So I've seen it by me being a DJ and being, yeah, I've seen it all. So it's just crazy.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=725.0,4182.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Dr. ShaDawn \"Boobie\" Battle: So how, what would you say your introduction? Like, how did you get through all of that and find, like, the culture of Chicago house and ghetto house, right? Like, how did you find that?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4182.0,4182.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: You coming into the space with everything you bringing.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4182.0,4201.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DJ Slugo: Chicago house was always there? You know, shouts out to Pink house - people, people of that nature, Farley, Steve Hurley, people like that. We always had those, those songs and those records, and, you know, Pink was one of the people who played that stuff on KKC and Chicago house music was always in Chicago. We were just like - if you go back and look in the 80s, the average hood cat was house heads. We had penny loafers with the quarters in it and rolled up, you know, pants and Izod our shirts. That was the thing back then. NWA and people of that nature changed Chicago. That type of music came to Chicago, and now everybody went from penny loafers and Izod shirts to starter jackets with Timberlands, and it changed the entire culture. So hip hop, when it hit Chicago, it kind of changed it up for us, you know what i'm saying, and that's where ghetto house music came from, because it was like, the old school house didn't fit us. Didn't fit our lifestyle no more. You  know what Im saying - of what was going on in the hood. So it's like, okay, we need to take house music and make it hood. You know? I'm saying because we literally, I can't stand up under the building and listen to, it's a cold world, you know, I'm saying, or listening to Jack your Body and they selling dope in the corner that - it don't make sense, you understand what I'm saying ? So it came to - you can curse? It came to bitch, this, hoe that, fuck this. That's like, even, with \"oh, oh\" was - muh fucka's used to do that and hollering up to the window  \"Ohh, Ohh! ?\" - all that. Y'all - every record, the majority of records we did are hood based. It's like hood slang with a beat behind it. Listen to the records. You know what I'm saying it's like, all hood shit. That's why we call  it the ghetto house music, because we came from the house music era, like, Folly and people like that was our look to our the guys, we figured, like, House gods. So we would hear them on the radio, BMX, hot mix five - and, you know, I used to be in the crib, like, man, I uh- one day I want to try that. And then my cousin, he was in it thick, like, real, like, really, DJing and I saw them DJing in the playgrounds, and I see all these people flocking like, they'll throw parties in the playgrounds, and everybody from all the different buildings would come and party in the playground. And in my head, I'm saying, I don't know what it is they got, cause all I - I used to always look at it like , \"they just spinning records, you know? I'm saying, like, why is everybody flocking to them like that?\" And I tell them one day, \"hey cuz, teach me how to  do that.\" and he's like, \"if I teach you, you got to be serious.\" \"Imma be serious. Just teach me.\" And then one day, they didn’t let me DJ. I wanted to DJ in the playground. They had this big old picnic going on. Wouldn’t let me DJ, I was like, Okay. And that instantly, from that day, I became a competition.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4201.0,4378.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: About, bout, about what year we talking?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4378.0,4381.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: 80 - I had just finished high school, so 88 - 89? maybe. It might have been earlier, I might have still been in high school. I'mma ask my cousin. It might have be  80 - it might have been right after high school.  Yeah, late 80s. Because they used throw all -  he had a crew called Kick Ass Productions, him - uh I forgot the other three, Jojo and Leroy, and I forgot the other boy name that was with them. And they used to throw these picnics. And the picnics used to be enormous, like when they threw parties in the projects. You got to think, you have from the 22nd street all the way to 63rd Street, State Street, and then you gotta you got multiple buildings. It's 160 apartments in each building, and all of these people are coming to the playground to hear this music. That's that's your crowd. You don't need you, don't I just tell people all the time when I was DJing in the building, I don't need to be nowhere else. Why? I need to be 1000s of people right here. You know, that's why we were so hot on the mix tape side. Like we could, we could, we could pop our trunk and sell 500 mix tapes right there in the playground. You know what I'm saying. So -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4381.0,4403.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Well Late 80's. Talk about, like the sounds, like - in the like, like the production - in the projects, right? So one of the things Clent said is, like, when you hear the music kind of change, because the claps bouncing off, you know, yeah, talk about that.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4403.0,4465.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah, so it was for me, - I'll just speak on me. It was one of those, like, reverb. I was big on reverb, reverb and echo. So you and then you got to remember when, when the parties were going on, we never heard the actual clap that was right there by the speakers, because we would be under the building. So you hearing second and third claps was like - (imitating a beat) - we hear in the second, third, fourth claps and I used to be like, yeah, when I make a beat, I'mma make it like that - (Imitating a beat). So it's like - the sound -  like even in grammar school, we used to be, I used to be beating on the desk with - and my friends would tell you like we being there, and I got a pencil, you know, I'm saying and (imitating a beat) and we in the classroom especially. And then I used to get sent to detention a lot, because I was one of them jokesters: like to play all the time, and teachers like \"now you going, going to detention.\" But detention, for us was recreational time. So Mmhmm. And the reason they caught re- because it's a uh - I forgot what they - like a DAW -  It's a DAW where you can go and you can put reverb on any sound. And you know reverb back then was - like if you listen to uh -  let me think of one of my favorite tracks from back then - Uh, Farley and uh, Darryl Pandy, may he rest in peace. Got a record, \"Work, work your body, work!\" Now at the beginning, Darryl Pandy is doing that: \"Now, this is how it started. My dreams are broken hearted\" but you hear that reverb \"But I want you, you, you, baby\". I used to be like how is they - like sounding like three, four people, but people was like \"aw naw, he put a reverb on it, and once I figured out exactly what it was, it was like, \"Ah, okay.\" But sound wise, it took me a long time - like I was fortunate enough to be able to sit around real engineers coming up, like, sitting in the studio, watching real engineers and saying, \"How did you do that?\" And, like, I was a bugaboo, like be in there, like, \"wait, wait, wait for you go -\" And they used to be \"Slugo!\" I was like \"Nah but, just help me, just, how did you do that? How did you make that, do that, to this, you know, and...\" \n\nBattle: reverb, re - it's a track now, but it was actual, like production strategy.  What were you using, like, how has -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4465.0,4610.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Back then?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4610.0,4611.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: How has the instrumentation and production changed?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4611.0,4613.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Aw, drastically. So back then - first I had - I was the king of the R70. It was a - Roland R70 drum machine. And people still to this day don't believe me that my sampler was a Gemini mixer with an A, B, C, D, padback, and you only had, like, two seconds of sample time \"Where the Rats\" is made with that, \"Like it Raw\", it's made it with that. So it's like, \"Like it raw, like it raw, them hoes like it raw! Ba ck up before you hit it.\"  So, so even with \"Where the Rats\", Where the rats is \"Whoop? Where the rats at? Uh Oh! Uh Oh! Where da rats? Where da rats?\" If you listen to it close enough, a lot of them samples is off, you know I'm saying, but that's because all the timing - it wasn't no looping, you had to do it hand wise. You had to do it with your hand, and the beat be playing, it wasn't no syncing or nothing. Me and Deeon and Milton end up synching it later on - they came up with this thing called AKAI SO1  and me, Deeon and Milton was like, one of the first two, first two or three people that had it. And once we got it, it was like, man, wait a minute. \"This a loop by itself? While you got the beat going on by itself?\" So we were studying and then by that time I had, I had went to Paul's house, and Paul had these things called DR8s and DR16s. And these were like - Man! I used to look at it like, \"oh, that's how you doing the vocals and all that!\" And I was real meticulous, I would write stuff down, and then wait, save my money and go buy exactly what you had in your studio. So the R70 was the thing we had back then, and then it went from the R70 to the MPC. So once I upgraded to an MPC, I wanted to master the MPC. And I was around people who used to tell me, if you want to know how a machine work, read the book. A lot of these guys don't know how these machines work, because they won't read. If you ever want to know how a machine, phone, anything like that work, it all comes with a manual! Every piece of thing you get it, go buy it from the store, it comes with a manual from the manufacturer who made it. If you ever want to know how it worked, read the manual, and then you can add your own little things and see if it does it. \"Well, if it do that, then it might do this.\" But a lot of people get stuff, take the manual, throw the box and all that stuff to the side, and start messing with it. That ain't how you supposed to do it. If you really want to learn how to work the machine, read the book. So and then it changed to, now I use Logic, so it's all digital for me now. So it's like, super easy, copy and paste, put the stuff in there, you know, Ion have to do all the work I used to have to do back then. But -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4613.0,4786.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: When did you become Sluggo? Like, oh, that's Sluggo.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4786.0,4789.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: So my name was actually meant as a joke in high school, so I gotta - I ain't gone even mention his name because I ain't giving you no shine boy. I went to school with a - and he's my buddy, he's my he my dog, so he - if you go look in the funnies, the Sundies funnies, and it probably ain't in there no more, but they had a comic strip in the Sundays paper where they used to do, like the little comedy stuff. There was a comic strip in there called Nancy. And a lot of people, if you go back and look, you'll see it. Nancy had this little, puffy little face, whatever. And her partner in there was named Sluggo. His name was with two G's, though, so it was Sluggo And he used to wear this Kango, this little Kango hat. I used to have one day to where Kangos was the thing back then, and then I where one to the school, he started teasing me: \"you - boy he look, that boy look like Sluggo!\" Now, I don't know who this is at the time, and I'm seeing people laugh and giggle like, \"oh, this a joke. They think this funny, right?\" So I want to fight.  You know what I'msaying, I, you know, and I want to fight, fight. You know what I'm saying so - my uncle, who made recipes, he helped raise me. So he said, \"If you ever want to make people stop playing with you, and you know, as long as you let them think that it's negative, they gonna always call you that to get a joke out of it. Answer to it. So start answering to it.\" So people like, \"Aye, Sluggo.\" and I'll be like, \"Yeah, what up?\" I start answering to it, which made it - it's not funny no more, you know I'm saying? So when I - we had a school event and the DJ didn't show and I'm telling my friends, I know how to DJ, I should ask the school, let me do it. They let me do it, and then that's how Slugo was born.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4789.0,4903.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Where you go to school?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4903.0,4904.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Dusable.  So I'm looking like, I'll do it. And then I didn't know - this is when it became a business for me as well because I was like, \"wait a minute, first of all, I can't even cash this because I'm not old enough to go to the bank\" I told my mama like - \"they gave me a check!\" and I think it was like, $300 or $400! Now you know $400 in the 80s, is you gotta, you got a bankroll! You know, I'm saying,  I look - my mama looking like - ight so they had to rewrite the check in my mama name in order for me to be able to cash it and spend it which was crazy. And I was like, wait a minute. So these DJs just doing this, whatever, blah, blah. They getting paid to do this?! No, I want to do this full time. You know what I'm saying.  And, you know, I ended up dibbling, dabbling in the streets a little bit, getting in trouble, going to jail, and then once I got out the second time, it was like, no, jail is not - this is not cool, you know I'm saying, so I'm gonna do music full time. I'm gonna live or die with it.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4904.0,4905.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Dion, how did you connect with Deeon and Milton?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4905.0,4922.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Deeon was originally my enemy, so it was me - So when I got out in - was it '95, wait was it '95 or 2005? '95. I got out in 95 for something I had nothing to do with. But got out 95 and may he rest in peace - I met this - One day I met, knew this guy from the Ickies named Omar, and he was like, super cool with Monty, PJ and Mikey Mike, and at the same time, I was hanging out with a guy from 43rd name KG. So me and KG was already working on stuff, you know what I'm saying. Omar hits me up one day and tells me to come down there and say, \"man, I want you to meet my guys, y'all should do something together.\" But when I hooked up with Monty, PJ and Mike and Mikey, Monty and them was at war with Dion and Milton, and I didn't know nothing about the war until they was doing mix tapes and everything about each other. They dissing each other on mix tapes, all that. And then one of the tapes came out, and I had just came - because I was talking to Monty and them and before I went to jail, but when I got out, Monty, I think it was Monty, Yeah, it had to be Monty, he gets on the tape and says: \"Yeah it's on now! My boy Slugo home, it's on now!\". They respond and say \"Who the fuck is Sluggo? And he can get it too!\" Now, mind you, I ain't even into the music side of it, like, \"who is y'all talking to and who y'all talking about?\" So one of my homies get the tape, and this time mixtapes is like, the thing. So they let me hear it, and I'm looking like, \"? Man who is they, and they was like, \"Man, they from down there in Stateway, you know what I'm saying - them the DJs from Stateway.\" \"Ight we on that then!\" You know what I'm saying so - it goes into us making tracks about each other. It got deep. It got so deep that Stateway and 49th was called Vulture City. Stateway and Vulture City got into like -  every party, altercations, to the point the gangs in the area stepped in and made us make a peace treaty. So they was like, \"y'all got to cut it out, because y'all got these people warring with each other, you know what I'm saying, and y'all thinking it's funny and all that, and dissing each other on record, and this turned into some street shit.\" So they made us all come together, do a party together, and we made such a significant impact and decent amount of money together that we decided, like it would be stupid to do it any other way. So that's how we all became one.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=4922.0,5132.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: We being -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=5132.0,5133.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Me, Monty, PJ, Dion, Milton, Leemo and Stu and we became the low end DJs from there, it was us seven. So, yeah, I think that's everybody.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=5133.0,5149.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: How would you - so that was your introducton to Dion?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=5149.0,5155.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah and then once we became cool, he introduced me to Ray. Because I was like, I asked, you know, I was always the business side of it, like, I always wanted to know how he gets money out of it. So I seent two of his records in the store one day, and was like, \"Man, you got a record out, you know what I'm saying, like, how you, how you do this?\" He like, \"I'll introduce you to him.\" You know what I'm saying, so he introduced me to Ray Barney. Ray Barney heard my first tape, and was like, \"Oh, okay.\" And from there, I was one of dance, maybe the greatest after that. You know Ray, he, after my first album did well he never questioned me again. It was like, whatever you want to bring. I brought, I brought Clent up there. He dropped Clent first album for him. DJ Boogie. I actually gave RP Boo, . I taught RP Boo how to program drums on R70. Like I had 3 R70s - loaned him one. Like, that's why the Godzilla thing was a big thing. Like it was like, I loaned him my R70 and that's how that whole mishap happened but he was changing oil on 50 something, or something like that and I kept telling him, like, \"man, this music stuff is where the money at, you know what I'm saying - you could leave that job, or what have you,\" and you see the thanks I got for that, but at the end of the day, it was, like a lot of them, I Rock, me and PJ was doing a lot. It's like, business wise, I was on the business side of it, though, let's make some money. Let's not let these labels make some money.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=5155.0,5268.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DJ Slugo  \n\n\nSpeaker 1","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=5268.0,5297.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"PAUSE IN INTERVIEW","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=5297.0,8851.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- \n\nSpeaker 2","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=8851.0,8951.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":".","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=8951.0,8983.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Where we was at?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=8983.0,9062.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Let me see. Oh, you. You talked about RP and R70 Godzilla,","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9062.0,9065.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: yeah.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9065.0,9066.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: And then oh, Ray Barney!","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9066.0,9067.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo  \n\nAw, yeah. So after I met Ray Barney, it was just a lot of a lot of people, a lot of the artists - Dance Mania is a classic label. Like, anywhere you go in the world, you say Dance Mania, they know what you're talking about. So anybody who missed that era, like, you really kind of missed it, like, it's like one of the most respected dance labels in the world. So when people see Dance Mania, they Oh, Chicago Dance Mania, classic, Ray Barney. So everybody know, you know,","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9067.0,9102.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Would you credit Ray Barney for like, what ghetto house became?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9102.0,9108.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yes. Yeah, without Ray, it wouldn't be no Dion, it wouldn't be no Milton, no me, no Funk, no Jim and Gerald, no Wax Master, no Tracksmen, none of that. Dance Mania single handedly is the reason for ghetto house, because he was the only person willing to go in his pocket, his personal pocket, and put the money behind the sound. So, you could single handedly credit Ray Barney for ghetto house.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9108.0,9135.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Let's, let's go back. That's good, I'mma show Ray. That'll probably feel good to him, to hear y'all say that.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9135.0,9142.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah, tell Ray how I said, \"you know you're the man, right?\" That's what he used to tell all us when he came, he said that to everybody that came in his - he was like \"Aye Slugo, you the man, right?\" So make sure you say that to him. He gonna know exactly what you're talking about.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9142.0,9142.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: (Laughter) Ight. So this shift, like, give me a era a year, the shift from house to ghetto house, and if you can like a song…","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9142.0,9165.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: '95.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9165.0,9165.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: You sure? That's so late!","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9165.0,9169.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: '95 is when they - okay, we were doing it before '95. '95 is when they had to -they had no choice but to respect what we was doing. Because from '95 to 2005 we had our foot on they necks, like we didn't care what sound you had. From '95 to 2000 if you didn't play no ghetto - matter of fact, I'm find the newspaper. I got a newspaper clipping the front page of the Chicago Sun Times, It said, no juking in the schools. And they had this lady standing up on, you know the things when they the volleyball thing, when they looking over the kids, I mean, looking over the volleyball rim - they had a volleyball thing, looking over the thing, and they had no juke - like I went to do one of the grammar schools, naw high schools, it was - not - what's middle one? Middle school, like a middle school in the suburbs, and they had no juking signs all around gym. That's how hot it was. Like them girls used to get there and do the little dances and teachers was like \"that's not happening in here.\" So from '90 - we had a 10 year run, from '95 - 2005 but '95 to 2000!","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9169.0,9242.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: What would you say was one of the first ghetto house tracks?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9242.0,9245.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Now that I don't  - for me, ghetto house was ghetto house before it was ghetto because you got to remember they had, I Beat That Bitch With a Bat. You know what I'm saying - you had, \"There's some hoes in this house.\" This was before us. Yes understand what I'm saying? They was just not - they just didn't get as ratchet as we got with it. You know what I'm saying suck this, fuck that, bitch this, hoe that. And the reason they wasn't rocking with us because they were saying house music was happy. We don't disrespect women. Y'all too derogatory. You curse too motherfucking much. And where we gonna play that shit at right? I remember going to (W)GCI and I hope (W)GCI see this. I remember going to (W)GCI and the program director looking us square in our face and saying, I would never, ever play that music at this station. Exactly two months later, Mike Love and the Diz took a chance at their jobs and had people call in. \"Can I get a 20 second workout please? I done had a bad day\" and Mike Love and Diez would say :Oh yeah, you got it coming up\" and they'll play a quick juke 30 seconds or a minute, and people will turn up, and it turned into a phenomenon! And we was able to look that same program director in his face: \"We thought you said that you was never gonna play our sound on your station?\" He: \"Yeah. You know, Mike Love and Dies had to bring me to the streets and show me that this was what was going on.\"  So even being able to force a station like (W)GCI to play the sound, you know, and still - and right now, it's back on the rise, it's it's going crazy, and these younger kids started rapping over it. So it's a big thing now. \n\n[","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9245.0,9337.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"}\n\nBattle: What Uh - let's, let's - So I want to ask you this question. I'm gonna go back to, like, the parties you first brought up. Okay, um, what is the difference would you say between juke and ghetto house?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9337.0,9356.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Tempo. Because it's the same type of derogatory sound. So when we were doing ghetto house, ghetto house is like 135 to 145 (BPM). You know, I say that was our range, because I may have did a few tracks at 145. Juke was 150 and a little bit fast - 150 to 155. Then footwork took it all the way to 160 that's why the music is so fast at 160 it's, like, ridiculous. You know, they took it to 160 to one, so you got a beat going (clapping) and y'all (sound of feet moving), and then they had this off tempo clap, (clapping) And you just looking like, \"why is you got the - why you got to clap on the three bro?\" and y'all to be like, \"Whoa, no, that's cold.\" I was like, \"No, that's weird.\" You know what I'm saying like!  So I remember listening to a few of the footwork guys playing they records for me at the crib. And used to be like, \"bro, what the fuck is that?\" And they was like: \"Naw, this footwork music.\" First of all, why is that shit so fast, bro? Second thing is, the clappers, it ain't no, (claaping) they shit just be like (imitating beats) what the fuck is that? But that weirdness ended up turning to y'all doing certain moves when the clap came, and I was like, \"Ah, okay this-\" It went from the DJs and producers making the beats that y'all dance to, to the dancers telling the producers, \"no, we want it to go like this.\" Because I remember when they first started the footwork stuff, the guys used to come in the park like, \"hey, speed it up.\" Speed what up? Like, speed the record up. \"Man, if you don't get up off this stage, man, like, talm bout some - you better go out there and dance to whatever we playing.\" And it went from that to the dancers dictating the sound.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9356.0,9468.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Do you remember when the the juke sound hit? And the speed?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9468.0,9468.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: The Juke sound hit - they start speeding it up when - I went back to jail in 2000. Yeah, I went back to jail in 2000, got out 2005, when I came out 2000 -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9468.0,9474.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: It was crazy.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9474.0,9479.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah, yeah. It was fast by the time we, matter of fact, it was gone. Footwork was in another country. They was elsewhere, Japan, all that doing footwork, ghetto house and juke was gone. By the time - when I got to the crib, everybody who I had worked with and did stuff with was either working regular jobs and not doing the music. No more the sound was gone. Drill had took over Chicago, that the rap scene had took over Chicago heavy. They weren't even playing juke on the radio and stuff no more.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9479.0,9514.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Bout what time about?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9514.0,9515.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: I got out in 2005 so when I got out of 2005 I um... is that when I shot the DVD? Is that when I - yep, I shot the DVD when I came home - I got home.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9515.0,9524.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Drill took off about 2010.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9524.0,9526.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah. So that five year run I was, I was almost alone. You know, may he rest in peace, my guy Dre gave me a camera, and was like, and this is when they was finna, they was in the process of them tearing the buildings down. I shot the entire documentary of them tearing the buildings down, and then me putting the Juke DVD together. It was a white building. It was the last building left, and we decided we was gonna take the camera down and shoot the daily activity of what's gonna happen before this last building get tore down and ig end up becoming the Chicago juke DVD.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9526.0,9558.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Talk to me about the plan for transformation. Like, like, what was going on, because you, you was, was you home and everything when it started?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9558.0,9566.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yes.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9566.0,9567.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Okay. Like, how did it start? Like, how did it affect your family? What happened?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9567.0,9573.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: The buildings getting tore down?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9573.0,9574.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Yeah.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9574.0,9577.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Let me tell you how, how cruel these people were. We had already - luckily, we had a out. Like we had family, places where we can go. But a lot of people were refusing to move because they really didn't have nowhere else to go. These people somehow, strategically, in the wintertime let the pipes bust in the wintertime, flooded the porches and the apartments to the point people were forced to leave the buildings because it was so cold in these apartments, like they somehow destroyed the heat. Because, you know, the projects had old school heat, the floors was heated. You know what I'm saying? So you used to be able to walk around in wintertime in your crib with no shoes on, because the floors was heated, like the pipes was in through the floors. But these people somehow, strategically, the pipes, you know, mysteriously busted in the buildings, and people literally had to move because it was too cold and it was \"not healthy\" to live in the buildings. So they got smart. So say you got 4947, so they was like, hey, we got a problem in 4947, so everybody in 4947 and where your apartment is messed up, or whatever, we're gonna move you to 4946 so they filled up. We thinking, Oh, well, they ain't finna tear em down, because they just refilled this one all up all the vacant apartments that people had moved out of. They was moving people into them from the other buildings. And then as soon as they got everybody out of the building, they hit it with one of the bulldozers, knocked it down. And strategically, knocked them all down at some point. We didn't never think that, or I, personally, I ain't gonna say everybody else, but I'm quite sure people think like I think I didn't ever think I wouldn't be able to take my grandkids and show them where I grew up at they erased entire everybody who grew up down there, and they raised our entire history. We could talk about it, but there's no visual of where we grew up or how we grew up. And I don't think that was by mistake. They wanted to erase the experiment. That's how I look at it. You erased that experiment because you ain't want people to be able to go and look in these apartments and look in these buildings and looking like \"y'all really had people living like this?\" So they erased it. They torn 'em down. Same with Cabrini, same with Stateway. all they - any one of their little projects, I think they strategically knocked them down or rehabbed them and made them look better. You know what I'm saying? 'Cause they knew people weren't 'posed be living like that.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9577.0,9735.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Like if you think right now, what's standing where you used to live? Like what's right there?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9735.0,9735.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Nothing.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9735.0,9735.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Nothing?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9735.0,9735.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: It's still a field. They supposed to be building something right there, but where we used to stay is still blank. Still blank. The shopping center is still there. They even got rid of the Boys and Girls Club. They leveled it. Where we used to do, the 51st and federal, the 51st and federal, the Boys and Girls Club on 51st and federal - gone. They leveled it. so and that was right next door to the police station, like right next door to 51st Wentworth.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9735.0,9759.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Since we here talk about 51st and federal, boys and girls club.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9759.0,9762.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: 51st and federal was... man! How can I say it? It was one of - It was... 51st and federal was so popular that the ghetto boys, when the ghetto boys was the ghetto boys, came in there to perform at one our parties. We got documented. We have footage of it and everything like the ghetto boys came in there to perform. So just think, think of this: you got a gymnasium that fits anywhere from 500 to 700 people. We turned the stage into a stage like and this what I always tell the DJs of now to the DJs of what we were back then: We wasn't going to the clubs and the promoters telling us what to do, or I'mma pay you this, or no, we was our own promoters. We had all our own equipment. We was our own DJs. And the people who came to the parties came to see us. That was the big difference. You know, I'm saying like it was the Miltons, the Deeon's, the Slugos, the Mikey Mike's, the Montes, PJ, Li Mo, Clent. They came to see us at these parties. Wasn't nobody in there but them and us on the stage playing music. So imagine you got two, 3000 people in the gym, doing whatever they doing, footwork, dancing, popping, whatever. Every female - you got to understand, like the projects were so popular that people will risk wherever they were coming from to come to these parties. We used to be looking at the party like \"aye what building you from?\" \"I'm from the hunnids.\" \"What you doing in here?\" \" Man, I heard about these parties. I ain't finna miss these parties.\" They used to come to the parties in the buildings. It started in the buildings, in the apartments. We used to throw the parties in the apartments first. Then it got too crowded in the apartment, so we went - on the first floor, they had these things called \"choke rooms\", where they gave out the free lunches. The choke room lady was like, they needed funding. \"Man, look, we'll let y'all throw the parties down here, y'all give us a portion of what's come through the door.\" Bet! It's bigger. Ain't, no, ain't, no - you know, it was just, just the  bathroom and the big old space, they knocked all the walls down. It got so big then and then we wasn't supposed to be DJing the parties in there that we end up start asking for the park districts. That's when Saint Elizabeth and all that came into play. What was that on 51st - What was the name of the spot on 51st? all, the second, second floor. I can't think of the name of it, but we went there. It's on 51st","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9762.0,9938.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Uh, I wanna know about this picture, do you know?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9938.0,9940.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DJ Slugo: That's the ickies, yeah?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9940.0,9941.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: That's the Ickies. Okay so like, they just, you know,  partying on top of - (the buildings)","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9941.0,9945.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: On top of, yeah, yes. That's how it went, and that's why everybody wanted to be there. Like, we, you seent the movies where they had, like, Crenshaw Boulevard? That was State Street and Federal for us, State Street, you gotta understand it, we'll throw a party - say, the police in the party at 10,  they: \"y'all the party over!\" and they used to tell the DJs, \"you turn this music back on, you going to jail.\" So we were like, ight, cool. So we gonna turn it off, but we can't make the people leave. So from, say, 10 to midnight, you got 900 people. Just spreaded out, all on State Street, all on federal, all under the building. They just, everybody just hanging out. Summertime Chi used to be crazy. We couldn't wait to the summers.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9945.0,9988.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: What year was like the party scene mostly, what year?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9988.0,9992.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: '96, '97, '96 - from '95 to 2000? Oh, we was turnt. When I say, turnt like, it was a no - it was, it was showtime. On the Ghetto House side. And this is when the records was banging like, you know, we on the radio. Deeon was one of the first ones doing the sound like, like, I'll say like, when I say '95 was our peak year. It was already happening before 95 because even before I went and got locked up, it was, it was popping already. Deeon was one of the ones that was popping already. You know what I'm saying so you might be '90, '91 early '90s. Like early '90s because I graduated '87 ghetto house had to be early '90s, like might be '89. So '90s, let's say '90 to '95 cause it was already popping before I got locked up. You know what I'm saying so Deeon was one of the first ones on the scene with that sound, you know what I'm saying, so,  it was still going strong while I was in jail. So when I got out, that's the reason I ended up hooking up with Monte nem, which is LEP, Monte nem was LEP, and LEP was into it with Playground at the time. Matter of fact, Deeon nem wasn't even playground. I think playground became when me, Deeon and Milton hooked up, we ended up becoming playground production, because I think Monty and nem, they ain't gone never say it, but I really think Monty nem had an issue when me, Deeon, Milton became a team, because I was with - when I when, when Omar hooked me up With Monty nem, me, Monty, KG nem, all our tracks was about Deeon and Milton - which was - they didn't call themselves Playground Productions then, I'm almost positive they didn't. They was just from Stateway. They was the main DJs from Stateway, and they was killing, it! Deeon was killing the mixtape game and all that, and they was into it. I wasn't involved in that at first. You know what I'm saying, I was in the streets, hustling and hanging with the homies. And Omar was like, \"you do music, you should get up with my guys.\" And that's how the rivalry became between Deeon, Milton and Monty nem and me being involved when they mentioned me on the mixtape. But after that, after the party, they had us do together, me, Milton and Deeon, were a little bit more smarter when it cames to this makes more financial sense for all of us to be one and get money together and making everybody come to one party instead of having them coming into two. And that's where the gyms and all that came into play. Because it was like, \"we need a place big enough for everybody, your crowd, and our crowd, to be able to come.\" So now everybody who used to be divided - \"Well I ain't going to Monte and Nem party, I'm going to\" Imma not, Imma refrain from answering that one (laughter), but everybody was from the same neighborhood. Yeah, everybody's from State Street, and federal.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=9992.0,10176.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: But everybody was under the 6 though? Right?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10176.0,10176.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Umm...","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10176.0,10176.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Like for the most part like all the buildings?  Okay.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10176.0,10195.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: So it was like, even if you wasn't affiliated. You was almost,  Well that's what I, that's what I meant - I meant moreso like, this what the uh-  Yeah, that area, but it was also, you can't say under the \"6\", because it was BDs, MCs, GDS, stones in this organization called breeds, New Breeds. They was all in that - every - you gotta understand,  a lot of these guys were a part of - like, I didn't even know my like, my baby brother was a New Breed until like later.  Aw is that what that track uh....naw naw, but hold on, what's that -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10195.0,10242.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DJ Slugo: 50 news? See, people always thought - so 50 news was almost a track that almost sent me to war with the Vice Lords. So the Vice Lords heard the record, and a couple of my closest buddies are Vice Lords, and they was like, \"bro, you dissed us on record?\" And I'm like, \"what?\" And they was like, and the whole west side over here talking crazy about you. And I was like, \"what record?\" So he play it for me. I'm like, \"where I diss y'all at on that?\" He was like, \"You calling us Vicky Lews.\" I said, Man, that record say 50 news. That's the girls from 4950 and we used to call them 50 News. You know what I'm saying they was - that's what they called they self. They said, \"aww\" I say, so I show them the album. Say, 50 News,","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10242.0,10244.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Man it's crazy like I'm 14 on 87th street, i'm hearing in this track, Ion know what is about but it's like, the track that's in my head like!","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10244.0,10247.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah, people was like, \"50 news! 50 news in the house\" and they thought it was a diss when I said \"49th, turn it out.\" They looking like, \"aw, so they wanna gang bang.\" So they thought I was gang banging on record at first, but it they end up finding out like naw it said 50 news. And those were the girls from 4950 call they self 50 news, you know, so yeah.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10247.0,10253.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Uh, what about, um, oh, just, I mean, maybe you can say, like, a bit more about, like, the legacy that Deeon left.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10253.0,10299.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Oh, man, and I'm gonna speak on it, and I'm gonna speak on the problem I have with it. So Deeon created, like, Deeon got some of the most classic ghetto House Records ever, ever. It hurts me to the core to know that somebody else has control of the masters that had nothing to do with the sound. You understand what I'm saying? So that's what I'mma say about that. Like Deeon, iconic. Classic. Like, even to be able to be a friend and watch your friend make records and say, \"Damn\" like he pushed me and Milton to the core - like, to the up - like we used to hear his records and be like - the reason me and Deonn and Milton has such great records is because we were competitive with each other. We weren't thinking about nobody else other than me and Milton even stayed in the same building at one point, he was on the first floor, I was on the second floor, and we would come like, \"listen to this.\" He like. \"Aw\" Hour later, he come back, \"nah, listen to this.\" And we like, \"No, we need to call Deen. We'll let Deeon hear thisand he'll hear it and be like, \"Man shit, listen to this!\" And we like, \"Damn, okay, we going back.\" So we making records after records, after records. And I'm talking about daily. We made records every day! And then our biggest competition for us was Funk, Wax  Master, Jammin Gerald,  all these guys from out West and it was always a West Side, South Side separation. Even though we was all cool, we - because Ray, Ray was the connection between South Side producers and DJs and West Side producers, because we all had to go up there get a check from him, and we would bump to each other and be like, \"Oh, so that's, that's, that's Wax Master. Okay, cool. Hey, I like that, uh, Wax track you did. That was cold. But did you hear...\" \"Yeah, yeah, that was dope!\" You know, so it end up - all of us end up being cool because we were all label mates. So Ray was the unification with us, because we were all on Dance Mania, but it made ghetto house so classic because we were all in competition. I wanted my record sound better than Deeon's, but not just Deeon. Deeon was my man. I'm aiming for Funk and Wax Master and Jammin Gerald and Tracksman, we want to shut y'all down. South side is the best side, and they west side is the best side. I - the East Side and North Side wasn't even in the rankings or talkings when we came to ghetto house. So it was one of those things, it just a West Side, South Side thing, you know. And then when we start throwing them enormous - because they had this thing called the uh - what was the name of that? Because they, they invited me. I went over that one time. Uh... the factory! I went in the Factory was like, \"man, these motherfuckers got the same type of power we got out west\" because it was super crowded! I was like, \"that's where all the West Side motherfuckers be at, they be with them!\" So when I saw that, I was looking like, if we all ever hook up, you know, I start - when I see certain shit, I say, \"Naw\", I think economically, like \"they got 1000 we got 1000 and we can get all 2000 of these people in one spot at $20 a person. Do the math, it's enough money for all of us.\" So my conversation, they will all tell you, my conversations always be like, \"Aye, what if we do this together?\" And the 30 years of ghetto house juke and footwork showed people that. I sat down with some guys and I pitched this idea to 10-15, different people who I wanted to help me with it. You know, I'm saying because I had the idea, but the finances and getting the funding, the location, lot of these people don't want us in they place. Literally, when you say ghetto house, footwork, juke, all that they - first, they think young people they gonna tear my shit up,","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10299.0,10552.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: And drill.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10552.0,10552.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Right? You know what I'm saying.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10552.0,10554.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Insurance premiums.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10554.0,10555.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah. So they, I, we - I had to get somebody who could assure the people that the place was gone rock out but not get rocked on.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10555.0,10562.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: When somebody think of a Deeon track like, what, you know, what - when they talk about DJ -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10562.0,10576.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DJ Slugo: \"Let me bang.\"","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10576.0,10577.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: \"Let me bang.\"","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10577.0,10580.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DJ Slugo: \"Let me bang.\" But the biggest one is \"The Freaks.\" That, \"Uh oh, work it - all the freaks\" and that, that them two tracks right there, like, when those come on, but \"Let me ang\" is, is one of the records. When I heard that, I was like, \"nah, this man is a dog!\" You know, I'm saying so...","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10580.0,10588.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: What about, where does the dance enter into the music conversation for you, like, you know, how did you notice the dance evolving?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10588.0,10605.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: \"Let me Bang\" is... Yeah, man, that..\"big booty bitches,t hey talk a lot...\" that. And he had a mouth on him too. Like that nigga mouth was so grimy, you know, I used to be looking like - and that's what they didn't like about us. They used always say, I remember Paul Johnson, may rest in peace, he literally telling me in the crib \"man, you motherfuckers out of bastard children of house music.\" I was like, \"Damn!\" you know what I'm saying, you know, Paul helped me do my first album and I'm looking at him like, that's how you feel about us? He's like, \"naw that's how everybody in the House world feel about y'all ass. You niggas broke off thinking, y'all can be y'all and you motherfuckers out of bastard children of house music.\" And I took that shit and ran with it. Like, say less. Okay, so we the - we the kids y'all kicked out the crib because - okay. I went back and told Deeon - \"Paul say we the bastard children of house music. So we was like, \"ight, well, let's just be the worst kids that they ever met. You know, I'm saying, like, we're gonna fuck the whole name legacy up, fuck this. You know what I'm saying, so.   For us, people made up dances to our records. That's why we were so intrigued about it. Back then, the dance groups had routines, and we would do like, show CDs for them when they going to have a competition and things like that. So the DJs kind of controlled the dance, you know what saying they would be like, \"aye, when that come on, I'mma do this and do that.\" So for us, we was like, damn, they making up routines and dances and shit to our records. So we was intrigued by that. But then it went to juke, and juke was Gant man poncho and, yeah, get - I'mma say get man, It was a few of them, more of them, but getman and Poncho were the two who - Poncho was actually the one who coined the frame. So on our records, we used to always do like, \"uh, what\" we used to little, little call outs. They start saying, \"juke it!: And that's Poncho, coined that frame, so - that phrase. So that's when the juke stuff - they didn't want to - they wanted to be like us, but didn't want to be us. So if that makes any sense, they wanted to - they wanted to carve their own, you know, they own name into the into the playbook. So that's how juke came about. And then the footwork thing came from out West. Lot of people ain't gonna admit that, but I saw footworking first out west, and was like, \"What the fuck is that?\" You know what I'm saying they - doing all the shit with they feet.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10605.0,10757.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Say that again.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10757.0,10758.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: So footworking for me when I first saw it, it came from out West, and we were around when foot working first started. Them mufuckas out West was doing all that weird shit. So we was looking like, \"what? What\" they was like, \"nah, they working they feet.\" \"What the fuck is that\" like Chica - I mean, the south side, you know, they had routines and jumping over each other and dances. I'm talking house matic - I'd never seen house matic footwork until after I seen niggas, out west footwork and House Matics is one of the first people on the scene on the dance group side. So you  - for me, I don't know who could contest this: Footworking came from out West. Muhfuckas was out West footworking so when I saw that shit, I'm like \"that's weird. but that shit cold.\" You know what I'm saying - how they moving their feet to the beat. That shit weird because they look weird, you know, motherfucker sliding all to the side and they - we like, \"what the fuck is they doing?\" That's how I felt when I went to Detroit and saw jitting for the first time and was like, \"What the fuck is they doing?\" You know what I'm saying. But then when I saw how they would get up and then move to the beats, And I was like, I don't know what they don't That shit is on beat though. Like, you know I'm saying?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10758.0,10786.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: What about, uh, talk about coalition tracks? Do you remember about when you started seeing footwork?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10786.0,10818.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Me for the first time I seen footwork was in the '90s. It was like, maybe '92 maybe '90, '91, '92 I think that's when - yeah, '91, '92 I know for a fact I seen it in '95 when I came to the crib because they was going crazy with that shit then. Like, cuz when I came home, south side was footworking. So it had to be early '90s. Early '90s when I first saw it so - when I came back to the crib, they was definitely footworking and I was looking like \"I seent that shit out west before, like, I seen that shit already\" but the South Side definitely took it and tried to perfect it, like, perfect it like a motherfucker. Then they start doing certain moves and calling it, this a ghost, and this is - I'm like \"well I seen that shit out west first, so\"  So the coalition track for me was I had heard a few other tracks where they would mention certain names, and then I could actually credit Deeon from Phase Two. He was the president of Phase Two, and he came to the crib one day and was like, \"man, we all done came together as a coalition.\" And I was like, \"what groups?\" And he, you know, wrote the groups down and I was like, \"aight, dope. That's cool. So all y'all coming together?\" \"Yeah. We calling it the coalition.\" \"Say less.\" And when he left, I left the names, took the list and said, I'm gonna just make a beat -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10818.0,10929.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Deeon, Deeon?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10929.0,10929.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Dion, lil short lil light skinned Dion. Yeah, he was Phase Two's president. He' used to come to the crib all the time like he was my dog. So he talked to me about it, matter of fact, a week later, it might be a couple weeks later, may she rest in peace, what's her name? That was with phase two. She passed away. The skinny girl... I did a record called\" this track is for the men.\" What is her name on that she's on that motherfucker. \"How fast this track is for the niggas!\" What is her name? Sheba! Sheba. Sheba G. Yeah, Sheba. I did that record with her, maybe a couple weeks later, they used to always come to - Phase Two was my crew. Like Phase Two, Wicked, his brother, Dion, what was the other boy named Leroy! His ass used to always be in my crib drunk and shit. But, yeah, but Dion, Dion. Dion is the reason I made that track.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=10929.0,11000.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Would you? Would you say, like, for a long time, the Bud Billiken parade was just full of project kids?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11000.0,11008.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: None but project - It went through from 35th through the projects. It was like, you could not - you had to be associated with the projects in order to be able to - you on King Drive. King Drive was like the split point. It was almost like a neutral zone, but it wasn't, you know, I'm saying, but, and then you ride through and you got both sides, you got the project hood side, and you got the Bronzeville side, where people had the houses and low rises and stuff like that. So bud, but Bud Billiken back then was, man, epic. Going to the bud Billiken was, like going to Fun Town when fun time was on 95th and Stoney. So going to Bud Billiken was almost - Bud Billiken was our Six Flags, because we couldn't go to Six Flags, and it was a way for all of the groups and people to express themselves, going, you know, all them cheers and screams. You got to understand everybody from 22nd to 60 - well, actually, just say everybody in the city merging on King Drive to see these dance groups, to see these politicians, and then right where the booth, where everybody can -and they get you judged to see- like being able to win the best dancing group of the Bud Billiken each year? Man, they used to - the uniforms, the floats, when I say they spent money in order to be the best. It's real competitive. Back in the 90s, it was competitive. But later on, like in 2000 it got - started getting - Naw we, we still was competing. I don't know, it was weak sauce after that. It was like - I give y'all 2005. After 2005-","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11008.0,11112.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: 2003, 2002,","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11112.0,11113.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah, after 2005 Bud Billiken became, like, the weakest thing you can -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11113.0,11114.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Okay. In 2003, 2002, us vs. Reese and Quan","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11114.0,11123.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DJ Slugo: Yeah, I know, listen, yeah. Y'all used to come up with these outfits, and y'all used to mimic these uh -  Like, I see that come out, Mickey Mouse, the minions,  I say, I'm like, \"Oh, they, they\" - like the groups would go - here's the only thing I didn't like about Bud Billiken: A lot of people didn't really - I seen kids tag, and then they parents still had to pay for the uniforms. I was looking \"how? This don't...\"  I used to hear kids say, like, \"No, I made - I had to make  like, about three, 400 but my mama still had to buy my uniform.\" What? Where the money going? Where the Money all y'all tagging for going? So I always had an issue with that. Like I saw I use to question some of the presidents, like, if they tagged and they made two, $3,000 out on the street -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11123.0,11174.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: but not tagging itself, just like, making sure that tagging was like, yeah, like going","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11174.0,11177.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah like going towards what it was for, what it was for, because people was only giving the money because it was kids and they wanted to see these kids in Bud Billiken, you know, for the uni - and that's all they say \"you want to give us a couple dollars for our uniforms for Bud Billiken?\" Of course, the people gone be like, \"Aw, Bud Billiken, Yeah, seven year old. Cool, no problem.\" But lot of it didn't go that way.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11177.0,11196.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Aye, today I told a kid like, \"man, last Bud Billiken parade I did was 20 years ago.\" He was like - what he say Kam: \"20 years ago? I wasn't even thought of!\"","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11196.0,11206.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Exactly that's - just think of that like, I'd be looking at some of these kids like, I'll sit and I try to educate a lot of the kids on how it's supposed to go, what you - because a lot of them, it ain't that they doing wrong -People be looking them like, \"man, they ain't got no respect!\" No. They just don't know. You got to sit down. You got to talk to them, explain them how, if I don't know how it go, then I'm going to come up with my own concept on how I think it should go so. But if nobody's schooling them, you know? So I had conversation with kids like, \"Hey, you say you how old? \"man, I'm 22 .\" \"22? you understand that I've been doing music longer than you've been alive? You understand what I'm saying, so you need to listen to what I'm telling you, or I've been doing whatever it is that you think you're doing for longer than you've been alive.\" So you know, when you explain that to a kid like man before you was even thought of, I was I was already doing this. So you can not listen to me, but at the end of the day, I definitely know more about this than you.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11206.0,11254.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: I think what was cool with us talking to the kids today was that, like, when I see these kids, like they're adults because they're speaking a super developed language of the feet, so like, they not dancing like kids, right? They having conversations with grown men. They battling grown men. So it's not to adultify them, right? Like the world does, but like, it's actually, I'm giving them their props because they have the ability, their legs, have the ability -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11254.0,11286.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: to even compete with -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11286.0,11288.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: But when I talk to them today, you know, they struggle to formulate full sentences.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11288.0,11293.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Exactly.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11293.0,11293.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Because they, they so young.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11293.0,11294.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yes.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11294.0,11295.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: You know, like, and so it was, it was - it's cute, like you get to see the innocence, but in that circle, they dogs.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11295.0,11301.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah, yeah. I've seen it. I've seen it where I've seen kids say, \"hey,\" like, I told you, Sherry got this little guy. And I he, he told me one time, \"aye, he think he snapping. I'm finna go in there and ball his ass up!\" And I was like, \"ball him up? Okay, what's that?\" He's like, \"watch me.\" And I seen him go out like, oh, he - he went from talking to me to a whole different mindset when he stepped in that circle. I said, \"Aw, these kids ain't no fucking joke.\" And that's why I tell people. I tell people all the time. I was telling the guy, my people, who I did the video with, I say, \"you know, for these four hours that we're gonna be here with these kids in this room with us, there's four hours a week that we know for a fact that these kids gonna still be alive.\" You understand what I'm saying. So when you say footworking really saved your life every time we got you footworking, you ain't know what robbing nobody, you ain't know what killing nobody, and you ain't know where to where you can be killed. You understand? So that's how people got to look at it. If you give them something to do, then you ain't got to worry about them being in your grandma house trying to rob your grandma, or you ain't got to worry about them running out into the street and somebody gunning them down and getting caught by a stray, you know what I'm saying, like - we got you in a rec room dancing, so these four or five hours I got you, the world don't got you. You understand what I'm saying. So it's like they gotta got they gotta come back up with that they took all of the stuff out of the school so you gotta do something. You gotta get these kids - and then you'll see the innocence on these kids when they in these circle - when they when they be competing and dancing, that's the best time you can talk! They'll listen to - if you're the coach, it's discipline! People don't understand that you the coach, and you saying, \"if you do that again, you're never coming to my class again.\" He's going to go straight back at the kid mode, \"my bad coach, but man, Coach -\" \"I don't care. You do that again, you're not coming back to my class.\" You finna to take something away that he love, and that's the thing: you got to give him something to love other than the streets. The reason they glorified and doing what they doing in the streets, because they love - the people around them are glorified, and they love it. These kids ain't out here doing this because, like they was born and raised into this. It's like, this is all taught. This is all taught behavior. But when we were coming up the guys, when they got ready to shoot and stuff like that - that's another thing about the Robert Taylors - When the older guys got ready to shoot, they would tell us \"Hey, take your ass upstairs. Finna be a war. Get out the fucking way.\"","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11301.0,11329.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: They live for it!  Let me ask you this. Should they have knocked the projects down?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11329.0,11377.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yes. For me, yes, because I watched a lot of people die. Like a lot of people die, I watch - it was just a bad place. It was just, it is just a bad place. If they to restructure it, then no, don't knock them down if you're gonna, if they'd have dumped some money into it, don't get rid of the gems. Keep the park districts, all that some structure, but it was no they dumped them people, and it was like a forgotten about culture like so the only way to for people to see better. They got to go somewhere, and they got to go somewhere and see it. And as long as I know some people, if they hadn't knocked them buildings down, they'd have never left State Street. Like I didn't go downtown until I was in my teens. Imagine that, like I hadn't seen downtown Chicago until I was in my teens and able to go down there myself. So the buildings was all we knew. You know, like going to the hundreds was like a field trip, you understand I'm saying. So all we knew was the buildings. So when we start going out of town, when I started going out of town, DJing and like, I was like, \"man, it's something way bigger than what's going on in Chicago.\" Then when I got a chance to go out the country, when I started going out the country, it was like, hold on. I started saying, a lot of people have lied to me, like it was like people who I thought meant well for me. You a liar. You lied to me. You had me programmed thinking this was all that I could achieve and it's a whole nother world out here, you know, I'm saying, so kids, if they don't see it, and you don't put it in, you know, like, groom them to the point where they can see something outside of what they got going on right at that time, you just gonna have a kid that's a product of their environment. They got to get out of the environment, I'm saying. So, yeah, the project, they definitely should have knocked them down. Every last one up. They should have left wonder. It should have been one where people can go and they made a landmark, and people can go in there and see how people lived. Because nobody believes it. People be saying, No, it was this, it was that. And people say, I can't imagine it being that. Like, no, imagine this. Yeah, I'm looking at people like this ain't just no conversation, bro, like this is exactly they should have left one, at least one. They should left one so people get made in a museum. Like this should have been the building itself. Each one of these apartments should have been, well, this is the woo woo woo landmark. This is the wooo wooo landmark. Each one of them, apartment should have been turned into something. They should have left one building and turned and turn each apartment into something everybody came to made a gang of money to gated it off and then let people come in and kept the playground as is with the broken swings. They should have made it exactly like that, but somebody wanted to erase that project. You make it worse. And that's why all these suburbs are the way that they are. You gotta understand Dolton wasn't like that, until they knock them projects down. Country Club Hills wasn't like that till they knock them pro - Because here's the thing, I come from nothing, you got me in this apartment. I'm on aid, and I got a, what they call them, Section Eight vouchers, the projects, you ain't have to worry about that because the rent wasn't even $100 you understand what I'm saying so ight - we're gonna move you to Crestwood with a section eight voucher, you still got the same income coming in, your rent, still, you know what I'm saying being paid by the government, what have you. But they done put you and your kids, who ain't used to this type of environment. They used to it being rough, and then you put them in the school in these kidds are, \"Hi, how are you?\" You say \"What the fuck\" you know I'm saying. Why you talking like that? You understand what I'm saying like like you looking at this like - \"you weird as hell!\" You looking at the kid like, but this kid is looking at you like, No, you're the weird one. How you don't know how to read. So now you an outcast in the school. They say he dumb. Now they want to put you in a slow room. It ain't that. It's just like you took him out of his habitat and then you expect him to excell because you done put him in this shiny new house with - No, you gonna come back two months later, the banister broke. They done broke shit in the kitchen, fucked up the playground. You looking like? Why you don't it's nice. Why y'all fuck up this nice shit? Cuz I'm used to broke shit. What are you talking about? Used to the washing machine not working. I'm used to an elevator. I ain't use no fucking stairs. What is this shit? You understand I'm saying so you cannot change them. But I tell people all time, you can't change people like that, man, you got to change they mentality, get their head right first before you send them into and then now you fuck these people property up and brought their property taxes down. Hey, they all fuck to they property value, you know, saying you to move the motherfucker next to them. That ain't cutting the grass, you know what I'm saying they kids coming outside beating up your motherfucking kids because your kids can't fight. You know, I'm saying, so this is crazy, so it's just fucked up, you know? But they should've knocked it down, but they shouldv'e  had a better plan, because they displaced all them people and fucked them people up. And I know, if you go do the statistics, at least 40 to 50% of them, people are incarcerated, or dead or got a felony, just, just go do the research and do a statistic on all the people that left the projects and they displaced them. You know what I'm saying and, and, and the kids that's in the street right now, to me, are the product of those people that were displaced in those places. So people talm bout \"get your kids.\" Naw... y'all - first of all, his mama 24!","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11377.0,11446.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: They just hit a different kind of project, right? So what happens when we displace people in these neighborhoods? And like, like, all this, like, this drill shit, it's a product of that because, because, really,","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11446.0,11617.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: it's them. It's them expressing they life.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11617.0,11622.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: The way that it's been explained to me like, you know, you got all these GDS in this one area, this whole area, this whole street is GD, right? But you displace them, and now they all over, right? So, like the gangs are so splintered after you displace them, that it's no organization that coupled with the fact that","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11622.0,11653.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: The school shit was the most diabolical move this city could make. Like, for instance, you had a school called Overton, and I went to Beethoven. I - if they would've did that back then, it had been a lot of dead people because we knew we couldn't go to Overton and Overton knew they couldn't come to Beethoven. But if you shut my area down and say all, y'all, got to go to that school, and I'm saying I can't go to that school, and then you now, I got to make a choice between either go to school and risk my life or just be like, you know what?Fuck school, fuck school period. You know what I'm saying, then your mama probably gonna ride with you, because I'm not sending my baby from no 49th to 43rd you understand he can't go 43rd well, they saying that's the only school he can go to in his district, you know I'm saying so, if he don't go to school, you going to jail, you know what I'm saying and if you don't let your baby go to school, and now he going to school with a 25 in his in his backpack, you know I'm saying so, because he's scared that he gonna get chased home every day. You know what I'm saying, so it's just crazy. They when they did that, when they fucked them schools up, they really fucked the city up. You know, I'm saying, like, it's like, and everybody acting like they don't know what the fuck going on. Y'all know exactly what the fuck going on. Y'all know what y'all did. Y'all know y'all displaced them families and displaced them kids, and y'all know, like anybody from Chicago know the gang areas. You know certain areas can't go in certain areas. And you if you really know Chicago politics and street politics, you know where you can and cannot go. Everybody knows that. We got women preaching to their kids, \"Aye, you don't go past that bus stop this way, and you don't go past that, this way, whatever.\" And then they give them the police talk. You know what I'm saying so if you you know the mother is doing the best thing - but here's the thing, she can't monitor that child if she got to work eight hours to maintain the household, then done you locked up the daddy's! This all strategic. You know what I'm saying, like, come on now. Like they say they finna reopen Alcatraz. Who they gone put in there? That's the part of nobody- Why would you reopen a prison, not reopen the school? the schools","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11653.0,11701.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: yeah the schools -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11701.0,11702.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo:  that shit was so diabolical.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11702.0,11705.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: You know, you close the schools and you move around. But also they, they had, they had rounded up the all the gang leaders in the 90s, right? That, and then you displace them, and you move them around so they so they're not claiming whole areas anymore, they claiming blocks.  I meant to ask you this. When we're talking about the war on drugs. Do you remember seeing like a lot of a lot of families with with no fathers growing up?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11705.0,11858.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: The war on drugs was the war on black people. Cause, here's my thing, and I know they probably gonna, probably knock my head back for this one, but we, we don't have access to drugs. Like first of all, it got to get over here in order for us to sell it in our community. We ain't at no docs, dealing with no Colombians or nothing like that, getting no- ain't nobody got no direct pipeline. You know what I'm saying  -it wasn't like the drugs was coming from Columbia to the projects. Naw, it was multiple channels that them drugs had to come to before it got to them, buildings. So your war on drugs was on who? Because you ain't went to the main source. If you want to put war on drugs, the war on drugs is on the source. These are all lil cppos. These ain't, no, These ain't no, no chiefs. You know what I'm saying, no heads! The war on drugs was the war on - it's like, you got to fill these prisons. Prisons is a new slavery. They got to keep it one, keep it a buck.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11858.0,11873.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: The families, though, like so do you think, like a lot of kids -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=11873.0,12025.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: destroyed, yes.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12025.0,12028.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Got into dance because of -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12028.0,12099.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"DJ Slugo: You gotta understand, if I ain't got - for instance, say I don't got my family, but I got you, like, a lot of stuff y'all do, I be - that's why, when people, certain people, ask me to do certain things, if it's gonna better the culture, I'm with it, because a lot of these kids didn't have nothing but the park district, nothing but the dance community. Like you understand, like, if you go look at these kids in these dance groups, this all they got. They look forward to getting out of school, finishing they work and going to practice, and will stay at practice as long as they can before they mamas come get them. And the Mama's cool, because as long as he had practice with ShaDawn, he's safe. As long as my baby girl is up there when ShaDawn, I trust her. I love her, she's safe. It's to travel back from practice to the crib, where problem come in at then when you get to the crib, it's chaotic, chaos in the house, because it's four of y'all with no father figure in there.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12099.0,12160.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Policing, this the last thing. What was policing like when you was growing up?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12160.0,12163.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Brutal. Police was public enemy number one, and they made us know that, like we ain't here to play with y'all, we ain't your friend. I remember getting dropped off, and I remember talking shit to a police one time, them grabbing me and dropping me off in Bridgeport. Good luck on the way back. You think you tough, wanna talk shit, bring your ass with us. Drop me off in Bridgeport. I had to run all the way back. With motherfuckers chasing me. And I know for a fact I ain't the only one that went through that, you know what I'm saying, like, police did not give two fucks, period. Beat up what? Let me tell the police whooped our ass on the regular. This was like, even if you - we knew this was a rule in the projects, even if you ain't did shit when we come, you run. That simple. And I always tell people this: who loses their job if crime stops? From the police on up, if it ain't no crime, ain't no judges, ain't no police, ain't no district attorneys, we don't we don't need we - ain't no crime. So who all banks off crime? Courtroom every day filled with Muhfuckas in there fighting for their lives. Who all on the payroll? The lawyers, District Attorney, defense attorneys, your attorney, judges, bailiff, stenographers, everybody getting paid off yo - you coming in here and you had a fender bender. Just think about, think it through. ? Who all when you walk in this courtroom, who all getting a paycheck from you being in this motherfucker? But also, you know what the fuck you did if you just don't do the fuck you done, you won't be here. It ain't easy to duck it, but it ain't hard to duck it either: get the fuck out the way. Mind yo muh - ,  Man! Go do activities don't lead you to do shit that you ain't supposed to be doing. Footwork. I ain't, never heard no motherfucker saying he went to jail for footworking Joe. You don't hear that. \"Man he went to jail for being at the woo, woo party. No, our parties back then. It may be a fight, but it wasn't no motherfuckers getting shot at our parties! We wasn't having that shit! Like, you know, I'm saying like, naw in the party? You get outside, we don't got none to do with that shit, as long as you in here party with us, our safety and your safety matters in here, because we used to do parties at the 51st and federal and we used to hire the police at the door, and they all feel like, \"damn, y'all got the dicks at the door?\" For your safety and mine. Don't bring - you came to party, right? Yeah, well, you don't need no gun. What you coming in -  He gonna lock you up! We got the police at the door, and ain't nothing personal. It ain't no snitching or no, we fucking with the police. No, it's for your safety and mine, cuz these the only motherfucker you scared of. So we're gonna put the motherfuckers you scared of at the door. You know what I'm saying. Now we're gonna have a great ass party. She get to make it home. You get to make it home. I get to make it home. We get to talk about this party for a week or so. This is before social media. You know what I'm saying Mother used to call me \"83rd was BUSSIN' Joe!\"  We on the phone with it, but now it's - \"man we finna, pull up on fuck them people up\" Send it out to the world with one, one fucking click. The world know you, finna, go on 83rd and fuck shit up. That shit crazy. Yeah, social media is crazy. Don't pull up over there. You know what I'm saying, so that shit crazy. Like, I don't know - like, I tell people the Internet is a blessing and a curse. It's a blessing because you can, you can destroy a lot of shit is, I mean, it's a blessing, because you can reach a lot of people that you normally - cuz I never think I'd talk to a motherfucking in Japan, just regular conversation, man, Oh muhfuckas say \"Hey, man, uh I love that fucking t-shirt you got. Can I sendyou my address and some money, and you ship it to me?\" \"What? Where you at?\" \"Shanghai!\" What the fuck? You understand what I'm saying. You never think that type of shit would happen and motherfuckers say, \"yeah and I'mma pay for the shipping.\" Then a muhfucka send you 100 or $200 trusting that you gonna send this motherfucking product, unheard of, bro. Yeah, unheard of. Muhfuckas saying, yeah, it's gonna be like $100 for the shirt and $60 for the shipping. Motherfucker, you got PayPal or Venmo or Zelle? Yeah, Now, motherfucker, see you $160 and don't fucking know you. Imagine that. That's the great part about the internet. But then, okay -","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12163.0,12311.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Go footwork.  Hold on let me do this part real quick.  The date um, July 18th, we at the National Public Housing Museum, I'm doing an interview with DJ Slobo. I forgot to do the intro.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12311.0,12472.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Aw, okay. So just imagine that, like being able to communicate with people - like my bookings overseas have been a muhfucka getting on internet. \"Hey, would you like to come to Belgium?\" Yeah, shit, yeah. I'll come. \"Hey, we're gonna pay for you to come here. Pay for you to DJ. We'll put a couple dollars in your pocket.\" Say less, you understand what I'm saying. Then you get over there and they \"Hey. So we were reading....\" and that's why this, what you doing, is super important.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12472.0,12521.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: It's going to keep people - It's gone keep y'all employed.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12521.0,12524.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Muhfuckas going to be like, \"Nah, because when you came over here, you said that he such and such...I'm looking at this video right here - he's saying out of his mouth that...\" you getting all of the you getting all of the good footage and juice from the actual people. You understand what I'm saying. So, you know, like, I be telling muhfuckas \"nah, don't get in front of camera and get to lying, because I'm gonna expose you, I'm gonna expose you. Like, \"Nah, you was not doing this, and you did not do that, and you were not a part of this.\"Like, don't do that. Because people be thinking, I'mma  just say this and\" no, that's not true. You know what I'm saying, like, it be muhfuckas saying shit that ain't true when they in these other countries, and be like, by time that shit get back to a muh- , like I had a motherfucker tell me from the UK man, they told us you was difficult to deal with, hard to deal with, and you first one mother told me - they told me I didn't like white people. I was like, \"what?\" who told you? I ain't gone tell you who told me.","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12524.0,12570.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: Well I don't like white racist people, why you wanna know?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12570.0,12575.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah, I'm - listen, I deal with anybody who's righteous. I like righteous people. I don't give a fuck what color you is. You know what I'm saying. You righteous and you for the good of what we got going on, ion give a fuck what color you is?","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12575.0,12593.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Battle: And you wanna spend yo money? C'mon!","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12593.0,12594.0"},{"id":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183/transcript/94584/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Slugo: Yeah, and we getting bread together and you said \"I gotta - I got a plan.\" \"What? What's the plan?\" Shit. You know, but you.\n\nEND OF INTERVIEW","format":"text/plain"},"target":"https://nphm.aviaryplatform.com/collections/2733/collection_resources/167188/file/304183#t=12594.0,5402.664"}]}]}]}