I started getting better and better at that technique and I started buying more Electro Harmonix equipment. And I took two tape decks and dubbed it back and forth and did layers, and right then and there I decided that’s what I was going to do. I came home and started making a song, and Lady E was there and sang on it. Rhythm drum machine that fit into the palm of your hand. They had a little synthesizer for like $120 or something like that. So right about that same time I started working in the city, and there was this store called Electro Harmonix that had these neat little gadgets. So that basically killed the park jams in Brooklyn. Since people are going out there and doin’ these jams for free, and there’s a chance they could lose their equipment, the DJs stopped doing it. So you would be out doing a park jam, and somebody would light a firecracker or something like that, and suddenly there’s thousands of people running, and your equipment gets smashed and run over. How did you go from DJing into production?Īt the end of 1979 what started happening in Brooklyn was people started running, basically stampeding. He had his own hook-up, but he was DJing under the name Chilly B.
And he was also DJing at the same time, but not with us. Also, Monique, whose deejay name was Nique D, was back, and she started going out with Bob Crafton, who had been the bass player in Thunderfunk. So anyway, ‘79, right about the same time everything is hitting in the parks, and the park jams are reaching a crescendo, I had met my wife, who was my girlfriend at the time, Lady E (Yvette Cook), and she started MCing with the crew. We’d jump from Boston into “Love Hangover,” shit like that. We would do covers of rock and disco tunes, believe me, it was funny. We would do block parties and stuff like that. And then we started playing breaks, and the more hip hop-oriented – I mean it’s funny to say hip hop-oriented, because there was no such thing as hip hop at the time – but the stuff that works for hip hop like “Dance to the Drummer’s Beat,” and we started rhyming and all of that.Īt the same time, right around ‘76, ‘77, when I had just left high school, a friend of mine, Tony Flemings, was a drummer, and he started a rock band. But in ‘77 not long after Jam On Productions was formed, hip hop was coming down strong in Brooklyn, and everyone was taking on a name like “Master B,” “Frankie D,” and so forth, so I cut my name short to Cosmo D. My first name that I took, I had a comic book character that I created as a kid called “Captain Cosmo,” and one of my favorite records was El Coco’s Mondo Disco. People wanted to hustle to the disco, and people wanted to party to the funk. When we first started out we were spinning funk and disco, because that’s what was really happening in Brooklyn.
What kind of stuff were you spinning back then? So it was 1977 when Dave joined and took Monique’s place that we became Jam-On Productions. And the next summer, my cousin Monique, she was going to go away to college, so we got my best friend Dave, who grew up in Park Slope with me.
NEWCLEUS JAM ON IT LYRICS HOW TO
But by the next year we moved on up to Technics SL-23s, which are the best belt-driven turntables ever made period, and that’s what we really learned how to spin on. No pitch, no strobe – we didn’t know nothing about pitch and strobe anyway. Our equipment was nothing special: a BSR turntable and a Gerard turntable. We grew up as brothers and sisters, basically. It started out with my cousins Monique and Pete Angevin.
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