![]() ![]() In the summer of 2003, Kay Slay released a single, accompanied by a music video, for a song titled “Too Much For Me”. ![]() “It was just something to do that was fun and that I enjoyed doing.” “I didn’t so much set out to be a DJ,” he said. The authoritative record of NPR’s programming is the audio record.As a youth involved in New York’s flourishing hip-hop scene, Keith witnessed firsthand the ascent of legendary disc jockeys such as Grandmaster Flash, Grand Wizzard Theodore, and Kool DJ Red Alert, in the late 1970s and into the 1980s. This text may not be in its final form and may be updated or revised in the future. NPR transcripts are created on a rush deadline by an NPR contractor. Visit our website terms of use and permissions pages at for further information. And that's our program for today.Ĭopyright © 2013 NPR. HEADLEE: That's Michael White's take on 50 Cent's song "P.I.M.P." And to hear more of jazz clarinetist Michael White's music and his conversation with Gwen Thompkins, the host of Music Inside Out, go to. HEADLEE: Thanks so much, Gwen, for joining us. I mean, it's amazing what the passage of time and what great musicianship can do to connect these great, influential American musical traditions. Were just as, you know, racy, sexy, naughty - you know what I mean - as any rap song is today. You're right, but the truth of the matter is, you know, the early traditional jazz songs. HEADLEE: Kind of? Gwen - Gwen, it's called "P.I.M.P." It's all smutty. You know, but even the clean version is kind of smutty, you know. I mean, we obviously are playing the clean version. Michael White because it dresses up the song and makes it listenable, you know, I mean, to many of us who are not such big rap fans, you know. I mean, if 50 Cent has a brain in his head, he will call up Dr. Totally more awesome? Celeste, you hit it on the head. HEADLEE: No disrespect to 50 Cent, but that version is way more awesome than the original. 50 CENT SONGS 2013 FULLYou know, traditional jazz was in full flower in the early part of the 20th century, and of course rap has been around since the 1970s, but 50 Cent is more of a 21st century phenomenon. And the traditions are about a hundred years apart. THOMPKINS: We're talking about the joining of two very American song traditions: rap and traditional jazz. Michael White does a version of "P.I.M.P." HEADLEE: Jazz began in the brothels, and so. But as you well know, early jazz, you know what I mean, that comes from the bars and the brothels of the red-light district, you know, here in. You know, you dress up, you wear your pearls and you go out and you hear some traditional jazz. But what's so interesting, Celeste, is that - you know how, nowadays, people associate traditional jazz with kind of tuxedo music. New Orleans is always seen as sort of the northernmost post of the Caribbean. THOMPKINS: And he really identified with the melody because he quickly associated the melody of "P.I.M.P." with the same Latin tinge that suffuses New Orleans traditional jazz. That's when the song was really at its apex as a big hit in the United States. He heard the 50 Cent song "P.I.M.P." - that's P-I-M-P - back in 2003. Michael White, you know, is a very celebrated traditional jazz clarinetist. This week, she tells us about an unlikely pairing with New Orleans favorite Michael White. Gwen Thompkins, the host of Music Inside Out on WWNO in New Orleans, is introducing us to a handful of contemporary artists who've taken some old classics out for a new spin. ![]()
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