All you have to know is mathematically how many times to scratch it and when to let it go - when certain things will enhance the record you're listening to.

Do not let any record company disturb your creative flow. You are not writing for the record company. You're writing for the public.

I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.

We can come from our own particular point of view and lay it down. We should not be throwing verbal rocks at each other. We're all responsible to continue the growth of Hip Hop.

We can even sing off key, but if it's produced properly it can be a hit.

I had love for Breakout; I had love for Bambaataa. I had love for Kool Herc.

The type of mixing that was out then was blending from one record to the next or waiting for the record to go off and wait for the jock to put the needle back on.

As an individual I was known as the DJ or the mixer.

Normal kids in their teens want to go and date girls and do mischievous things, your hormones are jumping around, but I stayed in my bedroom in search of something.

We gotta stop fighting amongst each other. I think the only rift should be when take it the stage and try to out perform each other.

So what I'm trying to say is from a musical aspect for anybody to say that whatever they're doing in Florida is not Hip Hop or whatever they're doing in LA is not Hip Hop, who are these people to say that?

Hip Hop has become real constrained. The creative juices and creative flows have been diminished.

Disco B still rolls with me now. He's still doing his thing. He does clubs in different places. He was very instrumental in helping me perfect my craft.

But I had two very special people who helped to take my style to the next level. Thank God for my first MC Cowboy and my first student Grand Wizard Theodore, and to go out after creating this art form and finding everyone jamming to it - that too was pretty scary.

For us to keep claiming this isn't Hip Hop and that isn't Hip Hop doesn't make sense to me.

All you have to know is mathematically how many times to scratch it and when to let it go - when certain things will enhance the record you're listening to.

I think what's happening here is, there's a group or maybe one person who is saying this is gonna be the definition and this is what we want to get the kids to do now.

For instance, if you're playing a record with drums - horns would sound nice to enhance it so you get a record with horns and slip it in at certain times.

Disco was brand new then and there were a few jocks that had monstrous sound systems but they wouldn't dare play this kind of music. They would never play a record where only two minutes of the song was all it was worth. They wouldn't buy those types of records.

What has happened is that to some degree they have taken an attitude where they don't listen to demos of diverse subject matters. They're looking for demos like the record the guy on the left just did.

For anybody to say well this is not Hip Hop and that's not Hip Hop, that is not the way the formula was laid down. It was for the people who were going to continue take anything musically and string it along.

Conquer your neighbourhood, conquer your city, conquer your country, and then go after the rest of the world. That's my mantra.

I don't want to be classified as an old-skool DJ or new-skool DJ. I want to be classified as an all-skool DJ who plays it all. I also want to learn to DJ house music in my own fashion.

I knew there was a way to blend records together, but I didn't know how to. This was haunting me when I was in my teens. In my frustration, I decided to start experimenting with electronics. I tested the torque factor on different turntables. I had to figure needles out. See, there are two kinds, elliptical and conical.

I named myself Flash many years ago, as I loved the cartoon. Then my own fans said that I should call myself 'Grandmaster,' because of the way I operate turntables. I put the two together and that was it.

I want to go to - what's that hot country with a lot of money? - Dubai.

I was a quiet, nerdy kid living in the Bronx. I spent most of my teens in my room, taking apart electrical items to figure out how they worked before putting them back together, and listening to the music my four older sisters and parents played.

I went to junkyards, abandoned car lots. I asked supermarkets for the big jugs they put pig guts in, to make cabinets for my bass speakers.

I'm not big on snacks, but I if do, I like a few M&M's.

My father was my first inspiration. He had an incredible stereo and a turntable, and I was told not to touch it. But I'd go back and touch it anyway. I gained a respect for the turntables when I was a kid. When I was a teenager, I came up with a 'cueing system' to work the turntables because they didn't have it at that time.

Disco was brand new then and there were a few jocks that had monstrous sound systems but they wouldnt dare play this kind of music. They would never play a record where only two minutes of the song was all it was worth. They wouldnt buy those types of records.

My romantically favorite era is 78, 79 listening to Grandmaster Flash and the Furious 4, the live tapes, echo chamber and break beats.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

I love listening to Radio Head's 'Everything in its Right Place' because it's all major chords, it makes you feel really good. It's soothing, it's got a beautiful voice, crazy textures. When I'm down I listen to that song and it really makes me feel good.

I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I'm really working on him about that.

Fancy your having no sunshine in London yesterday! Here it was glorious, like full summer, and I sat up with the window wide open, listening to the discourse of two amorous thrushes.

I was growing up listening to Queen. Freddie Mercury threw those incredible melodies into his songs.

I just love listening to the laughter.

I was up until all hours of the night, listening to stories, meeting great old comedians.

There are many benefits to this process of listening. The first is that good listeners are created as people feel listened to. Listening is a reciprocal process - we become more attentive to others if they have attended to us.

I started listening to music when I wrote when I had three sons at home.

My playing started to develop through the Miles Davis stuff I was listening to.

The storytelling gift is innate: one has it or one doesn't. But style is at least partly a learned thing: one refines it by looking and listening and reading and practice - by work.

Any problem, big or small, within a family, always seems to start with bad communication. Someone isn't listening.

Whatever had been on the radio in the '60s; I mean we were always listening to the radio.

Because of the changes in the Padres team I played with last year, I felt like a veteran recently when I worked out with Jason Kendall and he told me he's liked listening to my records since he was a kid!

I think listening to real classic soul material made me learn how to feel music that's sung.

All of my style came from listening to records.

I had to be at least 8 or 9; I was listening to everything on the radio. You name it, I heard every song.