Who is luther campbell

Filmography by Job Trailers and Videos. Hollywood Icons, Then and Now. Share this page:. The Rise of Will Smith. Around The Web Provided by Taboola. Create a list ». Top rappers. The 25 best Rappers of all time that made club bangers. People with Husky Voices. The complete Howard Stern Show guests list new to old.

See all related lists ». Do you have a demo reel? Add it to your IMDb page. Find out more at IMDbPro ». How Much Have You Seen? How much of Luther Campbell's work have you seen? Day See more polls ». Known For. The Long Kiss Goodnight Soundtrack. New Jack City Soundtrack. Chasing Amy Soundtrack. I would play Herbie Hancock. I would play Run-DMC. We would have the whole crowd just jumping up and down. You just got to come do a free show. That was Krush 2. I was saying it and they just took the same rhythm and everything and made the song.

Were you battling them or were you guys cool? Were they coming to Pac Jam or was it an adversarial relationship? That was my whole thing. I was making money doing concerts. I took [2 Live Crew] to Pretty Tony, who I thought was a good friend of mine — which, he is a good friend.

He had a record company; he was doing all this Trinere stuff, Freestyle , and all those different things. I thought you was my friend. Was that an attitude popular in Miami at that time? Yes, it was pretty much the attitude. Everybody was doing dance. This was a dance town. Those guys did that song and that was pretty much probably one of the only rap songs that I know of, and Amos was doing a lot of dance as well.

Do you have any funny stories about bringing artists to Miami? Oh yeah, it was funny. Miami was something that they only saw on a postcard. See, now you gonna tell your age. Another story! I had this little Honda. I would pick the guys up from the airport and my car broke down and we needed to jump the car.

He never knew a battery was in a car. The farthest I got was when I was really, really getting out of hand as a kid, my mom sent me to stay with my Navy pilot brother in Washington DC.

I ended up staying there for a year and that just totally changed my life. I saw people doing things. I saw African-Americans doing things; with briefcases, going to work. You could be something. You became such a Miami champion and you were able to make so much money just in Miami alone, but I was wondering if in the early days the dream was ever to make it big in New York. No, the dream was making it big in Miami for the South and everything.

Once I started doing things, I looked at… Most people in my community, in the African-American community, they get educated and then they leave. I was offered jobs to run major record labels in New York.

I started getting into the movies and they wanted me to move to California. I had to make that decision. I wanted to be here to hopefully inspire other kids to be involved in music industry in the same way I was. Pac Jam grew. It grew with me. Pac Jam started out in a skating ring. So we purchased the Pac Jam on 54th Street and 12th Avenue. We were actually paying rent, not purchased. We were leasing the building. This was When you look at the first album cover you see us in the back with my University of Miami underwear on my hand and my UM drawers on and my Hurricanes jacket — that was actually in the back of the original Pac Jam teen disco.

It was a teen disco on the weekend and it was the warehouse throughout the week that we would store the records in. So you guys had to take all the records that were stored there during the week and move them into the back to make the club? How long did that take? It would take quite a bit of time. That was crazy. That was the craziest gig ever. They loved it. Steven J. He is the guy on Channel 7 right now who does the traffic report in the morning.

He was the guy that actually built my pirate radio station. Grey reporting live. Yes, that was the point. It was inside during the week. During the week you would have, just like I said, the records on the dancefloor and then you had the booth that was used for the DJ booth on the weekends and throughout the week we would have the pirate radio station in [there] and we would have the transmitter on top of the building.

We maximized out of that. We lasted quite a long time doing that. You might not have been able to do all of those things if you were living in New York or somewhere else where it was more systematic. Like I said growing up as a kid I had no knowledge of the music business itself but there were record companies here. I went to this guy to get all my information then Fred Hill, God rest his soul.

Fred was the first record guy I ever met in my life and the first gay guy I ever met in my life. Back then being gay was something different. Everybody loved Fred and Fred was a knowledgeable guy. He would sit there and break it down, him and his partner Jerry, and then you would get more education. I learnt the business through all these guys about distribution and then being an intern at [the radio station] 99 Jamz I learned how records got played.

I would talk to all these record promoters that would come in; they would tell me how these records are getting played around the country. You just got to tap into the same people. It seems like Jerry Rushin, who was the program director at 99 Jamz, was an important person in breaking the Miami bass sound.

Was that somebody that you were friendly with? Yes, I was really friendly with him. I would be hanging around the radio station because I was just like a little intern. It always happens! Call the music director and he will remember you three or four years down the line. Jerry was a good friend of mine.

He taught me a lot. Going back to something you said earlier about how Pac Jam was a tough crowd, can you talk a little bit about the acts on stage and how the audience would haze them? It was brutal. We want to hear the other stuff. Get to the song that we like because we got other music that we want to listen to. That crowd was a tough crowd.

They just did in Lil Cease and them about two weeks ago you had them in there. That was the place where I would go — we had the studio right next to Pac Jam — and take a record, put it in there, and see if it worked. But it became a hit song and he became a great artist. We should explain that the club Pac Jam was running for ten years.

We moved it to a bigger building on 84 Northeast 2nd Avenue. As the business grew, the Pac Jam grew with us. It was all about having the offices in the same thing. We started a little place and then we grew into a bigger place and we would have bigger parties.

Until right now today all those people who grew up in the Pac Jam have these big Pac Jam reunion parties once a month. One of the DJs, Chico, he was a part of the group and he would do these parties once a month and they would do them at the Doubletree Hotel and thousands and thousands of people would show up.

He would do anywhere from around 3, people on a given month, just all those people who grew up in that era. It would be there and it would be just like it was in Pac Jam.

In the early days of Luke Records and 2 Live Crew, it seems like the club was a place to test records for you in a way. No doubt about it, we would test music there. I would test artists if you can perform. Growing up in that element we would test the songs, we would actually go make them and put them in there. For instance, before I put the lyrics on the song, the song was [tested] in the teen disco for at least six to eight months, maybe longer, before I actually put my vocals on top of the song.

If you got a good beat then people will like it. If you got a good hook then people will dance and sing the hook and then the lyrics will make it a long-standing hit record. That was my whole philosophy in doing music. Where did you get that lyric from? Like I said we played the instrumentals and I would just go off or whatever.

I would lock onto one girl dancing and things would come out of my mouth and I ended up doing my music the same way when we were creating this whole party. I never wrote no records down. Bring the Bacardi and nice girls to the party and before you know it turn the track on and give me the microphone and the girls start dancing. They would actually write the songs for me. I should have just gave all the girls credit. I know, right?

You got to get creative when you get in trouble for everything you say. They are originally from Riverside, California, which is a somewhat boring place. I was wondering what was the conversation went like with the 2 Live Crew guys. Mixx was the producer, always producing. They had two different things they were already doing. You had Yuri, who was like the first Common. He was the one putting out Blowfly and all that. Mixx was deep into that. We got to be different.

We got be Miami. Yes, he sampled those records. Mixx was really, really creative. All I would do is give him an idea. It became a hit song. Mixx told me no, we were not going to get into trouble for sampling. That was a marketing idea that I came up with. I used to actually release my songs, the albums, at the same time there would be a big release. If Michael Jackson was getting ready to release an album, everybody would be lined up in the store; so the week before that I would release an album and I would have a girl in a thong, or a bunch of girls in thongs.

It was a little marketing thing but it was where we were from. We booty shake. This is Little Havana, we got uptempo music. Everything about what I wanted to do was about being true to Miami and not trying to be like somebody else. Campbell often skipped school in his youth to shoot dice in the alleyways, and used his earnings to bribe his teachers for good grades.

He finally learned to read and write in the 11th grade, after being bused to Simon Kenton High, a predominantly white Miami Beach school. He later worked as a cook for a hotel and Mt. Sinai Hospital while spinning records at night in clubs.

He took a course at a local record station to learn basic audio editing and production techniques and also became a promoter of rap events. The Parents Resource Music Center had previously logged a formal complaint with the Recording Industry Association of America RIAA , suggesting a warning label be placed on audio recordings that included vulgar and obscene language.