Mark Ronson

And from that moment on, it did free me up and made me a little more brave.

And it's funny because, you know, the mashup era came quite soon after.

So it's almost a little ho-hum to think of like,

playing back and back in a club?

Like, of course, why not?

But at that moment, there was nothing like it, but it did help me find my own sound and identity.

And that's kind of when I really started to, I guess, get like crazy gigs and offers because I was doing something that nobody else was doing.

Oh, my God.

The klaxon.

Yes, there's something about that that's sort of like, it's a little bit like a...

An extra explosion in a film, right?

It's kind of like, all right, if you're not making me feel it enough with the music, I don't need the horns to be bullied into having a visceral emotion to this music.

But I also kind of like the air horn.

I mean, there's something about it that feels very New York radio.

Yeah, yeah.

The other ones are – and I sort of talk about them because the book – I said how to be a DJ in 90s New York City is the title because it's a little bit tongue-in-cheek.

No one's ever going to be a DJ in 90s New York City.

But there are a lot of things in this book that I feel like at any era might –

sort of like help out so there's things like back in that era my era it was a cardinal sin to really play a record more than once in the night like if there was a huge hit to play it five times throughout the night it was like this thing like oh you're not good enough to like to to rock a night with only playing the big records once there was a bit of that sense there was this thing like

never play all the big records when you're the opener.