Mark Ronson

You drop, ka-chick-oom, chunk, chunk.

So they're still chanting.

There's a split second where they have to realize, oh my God, he's dropping this other song that we love even more as we're singing under it.

So you are literally remixing the room.

Whenever you do one of those mixes, we used to call them wordplay mixes, where you go from the line in one song.

There's a line in Snoop's Gin and Juice where we got, and they ain't leaving till six in the morning.

And then on six in the morning, you go right into Nas, Uchiwale, because he's referenced that song.

So they ain't leaving till six in the morning is now Nas.

So you've just done this.

slick, on-beat transition from Snoop to Nas.

And of course, it takes a half second for the brain to realize, but it's still on beat.

And you just get this crazy blowback, this charge from the crowd all going like, oh, at the same time.

They call it the scream, the chant, whatever it is.

And it's like clay or Play-Doh.

The whole crowd is this thing that you're able to mold together.

It's incredible.

It's kind of why...

I can't stop DJing.

It's like still a feeling that I only get from this one thing, no matter sort of what else I do in my work as a producer.

Yes.