The only hip-hop DJ to be honored with an exhibit by Cleveland’s Rock & Roll Hall of Fame, New York’s Kool Red Alert is recognized as one of the founders of hip-hop music and culture. Through 11 years of influential work on New York’s KISS-FM, nearly every fan of urban music on the Northeast corridor has listened to Red. Today, he spins various industry events and cuts it up live on the airwaves on the Manhattan-based urban station Hot-97 WQHT-FM during his two shows—the “12 O’Clock Old School Mix” and the “5 O’Clock Free Ride.”

Inspired by DJ Kool Herc and MC Coke La Rock, Red made a name for himself spinning records for Afrika Bambaataa. He pioneered the KISS-FM hip-hop mix shows and has helped break numerous hip hop, R&B and dance cuts, was a member of the seminal Boogie Down Productions and has mixed compilation albums for Next Plateau and Epic Records.

Now celebrating his 16th year in the music business, the Bronx-bred DJ Red Alert has begun to reel in the industry respect and awards. They include: a Pioneer Award from DMC; a special award from the first annual Rap Hall of Fame Awards; a lifetime achievement award from Impact trade mag; and Mix Show of the Year Awards for 1997 and 1998 from Gavin trade mag. The capper, of course, came from his inclusion in the Rock & Roll Hall of Fame’s exhibit for history’s influential radio jocks, which also includes the likes of Frankie Crocker and Howard Stern.

Having recently ended a residency at Manhattan’s Downtime club, Red Alert remains focused on his Hot-97 shows, his website (www.kooldjredalert.com) and the various parties he works each weekend around the country. DJ Times recently caught up with Kool DJ Red Alert for a little reflection.

DJ Times: Since hip-hop first began, what do you think has changed for better or for worse?

Red Alert: It’s funny because my wife and I were having a conversation this past weekend about how the good comes with bad. Even though we’re speaking on a different subject, I would say the same holds true for music. You have records being made for good purposes and records being made for bad purposes. You have the criteria that made a hip-hop record good in corporate America – towards advertisement and marketing – and then a record being called bad depending how people take it. Today’s generation will never understand the true meaning in the way the community that developed the pioneer stage of hip hop did. The generation of today takes the matter in their own hands depending on what they believe hip hop means to them, no matter how much the persons before them tried to show and teach them. They will still put it in their own perspective. I know people may argue with me when I make a statement that a Will Smith or Puff Daddy are “good” or “bad” hip hop, as opposed to other people making these hardcore records, what they used to call gangsta rap. It balances either or, as far as hip hop sound or hip-hop music. Within hip hop, you have people who get themselves known by how they claim to enhance the culture, but they don’t even know what they’re talking about – but then again, you have people who knew about the culture and carried along during the course of life.

DJ Times: Who are your favorite MCs and producers?

Red Alert: Over the years, I never took it on myself to have a favorite of anything. I always learned to balance everything that came to me into one. Afrika Bambaataa taught to put everything together in a pot and to mix it into one—never take favorites—always mingle everything into one to make it one meaningful thing. If I believe in something, I’m with it—but I never took it as who is ahead of the next.

DJ Times: That’s a great perspective because it doesn’t support competition, which can get kind of ugly.

Red Alert: I know competition has been a factor in hip hop over the years...people battlin’ on the mic or battlin’ on the turntables, but win or lose—at the end of the day—both are winners, if you ask me. Whoever takes the challenge to do something is a winner, as opposed to people who never even try to take that challenge who are the losers.

DJ Times: How has the music been affected by spreading out from New York to suburban America?

Red Alert: So you’re asking how has it come across to other ethnic groups across the country and the world. I love it because it shows that our culture and our music have enhanced the ears of people around the world, instead of just being pigeonholed to one group. That’s how it was for jazz, blues, and rock-n-roll. You had Barry Gordy at Motown, who originally directed his music to one group of people. Who knew that it would become what is called “pop” music? Same with other genres of music. I respect Bambaataa and Lady Blue, who was a promoter at the time, who brought the music from uptown to downtown—at various places like Negril, Danceteria and the Roxy—where it mixed with punk and New Wave. I think these genres came steppin’ at the same time as hip hop, if I remember correctly. These new creations showed how they could unite with one another—which helped all of us have a broad audience instead of just staying in our local area. The seed had to start somewhere. And where it’s come and where it’s going—who can complain?

DJ Times: You were one of the innovators to bring in other flavors to the music as well. Red Alert: A lot people looked at me weird when I was introducing certain records. They would say that’s not rap or hip hop, but I felt the music could join with other sounds. For example, if you were to tell a consumer I’m going to play this new record by Living Colour, they might say, “I don’t like it.” But how can you say that if you’ve never heard it? But if you hear me mix this record into my set and you take a liking to it, you might ask what’s that and be shocked. I take the time to incorporate and blend my sounds together.

DJ Times: Do you think people are influenced by the radio show?

Red Alert: I know I’m on the air during prime time, the afternoon drive show, and I know the program department would like you to play records the audience would know and trust. But I feel that if they know the person, they will follow that person’s style. I also have introduced the music of today right along with the music of the future. When I was on KISS-FM on late nights on the weekends, I could be more innovative, but now I have to be more commercial. But I still introduce new sounds and break new ground. There’s a segment I do called “The Old School at Noon.” They asked me to do that after Glen Friscia left the radio station. I played records like Madonna, Hall & Oates and Culture Club. They said, “Why are you playing that?” I said, “You asked me to play old school, right?” They said, “Does this audience know that?” I again quote Bambaataa who instilled in me the idea of uniting all different cultures of music. The audience appreciated it, even though the programmers did not understand it. I did get the green light to introduce new stuff, even though I sandwiched it in with familiar stuff, because I know if you play too much new stuff at once, they will get turned off.

DJ Times: As a DJ, do you still play records the way you first did, or have you changed up your style?

Red Alert: I’m so accustomed to a certain way of playing certain records when I get to them, but again I still try to mix it up and play something old mixed with something new. You never know unless you try.

DJ Times: You’re still working on turntables right?

Red Alert: Oh yeah, give me my turntables. I tried bringing in some new things, but I didn’t take to it. Maybe it’s like trying to teach an old dog new tricks. There’s nothing like the feel of 1200s.

DJ Times: Do the younger kids look up to you?

Red Alert: You know, I’m very proud that the younger fellas, mostly—the girls are too shy—they’ll come up and extend their hand out to me and say, “Yo, respect is due to you.” And it’s a good feeling. Some say my father grew up on you or my brother grew up on you. In this day, you could be forgotten very quickly. But by me continuing on radio, as well as continuing my services in the community going to schools and hospitals and the jails—being one-on-one with the audience—you stay in their head for a long period of time.

DJ Times: What advice would you give to kids who want to be in this industry? Red Alert: First and foremost, you must always study your craft. Whatever you like to do, as far as an MC, a DJ, a producer, master that craft, but still set aside your schooling for the business. My younger son loved playing ball, but he has to understand that school goes along with it. You can be one of the best ball players, but you also have to finish school.

DJ Times: What is your secret of longevity?

Red Alert: Loving what I do and doing what I love. Everybody has some frustrations, but when you look at it—I could have been doing a 9-to-5 or running in the street—there must be some reason why I am given this to do. Let me continue on with it. I look at Mr. Howard Jackson—this is his sixtieth year in the business. It’s an honor and pleasure to sit down and talk with that man. One thing I’ve learned about people in this business...if they see you’re concerned, they will take time out and talk to you.

DJ Times: What do you see as your future in music?

Red Alert: I see myself learning how to adjust with the changes. The same don’t last forever. I remember the last days of KISS – I had been at the same place for 11 years. I was kind of stubborn at one point and I said I was giving up and going down with the ship. But a lot people said no, the people at Hot-97 want you. I couldn’t see it. I have to give a lot of respect for the execs who took the time to pick up the phone and say, “Yo, take your butt over there. You’re not finished.” They could have said, “OK, who’s the next guy?” But they showed their concern towards me.

DJ Times: To me, you have longevity because you are genuine.

Red Alert: I don’t know another way. I hear people say they don’t want to be a role model. But no matter what field you’re in, you instantly become one without even knowing it. Responsibility comes with it because you become an influence on some individual out there and you’ve got to take the right steps. If you take the wrong steps, you may have a finger pointed at you. You didn’t ask for it, but it comes with the territory.