This is the youngest, so it’s the least understood. “You gotta realize that this thing here, this is the youngest of all the cultures, hip-hop,” he said. These days, he said, he enjoys being a father, and lying low when he is back in town. Some people are mad at me, most people love me. “Even during the times that were really tough, I’m really O.K. He sneered at a nearby restaurant called Sugar Hill Cafe, saying the name made him sick. He declined to talk about the bad times or his early record company, Sugar Hill, or the rappers he worked with, the Furious Five, two of whom have called Flash the Milli Vanilli of hip-hop. “So here it is, 40 years later, it caught on,” he said. The series, set in hip-hop’s gestational period, has brought him back to the streets and parks where he started, now a middle-aged man straddling two eras connected by a sound that people said would never last.
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For the past 15 months, he served as an associate producer on the director Baz Luhrmann’s “The Get Down,” a new Netflix series that features an actor playing Mr. After a long fall, during which he was addicted to cocaine, estranged from some of his six children and sleeping on his sister’s couch, he has homes in the city, on Long Island and in Atlanta, but spends most of the year on the road, D.J.ing (you can’t call it spinning records) in the United States and abroad. These are good times for Grandmaster Flash. He was wearing a bright red baseball cap with the letters GF and a T-shirt that said Grandmaster, not exactly incognito. He had just returned from England, where he had D.J.ed for 10,000 people. His features have filled out from the angular profile he had as a teenager, but he still looked athletic and lithe. On a recent day in Harlem, he spread a wrinkled sheet of paper on the table of a Mexican takeout place as if opening his notes for a lecture. Saddler, the music’s first virtuoso, rode its initial wave, got crushed by the second and rebounded as one of the few from his generation whose careers are still going strong. In parallel with the city that produced it, hip-hop emerged in the mid-1970s as a symbol of urban decay and evolved into a gilded spectacle of consumption. The four-decade roller-coaster ride of Grandmaster Flash, now 58, is a tale as improbable and as distinctly New York as that of hip-hop itself, filled with raw creativity, fame, drugs, broken friendships, lawsuits and, finally, something like smooth sailing. In a few short years, though, in the hardest-hit part of a hard-hit city, he helped to invent what many would agree was the most sweeping cultural movement of the last 40 years, and then he barely hung on to see it bloom. He was Joseph Saddler then, a nerdy high school student who liked to take appliances apart to see how they worked. Music was getting more percussive teenagers with spray cans were scrawling hieroglyphic names and full-fledged murals on subway cars. By the time he returned to the borough’s Fort Apache section in 1971, things were changing fast. Born in Barbados and transplanted to the South Bronx as a child, he began his adolescence far from the city, in a group home for foster children in rural upstate New York. Grandmaster Flash might easily have missed the hip-hop revolution. Many of his peers from the music’s early days, continues to work. The Netflix series “The Get Down” is bringing new attention to
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