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Speaker 1: Thanks to chronic Goals.

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Speaker 2: This is not your average shows. You're now tuned into

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Speaker 2: the reil.

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Speaker 3: Welcome to the gainst the Chronicles podcast, the production of

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Speaker 3: iHeart Radio and Black Effect Podcast Network. Make sure you

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Speaker 3: download the iHeart app and subscribe to Against the Chronicles.

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Speaker 3: For my Apple users, hit the purple Michael on your

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Speaker 3: front screen. Subscribed to Against the Chronicles, leave of five

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Speaker 3: star rating and comment. We like to welcome you to

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Speaker 3: another episode of Against the Chronicles podcast. It's your boy

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Speaker 3: big steal along with my guy at Tonight eight. You know,

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Speaker 3: I don't throw that world legend around loosely, you know

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Speaker 3: what I'm saying. I just don't tell everybody election. We

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Speaker 3: got a legend in the house with us to night

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Speaker 3: Man Homeway, Julio g for Radio west Side Radio, bring it.

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Speaker 2: Thank you for having me. I appreciate it, Oh for sure. Yeah.

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Speaker 3: Yeah.

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Speaker 2: We go way back still, me and you and MC eight,

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Speaker 2: my guy man.

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Speaker 3: We got a lot to talk about tonight, sir. So

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Speaker 3: I'm gonna take this shit way way back.

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Speaker 2: Man.

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Speaker 3: When you was doing KD, did you ever picture the

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Speaker 3: West Coast exploding like.

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Speaker 1: It did.

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Speaker 2: In the eighties, Because like people confused when you hear

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Speaker 2: the word KD, they think of ninety three five KD,

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Speaker 2: but you're talking about the original fifteen eighty KD infrequent. Yeah,

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Speaker 2: it was like, you know, back then, it was so

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Speaker 2: early for us in the game that we we we

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Speaker 2: were so young too. We were like when I became

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Speaker 2: a fifteen eighty KD mixed master, it was September of

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Speaker 2: nineteen eighty six. I was still seventeen. I was turning

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Speaker 2: eighteen in October. So I just got out of high

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Speaker 2: school and I became a fifteen eighty k mixed master,

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Speaker 2: something that I was I wanted to be because I

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Speaker 2: grew up listening to them on the radio, the other DJs,

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Speaker 2: M Walk, Joe Cooley, Tony G you know, Jam and

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Speaker 2: Jim and I. So I eventually was lucky enough to

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Speaker 2: become the fifth mix master at that time. But we

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Speaker 2: were so young and we didn't really we were just

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Speaker 2: having fun, djaying and just creating, and it was so

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Speaker 2: it was it was so new, and we we were

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Speaker 2: kind of like we were building it out. You know,

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Speaker 2: what is dope, what is hip hop? What is what?

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Speaker 2: You know what I mean and all these and you know,

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Speaker 2: and you know a lot of people want to hear

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Speaker 2: radio today, they don't really understand that it's pretty much

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Speaker 2: fifteen eighty kDa where you got all that from. A

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Speaker 2: lot of people don't even know that they're doing things

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Speaker 2: that we invented at the time. So it was like

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Speaker 2: we didn't know. We didn't know like hip hop was

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Speaker 2: going to be like big like that, but we were

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Speaker 2: so young. We were just trying to make money and

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Speaker 2: and you know, mess with girls and just and be

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Speaker 2: the best and be dope because it was really about

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Speaker 2: back then. It wasn't really about how much money you had,

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Speaker 2: and it was really how dope you were. That's really

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Speaker 2: what it was about. We all wanted to be. We

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Speaker 2: all want to be, you know what I mean When

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Speaker 2: I remember when Joe Cooley, we used to record all

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Speaker 2: our mixes on Wednesday nights at fifteen eighty KDES so

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Speaker 2: we would do like the Saturday show, the Mixed Master Show,

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Speaker 2: because we usually had the DJ so we couldn't be

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Speaker 2: doing it live on Satday nights. We all had gigs,

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Speaker 2: so we started recording Wednesdays, so we would recording like

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Speaker 2: the traffic Jams and then the Saturday night Mixed Master Show.

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Speaker 2: And I remember the night when Joe Cooley came in

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Speaker 2: and he brought Everlasting Base and it was his picture

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Speaker 2: and it was me and Walk, Me Tony. We were

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Speaker 2: just like, we were just like Damn Joe, like you

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Speaker 2: like you made it like we were just like we

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Speaker 2: just thought it was like just to see his picture

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Speaker 2: on the record, we thought like, Damn Joe and the

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Speaker 2: way he had with the curl, with the finger wave

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Speaker 2: and the he just looked so dope. We were just

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Speaker 2: like we were hype man, We're like. It made us

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Speaker 2: all want to find a rapper to work with, like

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Speaker 2: and that's how we all started to work with rap.

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Speaker 4: Though I thought y'all were superstars just from the mixtapes.

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Speaker 2: Oh no, we were. We were hood celebrities for sure.

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Speaker 2: Crazy Bro was.

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Speaker 1: Ill Bro who used to rap with him.

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Speaker 2: It was a master Rhyme and Romeo and there was another.

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Speaker 2: It was because they had Cracker.

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Speaker 1: Man his mixtapes and scratching.

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Speaker 2: His scratching was Ill Bro. Yeah, he was straight and

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Speaker 2: it was funny. Crazy He said that because we all

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Speaker 2: had our own styles, all of us scratched different. We

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Speaker 2: all wanted to be unique, and like you said, and

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Speaker 2: Walk he was so vicious with his left and he

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Speaker 2: had a He just had his own signature scratches. And

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Speaker 2: he never wanted to be like Joe Cooley, like he

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Speaker 2: wanted to stay away from we all did. We kind

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Speaker 2: of let Joe. Joe was doing Joe, so we we

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Speaker 2: didn't want to like walk over. So we always wanted

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Speaker 2: to like, you know, we wanted to bring something, you

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Speaker 2: know what I mean. So everybody was unique and that's

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Speaker 2: what what made us so unique at the time that

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Speaker 2: we brought so much different styles to how we dj.

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Speaker 1: The idea was it to start the Mixed Masters.

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Speaker 2: And that was Greg Mac. That was his thing. He's responsible.

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Speaker 2: Greg Mac was don't want to put it together, but

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Speaker 2: he got he did. He did that because he's watching.

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Speaker 2: He came to l A. He was from Houston or

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Speaker 2: Texas or something. He was Houston and he came out

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Speaker 2: here and he was watching with the Wrecking Crew and

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Speaker 2: Uncle Jam's army, and so he decided, like all those guys,

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Speaker 2: you know, so they had little groups. So he's like,

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Speaker 2: I'm gonna do He was on the radio, so he's like,

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Speaker 2: I'm going to create a group called the Mac Attack

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Speaker 2: Mixed Masters. We always say the k A Mixed Masters

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Speaker 2: because people know that, but really it was the Mac

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Speaker 2: Attack Mixed Masters, And so the key thing for him

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Speaker 2: is that he met Tony, because Tony is the one

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Speaker 2: that really was like the guy that kind of like

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Speaker 2: found us, like in that way, like he knew who's dope,

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Speaker 2: and you kind of had to get through him to

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Speaker 2: like he was kind of like he found me, you

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Speaker 2: know what I mean. So he's the one that put

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Speaker 2: me on and then and then later on when we

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Speaker 2: got battle and all, this guy, you know what I mean,

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Speaker 2: he had the ear for and he was just so

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Speaker 2: dope though he was the best one of all of us,

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Speaker 2: so he had he had the equipment. A lot of

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Speaker 2: people didn't know that. There wouldn't have been no dances

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Speaker 2: if it was for Tonity. That was his speakers, his turntables,

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Speaker 2: his lights, his mindset because nobody knew how to nobody

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Speaker 2: knew how to do a little box that transmitted from

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Speaker 2: Skateland USA in eighty six eighty seven, but he did

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Speaker 2: so somehow we were able to throw a phone line

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Speaker 2: go live on the air from dances. That's where everybody

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Speaker 2: got that from. They got that from watching us do that.

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Speaker 2: And you see that in the NWA movie when they

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Speaker 2: go on to Skateland. That's our dance. They don't tell

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Speaker 2: you that, but that's a fifteen eighty KDI dance that

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Speaker 2: they're talking about. That's where they used to come to Skateland, USA,

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Speaker 2: you know what I mean. So because we played the

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Speaker 2: World on Wheels for the cribs and then we do

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Speaker 2: have to do Skateland for the bloods, we had it was.

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Speaker 2: It was that crazy. It was that crazy because they

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Speaker 2: couldn't come, like if you wanted to have we had

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Speaker 2: l cooj World on wheels. The Bounty hunters can't go

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Speaker 2: up there, you know, so they would miss out. So

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Speaker 2: we had to go to their there's Skateland or Dodos

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Speaker 2: or whatever, but you usually Skateland and then we give them.

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Speaker 2: I remember Public Enemy. First time they played it was

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Speaker 2: at Skateland, USA, and from all these bloods and they

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Speaker 2: were sitting there looking at you know back then like

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Speaker 2: nobody had seen the s one w We hadn't seen

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Speaker 2: nothing like that, you know what I mean. They came

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Speaker 2: out on the stage to the whole place like what

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Speaker 2: is this Like it was all military, but it was dope.

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Speaker 2: It was like, damn, this is hard.

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Speaker 4: And so you see a gang.

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Speaker 2: But they loved it because it was like this ship

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Speaker 2: hold man, this we ain't never seen the show like this.

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Speaker 1: What is this?

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Speaker 3: Right?

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Speaker 2: So that was that was I never forget that name.

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Speaker 2: Republic Enemy played Skateland.

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Speaker 3: It was like and it was almost impossible to get

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Speaker 3: up in that motherfucker back then.

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Speaker 2: Yeah, well, you had to be from that neighborhood around.

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Speaker 2: There wasn't letting you slide.

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Speaker 1: Skate like this.

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Speaker 4: Skateland was right by you know, Rose Crans and Central,

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Speaker 4: so that's the home of all the Blood homies.

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Speaker 2: And it wasn't it Rue Street was right. There wasn't

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Speaker 2: it Ark was right.

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Speaker 1: That was their neighborhood was only.

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Speaker 2: Right there.

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Speaker 4: All the all the concerts that Dodos and skate Land

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Speaker 4: was for the Blood homies.

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Speaker 1: And then you go the world on wheels and that's there.

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Speaker 2: Might let you in the world on whiphen you get

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Speaker 2: kind of slide in there from somewhere else. But one

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Speaker 2: thing about Skateland all that you had to be from

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Speaker 2: around They wouldn't let you just slide.

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Speaker 3: I'll tell you a story about that man, the homeboy Purvios.

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Speaker 3: We all played ball together. He said, I'm gonna take

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Speaker 3: y'all we gonna go to the skating ring. Right soon

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Speaker 3: as we walked up in that motherfucker the homeboy got

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Speaker 3: knocked out. I ain't gonna see his name. I'm talking

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Speaker 3: about slip by some grown dude that was on swool.

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Speaker 3: Like what y'all doing up here? And I'm from Ohio

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Speaker 3: at the time, I don't know what the hell going on.

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Speaker 3: I just know homeboy got knocked out and we wanted

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Speaker 3: the bounce. We picked a home up like this were

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Speaker 3: little kids, bro.

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Speaker 4: Places is all them places? Was definitely off off, out

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Speaker 4: of bound here.

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Speaker 2: That's what people don't know. It's another thing that people

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Speaker 2: don't really realized when you look back what we went

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Speaker 2: through to bring you hip hop. Hip Hop wasn't in

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Speaker 2: Hollywood back then. We had to go to the hood.

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Speaker 2: It was all hood. So the most Hollywood closest thing

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Speaker 2: was the Gossic Community realn because it was off Washington

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Speaker 2: in the one tenth, But that was probably about as

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Speaker 2: far close as you ever gonna get to Hollywood.

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Speaker 3: Back then.

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Speaker 2: It's like Skateland, Dudos three two one, you know, just

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Speaker 2: different little spots, but they used to be South Central,

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Speaker 2: like just in the hood. Dog and the ship that

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Speaker 2: we went through just to just bring hip hop to

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Speaker 2: the masses. Like these kids today, they would have never

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Speaker 2: survived home.

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Speaker 3: That's when a dream. Yeah did you think because you

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Speaker 3: would look key back then. I'm pretty sure you told

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Speaker 3: your mom and I'm gonna go DJing.

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Speaker 2: Well, the thing about it is that before the DJing,

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Speaker 2: I my mom always knew I was gonna do some

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Speaker 2: of music because I used to. I was known for

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Speaker 2: breakdancing and I was I've always been a bee boy

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Speaker 2: like hip hop right before. That's how I met Cychrsel.

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Speaker 2: That's how we met in high school. We met in

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Speaker 2: high school when I battled them. I met them and

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Speaker 2: on each other and they were like, damn, this dude

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Speaker 2: is like that's That's one thing I was very known for,

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Speaker 2: like bureau synd Dog. They'll tell you. I was known

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Speaker 2: for the breakdance and I would battle people to go

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Speaker 2: do contests. I would do all types of ship.

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Speaker 4: And so that's something we did have a lot coming up.

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Speaker 4: You had a lot of contests around the sea as

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Speaker 4: far as popping.

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Speaker 2: And breaking, popping and breaking.

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Speaker 1: We had content at.

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Speaker 4: The malls, at like pizza places, everywhere, talent shows, everything,

229
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Speaker 4: man throwing your Sergeyo Takini sweatsuit. Me and the homeboy

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Speaker 4: had a crew. We was popping and we go into

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Speaker 4: all the talent shows, all the little contests. That's right,

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Speaker 4: that's before that's before rap started.

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Speaker 2: And that's why I was so into that. And then

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Speaker 2: actually my mom she actually drove me to like two

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Speaker 2: contests because I couldn't drive. I couldn't go to Huntington Park.

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Speaker 2: I'm in Landward. I couldn't go to cities. I can't

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Speaker 2: get on the bus nighttime. So my mom was like, hey, mom,

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Speaker 2: can you give me like a ride to there's this

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Speaker 2: continentcy My mom, man, she was some nice man, got

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Speaker 2: blessed the recipe. She okay, here, like, I'll give you

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Speaker 2: like two hours, but I have to go home. You know,

242
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Speaker 2: I can't be all all night, you know. So my

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Speaker 2: mom will parked the car and I'll be back mom.

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Speaker 2: And I go in there and I win fifty dollars

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Speaker 2: and I come back and I tell my mom put

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Speaker 2: gas in the car moment and my mom was like,

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Speaker 2: you want that, you want fifty dollars?

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Speaker 3: That was a lot of money, a lot of money.

249
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Speaker 2: It was fifty dollars.

250
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Speaker 1: I won one hundred dollars.

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Speaker 2: Yeah, bro, bro, I never forget that. My mom was like,

252
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Speaker 2: I was like, Mom, go fill up the tank this bro.

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Speaker 2: She was like okay that. So she like she didn't

254
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Speaker 2: really know what I was doing, but she as long

255
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Speaker 2: as I wasn't doing street stuff in the hood and

256
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Speaker 2: just it kept me out. My mom was always like

257
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Speaker 2: because man, I used to practice, bro. Like I used

258
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Speaker 2: to be in the living room doing headspins and my

259
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Speaker 2: mom would be like, you're gonna break her neck, bro,

260
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Speaker 2: Like I'm like no. And I used to use like

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Speaker 2: a record, like a record cover, and I would use

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Speaker 2: that to spend on the car, put on the car,

263
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Speaker 2: but I would sit there.

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Speaker 4: We would take that old pieces of yeah that took

265
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Speaker 4: somebody got the kitchen and nigga, we take that old

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Speaker 4: piece of lit and put it in the garage and

267
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Speaker 4: would be out there dropping doing all kinds of ship straight.

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Speaker 5: Getting burned up and and all kinds of stuff, banging

269
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Speaker 5: your phe man everything.

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Speaker 2: I went to schooling time, bro, and they thought that

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Speaker 2: my mom was hitting me because I used to do

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Speaker 2: so once I got the women. Because when you used

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Speaker 2: to do windmills, like in the beginning, I would do

274
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Speaker 2: cardboard and when you do cardboard, you know, because I

275
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Speaker 2: was doing off the head, I would get these like

276
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Speaker 2: so I to have to use cocoa butter to kind of.

277
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Speaker 2: So I went to school and then they pulled me

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Speaker 2: to the.

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Speaker 1: Sign nigga have no money.

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Speaker 6: No, we didn't know it was Yeah, it.

281
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Speaker 2: Was fun, bro, but yeah. I remember one time I

282
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Speaker 2: was like, oh no, my mom will hit me. Man, No,

283
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Speaker 2: that's just from breakdancing. And then I actually had to

284
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Speaker 2: breakdance for them to show them why I was at

285
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Speaker 2: Southgate High School and they were like, oh damn. They

286
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Speaker 2: actually put me in the high school yearbook as because

287
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Speaker 2: I was known for breakdancing in the school. Like I said,

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Speaker 2: that's where I met Cyperusil. We first started there. That's

289
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Speaker 2: where we kind of started the thing. But we started

290
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Speaker 2: all as be boys.

291
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Speaker 3: And you're responsible for actually hooking them dudes up right.

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Speaker 2: Yeah, I introduced Munks. I met Muggs. I want to

293
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Speaker 2: say it was my senior year. I met him in

294
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Speaker 2: Southgate through another friend named Joe, and he came and

295
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Speaker 2: I used to practice at this place called the Caprice.

296
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Speaker 2: It's actually still there. It's like a it's like a

297
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Speaker 2: Mexican spot where they do like Mexican Bonda stuff. And

298
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Speaker 2: so I used to play there on Sundays because the

299
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Speaker 2: equipment I was using had gotten stolen, so I didn't

300
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Speaker 2: have nowhere to practice. But I didn't have turntables back then.

301
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Speaker 2: It was like I didn't get twelve hundreds, so like

302
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Speaker 2: I like to fifteen a dekda. It was just, you know,

303
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Speaker 2: it was expensive though we didn't have it. It was

304
00:14:00,920 --> 00:14:03,280
Speaker 2: it was crazy to get equipment. So they would let

305
00:14:03,320 --> 00:14:05,360
Speaker 2: me go there and I would like practice, would DJ

306
00:14:05,440 --> 00:14:09,280
Speaker 2: from eight to ten just to practice on their stuff.

307
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Speaker 2: And so that would be my little one week practice

308
00:14:12,400 --> 00:14:14,360
Speaker 2: that I can get in because I was really trying

309
00:14:14,360 --> 00:14:16,240
Speaker 2: to be a DJ, but I didn't have the equipment anymore.

310
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Speaker 2: And so my friend Joe comes and he says, hey,

311
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Speaker 2: this guy. It wasn't a lot of people that night there,

312
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Speaker 2: and so he says, there's this guy that he wants

313
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Speaker 2: to battle you. And I'm like, man, what okay. I

314
00:14:27,280 --> 00:14:29,640
Speaker 2: was always into battling, you know, fun. I was part

315
00:14:29,640 --> 00:14:32,080
Speaker 2: of the that was part of the process actually, And

316
00:14:32,200 --> 00:14:34,320
Speaker 2: so I think I put on Planet Rock and I

317
00:14:34,320 --> 00:14:37,600
Speaker 2: started cutting a planet rock and then Joe came. He goes, no,

318
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Speaker 2: he doesn't want to battle youn Moore. Man, he just

319
00:14:39,200 --> 00:14:42,120
Speaker 2: wants to meet you. I'm like, oh, okay, cool. So

320
00:14:42,160 --> 00:14:44,600
Speaker 2: I went outside and I met DJ Munks and that's

321
00:14:44,600 --> 00:14:46,080
Speaker 2: how I met him. And then and you know, we

322
00:14:46,160 --> 00:14:48,800
Speaker 2: kicked it off from the beginning. Me and like because

323
00:14:48,840 --> 00:14:50,680
Speaker 2: I believe because and out of a lot of people

324
00:14:50,720 --> 00:14:53,360
Speaker 2: don't know this. Monks was a very good breakdancer too.

325
00:14:53,440 --> 00:14:55,600
Speaker 2: He used to go and tour around the world like

326
00:14:55,640 --> 00:14:59,160
Speaker 2: he was very known for that too. So we clicked

327
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Speaker 2: off because of that, because I come from the breakdance world,

328
00:15:01,760 --> 00:15:04,920
Speaker 2: you know. And then we met, we talked, and then

329
00:15:05,240 --> 00:15:07,160
Speaker 2: I told him he said, man, I just came from

330
00:15:07,160 --> 00:15:09,400
Speaker 2: the Philippines. I think it was the Philippines. And I

331
00:15:09,520 --> 00:15:11,840
Speaker 2: used that money to buy two turntables in a mixer,

332
00:15:12,600 --> 00:15:15,960
Speaker 2: and so he says, uh. I said, oh, damn, So

333
00:15:15,960 --> 00:15:18,120
Speaker 2: you got some equipment, said you got some twelve hunters.

334
00:15:18,440 --> 00:15:20,080
Speaker 2: He said, yeah, Man, I got twelve hunters and this

335
00:15:20,160 --> 00:15:22,360
Speaker 2: mixer and and I'm like, damn.

336
00:15:22,400 --> 00:15:22,560
Speaker 4: Man.

337
00:15:22,600 --> 00:15:25,240
Speaker 2: I was like, man, man, can I come practice with you?

338
00:15:25,720 --> 00:15:28,080
Speaker 2: And he was like yeah, hell yeah. I didn't have

339
00:15:28,120 --> 00:15:29,520
Speaker 2: a car at the time, and he used to come

340
00:15:29,520 --> 00:15:32,080
Speaker 2: from Bell He lived in Bell Gardens. He used to

341
00:15:32,120 --> 00:15:33,480
Speaker 2: come from Bell Gardens and pick me up.

342
00:15:33,560 --> 00:15:34,040
Speaker 3: That's crazy.

343
00:15:34,160 --> 00:15:35,520
Speaker 2: We used to go back to his house and we

344
00:15:35,520 --> 00:15:38,280
Speaker 2: would sit there and cut together. And he knew some

345
00:15:38,320 --> 00:15:39,800
Speaker 2: stuff too. I don't want to say it like I

346
00:15:39,840 --> 00:15:42,480
Speaker 2: taught him out of DJ, but there was things that

347
00:15:42,560 --> 00:15:44,240
Speaker 2: I like, oh, you should try to do it like

348
00:15:44,320 --> 00:15:46,240
Speaker 2: this dog. And you know, there was things that I

349
00:15:46,320 --> 00:15:48,920
Speaker 2: knew that he didn't know, right, So we were like sharing.

350
00:15:49,160 --> 00:15:51,640
Speaker 2: And then he had records I didn't have. So I

351
00:15:51,640 --> 00:15:54,280
Speaker 2: remember he had Back in black from Back in Black

352
00:15:54,960 --> 00:15:59,600
Speaker 2: Man that was so much fun. And I was like, damn,

353
00:15:59,600 --> 00:16:01,880
Speaker 2: I don't go these records. These are dope, bro like

354
00:16:02,200 --> 00:16:03,680
Speaker 2: and so he had a lot of records like that.

355
00:16:03,720 --> 00:16:06,360
Speaker 2: But when I met Mugs, he was in the little

356
00:16:06,360 --> 00:16:09,640
Speaker 2: one bedroom with his mom's. I mean not one bit

357
00:16:09,800 --> 00:16:11,720
Speaker 2: like a two bedroom, but he had his one bedroom

358
00:16:11,760 --> 00:16:13,840
Speaker 2: and it was just a mattress. It wasn't even like

359
00:16:13,880 --> 00:16:16,120
Speaker 2: the two mattress. It was like one new mattress and

360
00:16:16,160 --> 00:16:19,080
Speaker 2: it was a dresser and the two turntables and the

361
00:16:19,120 --> 00:16:21,560
Speaker 2: mixer and records. That's all he had in the room.

362
00:16:21,600 --> 00:16:23,600
Speaker 2: It was crazy. I was like, damn, is this is

363
00:16:23,600 --> 00:16:25,720
Speaker 2: your room? Like that's all he did? Like it seemed

364
00:16:25,760 --> 00:16:29,480
Speaker 2: like that. Yeah, he had humble beginnings. Bro, Mugs came

365
00:16:29,480 --> 00:16:32,520
Speaker 2: from like straight, just like I said, just basically.

366
00:16:32,400 --> 00:16:34,240
Speaker 1: I followed Mugs since early.

367
00:16:34,560 --> 00:16:37,160
Speaker 2: Yes, So then I brought him to the block once

368
00:16:37,240 --> 00:16:39,800
Speaker 2: I once I got to know him, I was like, hey,

369
00:16:39,800 --> 00:16:42,320
Speaker 2: you smoke weed. He's like, yeah, I smoke weed here

370
00:16:42,360 --> 00:16:44,000
Speaker 2: and there. I said, oh, cool, man, you need to

371
00:16:44,000 --> 00:16:45,800
Speaker 2: come to the block. I'm gonna bring you on Cypress

372
00:16:45,840 --> 00:16:47,960
Speaker 2: you could meet the homies. And so then I brought

373
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Speaker 2: them on Cypress and that's why I introducing the Mugs

374
00:16:50,040 --> 00:16:52,480
Speaker 2: and b Real and sand Dog and a Mellow man

375
00:16:52,480 --> 00:16:55,120
Speaker 2: Ace and all the boy cheep to Tomahawk Funk from

376
00:16:55,160 --> 00:16:59,040
Speaker 2: Funk Dubius Tyrone, and so we all started the whole click.

377
00:16:59,080 --> 00:17:00,600
Speaker 2: We started kind of kicking, you know what I mean.

378
00:17:00,640 --> 00:17:03,280
Speaker 2: And then I did the first demo for them at

379
00:17:03,400 --> 00:17:07,959
Speaker 2: Muggs's house. He had a little recorder and I said, hey, Mugs,

380
00:17:08,320 --> 00:17:10,320
Speaker 2: there's this guy that I met. Man, I think he

381
00:17:10,320 --> 00:17:13,080
Speaker 2: could get us like a record. I was doing his

382
00:17:13,160 --> 00:17:16,200
Speaker 2: shows with the guy named Jesse Jess. He was from

383
00:17:16,200 --> 00:17:18,520
Speaker 2: a group called fast Lane, and they had a song

384
00:17:18,600 --> 00:17:22,960
Speaker 2: called young Ladies, Young Ladies drive Me Crazy? Do Do

385
00:17:23,119 --> 00:17:25,600
Speaker 2: Do Do? Do Do Do. It was like one of

386
00:17:25,640 --> 00:17:28,520
Speaker 2: them up tempo like techno records. So he came out

387
00:17:28,560 --> 00:17:31,480
Speaker 2: here and I started doing shows DJing for him, and

388
00:17:31,520 --> 00:17:33,119
Speaker 2: this is I was still in high school at the time,

389
00:17:33,440 --> 00:17:35,720
Speaker 2: and then he knew somebody and that's when I went

390
00:17:35,760 --> 00:17:37,480
Speaker 2: over there and I was like, he's like, yeah, man,

391
00:17:37,520 --> 00:17:40,400
Speaker 2: bring your friends. And I brought b real sand dog

392
00:17:40,760 --> 00:17:44,640
Speaker 2: below mayonnaise and I think Tomahawk funk and we did

393
00:17:44,720 --> 00:17:48,040
Speaker 2: like one take Houdini friends and like five minutes a funk.

394
00:17:48,080 --> 00:17:50,399
Speaker 2: And we had like these routines because when I was

395
00:17:50,400 --> 00:17:53,280
Speaker 2: doing backyard parties, they would bring a mic and we

396
00:17:53,400 --> 00:17:55,200
Speaker 2: had like a routine like we had like at the

397
00:17:55,320 --> 00:17:59,920
Speaker 2: end of my mix, I would do Jacqueline Hide, Jacqueline Hide,

398
00:18:00,480 --> 00:18:03,640
Speaker 2: Dune DM DNA. The genius would love drafting jeans trapped

399
00:18:03,640 --> 00:18:06,520
Speaker 2: the instrumental so they would know, like I would have like, hey,

400
00:18:06,520 --> 00:18:09,240
Speaker 2: when I do this tug douga doggad, then you come

401
00:18:09,320 --> 00:18:11,760
Speaker 2: in tyrone and send when I cut it out here,

402
00:18:11,920 --> 00:18:14,280
Speaker 2: that's your intes So that's how they would know. So

403
00:18:14,320 --> 00:18:16,960
Speaker 2: we used to have little backyard parties and that nobody

404
00:18:17,080 --> 00:18:18,879
Speaker 2: was seeing that back then, Like in South Kate, they

405
00:18:18,880 --> 00:18:21,919
Speaker 2: were like the fuck is this like? Because they were

406
00:18:21,920 --> 00:18:23,639
Speaker 2: into a new wave and disco and other kind of shit.

407
00:18:23,800 --> 00:18:25,640
Speaker 2: They weren't into hip hop like that. It was so new,

408
00:18:26,160 --> 00:18:28,040
Speaker 2: but we were doing it in the backyard parties in my

409
00:18:28,119 --> 00:18:31,800
Speaker 2: senior year. And that's that's how, like I said, later

410
00:18:31,840 --> 00:18:33,879
Speaker 2: on Mugs came and then we started making those demos,

411
00:18:33,880 --> 00:18:35,680
Speaker 2: and then he started hanging out on the block. Then

412
00:18:35,720 --> 00:18:37,480
Speaker 2: I got on fifteen eighty kDa and he stayed on

413
00:18:37,560 --> 00:18:41,200
Speaker 2: the block, and that's how they started forming Cypress Hill,

414
00:18:41,600 --> 00:18:43,200
Speaker 2: you know what I mean. So, so, yeah, we all

415
00:18:43,200 --> 00:18:44,119
Speaker 2: go way back to Breakley.

416
00:18:44,160 --> 00:18:46,520
Speaker 1: He was around when so was Monk.

417
00:18:46,640 --> 00:18:49,919
Speaker 4: So did he have his first record out before the

418
00:18:49,960 --> 00:18:50,520
Speaker 4: seven eight.

419
00:18:51,200 --> 00:18:53,560
Speaker 2: Yeah, he didn't have seven eight three yet, like he

420
00:18:53,600 --> 00:18:56,240
Speaker 2: had he this is before that. This seven eight three

421
00:18:56,240 --> 00:19:01,040
Speaker 2: came a little later, and so uh yeah, seventy three

422
00:19:01,040 --> 00:19:02,960
Speaker 2: came a little later. And then that was kind of

423
00:19:03,000 --> 00:19:05,960
Speaker 2: the beginning where we started like somebody was doing something.

424
00:19:06,000 --> 00:19:09,800
Speaker 2: And then then Mellow man As calls me when I'm like,

425
00:19:10,600 --> 00:19:13,040
Speaker 2: I think I just got out of fifteen eighty KD

426
00:19:13,800 --> 00:19:19,120
Speaker 2: or maybe right before he calls me and he says, uh, hey,

427
00:19:19,160 --> 00:19:21,560
Speaker 2: I got this record deal, but I don't really know like,

428
00:19:22,280 --> 00:19:25,600
Speaker 2: I'm kind of stuck, like he you know, you know

429
00:19:25,640 --> 00:19:28,720
Speaker 2: how it is eight? Putting an album together sounds easy.

430
00:19:29,200 --> 00:19:30,840
Speaker 1: Hey, let's put an album together exactly?

431
00:19:30,880 --> 00:19:32,600
Speaker 2: Oh right, cool, let's dot working on some song. But

432
00:19:32,640 --> 00:19:34,480
Speaker 2: that don't mean that that's still trying to put an

433
00:19:34,520 --> 00:19:35,119
Speaker 2: album together.

434
00:19:35,240 --> 00:19:35,600
Speaker 1: He didn't.

435
00:19:35,640 --> 00:19:38,000
Speaker 2: Nobody knew, we knew. We were so fresh. I had

436
00:19:38,040 --> 00:19:40,400
Speaker 2: no idea, who do you do? What song? You gotta

437
00:19:40,440 --> 00:19:44,000
Speaker 2: have some gudness, right, So I tell Melo, I go,

438
00:19:44,119 --> 00:19:49,840
Speaker 2: oh okay, I go, hey, unknown dj he had just gotten.

439
00:19:49,880 --> 00:19:52,879
Speaker 2: Tony helped Tony get a SP twelve hundred and he

440
00:19:52,920 --> 00:19:54,639
Speaker 2: had it at the house and Tony started showing me

441
00:19:54,760 --> 00:19:56,920
Speaker 2: this is bad to be probably had half like two weeks.

442
00:19:57,240 --> 00:19:59,840
Speaker 2: And I tell mylot Manais, I said, hey, I said,

443
00:20:01,480 --> 00:20:03,680
Speaker 2: let's go. Let's you should come see Tony g Man.

444
00:20:03,720 --> 00:20:06,280
Speaker 2: He be producing and he's like Tony g the DJ.

445
00:20:06,760 --> 00:20:09,040
Speaker 2: I said, yeah, man, oh Man, he be producing. I'm lying,

446
00:20:09,160 --> 00:20:10,719
Speaker 2: I'm extually putting the extras on it. I didn't even

447
00:20:10,720 --> 00:20:12,560
Speaker 2: know Tony Cook produced. I just knew he showed me

448
00:20:12,560 --> 00:20:14,760
Speaker 2: the drum machine. He was hitting notes on it. And

449
00:20:14,800 --> 00:20:17,080
Speaker 2: so he comes over. I bring him over. I said, hey,

450
00:20:17,119 --> 00:20:18,600
Speaker 2: Tony I'm gonna bring this guy over from that I

451
00:20:18,600 --> 00:20:20,800
Speaker 2: went to high school with, and so I brought him

452
00:20:20,840 --> 00:20:23,240
Speaker 2: over and then the first song they did was Ryan Fighter,

453
00:20:23,880 --> 00:20:26,560
Speaker 2: and then from then on he and Tony ended up

454
00:20:26,560 --> 00:20:30,080
Speaker 2: finishing that album that gave men Thidosa and then another

455
00:20:30,160 --> 00:20:32,160
Speaker 2: the B side of Menthidosa was a really big hit

456
00:20:32,560 --> 00:20:35,159
Speaker 2: club hit called Welcome to My Groove, and so we

457
00:20:35,200 --> 00:20:37,200
Speaker 2: had we had a dope Steve Silk Hurly remix of

458
00:20:37,240 --> 00:20:39,520
Speaker 2: it that really blew us up. A lot of people

459
00:20:39,560 --> 00:20:41,680
Speaker 2: don't know that Melo man name's men thi Doosa was big,

460
00:20:41,720 --> 00:20:43,600
Speaker 2: but so was the club song. The other club song was.

461
00:20:43,640 --> 00:20:45,560
Speaker 2: We used to do so many shows just because of

462
00:20:45,560 --> 00:20:48,840
Speaker 2: that song too, and so uh, that's kind of how

463
00:20:48,880 --> 00:20:50,960
Speaker 2: that that that's how we ended up doing. That's how

464
00:20:51,000 --> 00:20:52,800
Speaker 2: that kind of came about, you know what I mean?

465
00:20:52,880 --> 00:20:55,199
Speaker 2: When I took him to Tony's house and me and

466
00:20:55,240 --> 00:20:56,960
Speaker 2: Tony had just got our fifteen eighty cat and that

467
00:20:57,040 --> 00:21:00,399
Speaker 2: was like the next thing we did right coming out

468
00:21:00,440 --> 00:21:00,640
Speaker 2: of there.

469
00:21:00,800 --> 00:21:03,960
Speaker 3: Did you ever looked back? And because dudes, guys wound

470
00:21:04,080 --> 00:21:06,159
Speaker 3: up becoming one of the biggest hip hop groups of

471
00:21:06,240 --> 00:21:09,600
Speaker 3: the world. The world man Cypress here shout I I

472
00:21:09,680 --> 00:21:12,199
Speaker 3: just talked to be real. What last week he just

473
00:21:12,200 --> 00:21:14,760
Speaker 3: did a song for him. I still talk to be

474
00:21:14,920 --> 00:21:17,600
Speaker 3: real like certain dudes, you can pick up the phone

475
00:21:17,760 --> 00:21:22,879
Speaker 3: like yeah, you know, but yeah.

476
00:21:22,920 --> 00:21:23,480
Speaker 1: And then.

477
00:21:27,600 --> 00:21:30,160
Speaker 4: We've always had the stipulation because you know, we had

478
00:21:30,200 --> 00:21:34,439
Speaker 4: other you know, we we've had other essay performers on

479
00:21:34,480 --> 00:21:37,879
Speaker 4: our show or whatever, and they seem to think that

480
00:21:37,960 --> 00:21:43,439
Speaker 4: it's some kind of uh blockage against Chicano rap. But

481
00:21:43,560 --> 00:21:48,880
Speaker 4: in our days, we banged Cypress here. I banged Kid from.

482
00:21:48,800 --> 00:21:51,760
Speaker 2: You're on the second album exactly, You're You're on a

483
00:21:51,840 --> 00:21:53,560
Speaker 2: classic I'm on like two.

484
00:21:53,400 --> 00:21:55,880
Speaker 4: Songs when you were all three hands in the air

485
00:21:55,960 --> 00:21:56,879
Speaker 4: and praylude to it.

486
00:21:57,200 --> 00:22:05,000
Speaker 3: Everybody anyway, months produce about three four songs.

487
00:22:04,600 --> 00:22:06,520
Speaker 1: On my last minu standing out, you know what.

488
00:22:06,760 --> 00:22:10,760
Speaker 4: So I've never had the stipulation that it's been something,

489
00:22:11,280 --> 00:22:14,920
Speaker 4: you know, with the problem between black and Chicano rap

490
00:22:15,000 --> 00:22:17,400
Speaker 4: or whatever, because like I said that my days are

491
00:22:17,400 --> 00:22:17,880
Speaker 4: coming up.

492
00:22:18,359 --> 00:22:21,320
Speaker 1: I banged the hell out of Cypress Hell, Kid Frost.

493
00:22:26,520 --> 00:22:29,680
Speaker 2: I mean, I think because you we're in today's era,

494
00:22:29,800 --> 00:22:31,359
Speaker 2: I think a lot of people have gotten so much.

495
00:22:31,640 --> 00:22:33,920
Speaker 2: I really don't it bothers me actually, because we've done

496
00:22:33,960 --> 00:22:36,240
Speaker 2: so much in hip hop. I don't like that, you know,

497
00:22:36,320 --> 00:22:39,639
Speaker 2: I don't like that they there's this feeling that, like

498
00:22:39,800 --> 00:22:42,800
Speaker 2: I heard somebody not too long ago say like, uh,

499
00:22:42,920 --> 00:22:46,320
Speaker 2: the black rappers are holding somebody back. It's not true

500
00:22:46,359 --> 00:22:48,520
Speaker 2: at all. No black rappers ever ever held us back,

501
00:22:48,760 --> 00:22:52,480
Speaker 2: but the difference between us, so people can understand because

502
00:22:52,840 --> 00:22:54,760
Speaker 2: we don't get the credit for that either. We open

503
00:22:54,800 --> 00:22:59,960
Speaker 2: the Latino hip hop definitely, and I was the same year.

504
00:23:00,080 --> 00:23:01,359
Speaker 1: Well, we didn't look at it.

505
00:23:01,440 --> 00:23:07,680
Speaker 4: I didn't label I don't know if we.

506
00:23:07,560 --> 00:23:11,720
Speaker 2: The time. But let me explain why I say that.

507
00:23:11,960 --> 00:23:14,280
Speaker 2: When you did look at the covers, it was Melow

508
00:23:14,280 --> 00:23:17,080
Speaker 2: Maannase and the Cuban hat. It was it was us

509
00:23:17,640 --> 00:23:20,040
Speaker 2: when we had Kid Frost, You've seen the look. It

510
00:23:20,160 --> 00:23:23,560
Speaker 2: was a Chicano Mexican. It was so our thing was that.

511
00:23:23,600 --> 00:23:25,680
Speaker 2: What I want to explain to people is that when

512
00:23:25,680 --> 00:23:29,240
Speaker 2: me and Tony were doing these records like Kis Frost,

513
00:23:29,240 --> 00:23:31,399
Speaker 2: people don't know was really because we were such a

514
00:23:31,400 --> 00:23:33,840
Speaker 2: big fans of Public Enemy. That's why it was called

515
00:23:33,880 --> 00:23:38,119
Speaker 2: Hispanic causing panic. We were trying to revolutionize our people

516
00:23:38,119 --> 00:23:41,600
Speaker 2: in that way and give them something of not as

517
00:23:41,640 --> 00:23:45,120
Speaker 2: deep and militant as public enemy, but we wanted to

518
00:23:45,400 --> 00:23:47,640
Speaker 2: do that direction. That's why that album the first time

519
00:23:47,800 --> 00:23:51,560
Speaker 2: is not about shooting motherfuckers and gang banging, and it's

520
00:23:51,560 --> 00:23:52,680
Speaker 2: about us our culture.

521
00:23:52,760 --> 00:23:54,760
Speaker 1: It's a good record. Yeah, it's a hood record.

522
00:23:54,760 --> 00:23:57,600
Speaker 2: It talks hood ship, but it's not geared what I mean,

523
00:23:57,640 --> 00:24:00,640
Speaker 2: it's like on that kind of negativity, negativity thing, negative thing.

524
00:24:00,920 --> 00:24:04,600
Speaker 2: Our thing is that because we came from fifteen eighty KD.

525
00:24:05,640 --> 00:24:07,720
Speaker 2: And let me let me say this now, so people understand,

526
00:24:08,200 --> 00:24:12,400
Speaker 2: hip hop is black culture, that's black music. I came

527
00:24:12,520 --> 00:24:16,560
Speaker 2: up because my friend that was black put me on

528
00:24:16,640 --> 00:24:19,479
Speaker 2: the funk. And I know disco and all that too

529
00:24:19,520 --> 00:24:22,760
Speaker 2: from my Mexican friends. But my black shit that I know,

530
00:24:22,840 --> 00:24:25,360
Speaker 2: that's from my black friend that came from that. I'll

531
00:24:25,400 --> 00:24:29,119
Speaker 2: never I'll never deny that. And there's nothing wrong with that.

532
00:24:29,119 --> 00:24:31,680
Speaker 2: I don't know why people have an issue because black

533
00:24:31,720 --> 00:24:34,440
Speaker 2: people say, oh, we created hip hop, Yeah you did.

534
00:24:34,680 --> 00:24:37,720
Speaker 2: That's not Yeah, we were in the mix there too,

535
00:24:38,000 --> 00:24:40,439
Speaker 2: but right, we're not going to say we created it.

536
00:24:40,520 --> 00:24:42,880
Speaker 2: Well we ever say we created That's not our creation, bro,

537
00:24:43,080 --> 00:24:45,720
Speaker 2: And you have to respect that. That's that's all you

538
00:24:45,920 --> 00:24:47,840
Speaker 2: need to do. Black people show him they respect Oh,

539
00:24:47,880 --> 00:24:50,160
Speaker 2: that's their shit, you know what I mean? Now, They

540
00:24:50,320 --> 00:24:54,000
Speaker 2: not saying you can't come in, not at all right,

541
00:24:54,040 --> 00:24:55,879
Speaker 2: They never said that. They never made us feel like that.

542
00:24:55,960 --> 00:24:58,560
Speaker 2: Me and Tony Gee, we was look, fifteen eighty KD

543
00:24:59,080 --> 00:25:01,399
Speaker 2: was pretty much ninety in black. When we went to

544
00:25:01,480 --> 00:25:04,120
Speaker 2: the dances. There wasn't no Hispanics doing no fucking hip hop.

545
00:25:04,119 --> 00:25:06,880
Speaker 2: When we were doing in the eighties, Bro, we're the sort,

546
00:25:07,119 --> 00:25:09,720
Speaker 2: We're the three Mexicans in the club. It was all

547
00:25:09,720 --> 00:25:11,959
Speaker 2: black people. They never made us feel like that. They

548
00:25:11,960 --> 00:25:14,240
Speaker 2: ever ran us out of the parking lot or got

549
00:25:14,359 --> 00:25:16,320
Speaker 2: off on a stole our ship. They never did all that.

550
00:25:16,359 --> 00:25:19,320
Speaker 2: It was always love. They respected. When we got busy, they're,

551
00:25:19,440 --> 00:25:22,840
Speaker 2: oh shit, y'all motherfuckers be killing it now. When we

552
00:25:22,920 --> 00:25:27,960
Speaker 2: came out doing our Latino thing, the it is a

553
00:25:28,000 --> 00:25:30,639
Speaker 2: respecting to the black culture that we didn't want to

554
00:25:30,680 --> 00:25:33,360
Speaker 2: copy your shit. We wanted to bring our shit so

555
00:25:33,400 --> 00:25:36,439
Speaker 2: you could say, hey man, that shit dope because that

556
00:25:36,480 --> 00:25:38,960
Speaker 2: came from fifteen eighty k They we're original. We want

557
00:25:38,960 --> 00:25:41,080
Speaker 2: to be original. So when we came up with these ideas,

558
00:25:41,080 --> 00:25:44,720
Speaker 2: we're like, damn, we gotta do it like that. Look,

559
00:25:44,760 --> 00:25:47,520
Speaker 2: no Mann span Thiolso was a different song. Tony's the

560
00:25:47,560 --> 00:25:49,639
Speaker 2: one that told them, Hey, why don't you flip it

561
00:25:49,640 --> 00:25:52,760
Speaker 2: in Spanish and English? And he was like, I don't know, Bro,

562
00:25:52,840 --> 00:25:55,560
Speaker 2: No man, trust me, Bro. Because the Santana sample we

563
00:25:55,680 --> 00:26:00,880
Speaker 2: used that's gonna touch people. La Rasa was el chicannell viv.

564
00:26:01,200 --> 00:26:04,760
Speaker 2: That was a really really important song in the Mexican culture.

565
00:26:05,400 --> 00:26:09,400
Speaker 2: So we knew as DJ's like they're there, the audience

566
00:26:09,440 --> 00:26:11,720
Speaker 2: will pick up that too, like the oh man, that's

567
00:26:11,760 --> 00:26:14,280
Speaker 2: what you're going on. Even if they don't like the rap,

568
00:26:14,320 --> 00:26:17,000
Speaker 2: they're gonna halfway give it a chance, right, So mellow

569
00:26:17,040 --> 00:26:20,720
Speaker 2: man Nate's man thidos, that's Santana. You got to change

570
00:26:20,720 --> 00:26:23,560
Speaker 2: your evil ways and it's it's a fucking popular song.

571
00:26:23,640 --> 00:26:26,720
Speaker 2: So it's like it's a popular already. So we already worked.

572
00:26:26,760 --> 00:26:29,119
Speaker 2: That's what our thing was. So I don't know, I

573
00:26:29,119 --> 00:26:31,640
Speaker 2: don't I never felt that little black people held us back.

574
00:26:32,000 --> 00:26:35,800
Speaker 2: We we uh. Actually they gave us a lot of love.

575
00:26:35,880 --> 00:26:37,760
Speaker 2: Dog Like we would go places and people would just

576
00:26:37,800 --> 00:26:38,080
Speaker 2: give it.

577
00:26:38,080 --> 00:26:38,520
Speaker 1: Ah man.

578
00:26:38,560 --> 00:26:40,119
Speaker 2: He used to love Kid Frost. He got so much

579
00:26:40,200 --> 00:26:44,359
Speaker 2: love from the black community. Like gangsters. We tell them,

580
00:26:44,560 --> 00:26:47,080
Speaker 2: I love that song, Big Dog. That's my ship right there.

581
00:26:47,400 --> 00:26:50,200
Speaker 3: All the homies, I got all the homies, always got

582
00:26:50,200 --> 00:26:53,320
Speaker 3: the Mexican homies around. That's just how it's, you know,

583
00:26:53,440 --> 00:26:54,320
Speaker 3: it's always never.

584
00:26:54,200 --> 00:26:56,000
Speaker 2: Got all that ship. Man, we never we wasn't tripping

585
00:26:56,119 --> 00:26:58,000
Speaker 2: today's generation. I don't be liking that ship because it's

586
00:26:58,040 --> 00:26:59,800
Speaker 2: just to me, it's like, man, y'all ruining our music.

587
00:26:59,840 --> 00:27:02,040
Speaker 2: Like what this music is about, bro, Our music is

588
00:27:02,080 --> 00:27:05,800
Speaker 2: about being dope. Now, if eight it can get on

589
00:27:05,880 --> 00:27:07,399
Speaker 2: with this dude and this dude and they happened to

590
00:27:07,440 --> 00:27:09,719
Speaker 2: be Mexicans, ain't even better, you know. But we're not

591
00:27:09,720 --> 00:27:11,960
Speaker 2: in here trying to I don't. I never wanted to

592
00:27:12,080 --> 00:27:14,760
Speaker 2: use that as some kind of way to Oh, because

593
00:27:14,800 --> 00:27:17,080
Speaker 2: I'm Hispanic, you gotta foc with me. Oh I'm Mexican, bro,

594
00:27:17,240 --> 00:27:19,920
Speaker 2: so you gotta like me. No, that's the how it work.

595
00:27:19,960 --> 00:27:21,560
Speaker 2: When I got to get get down on the dance

596
00:27:21,560 --> 00:27:24,200
Speaker 2: floor and get down to do some battling, that shit

597
00:27:24,320 --> 00:27:27,200
Speaker 2: don't matter. That shit didn't matter, bro, because I broke

598
00:27:27,240 --> 00:27:29,600
Speaker 2: downce against motherfucker white kids that got busy on me.

599
00:27:29,640 --> 00:27:32,080
Speaker 2: I'm like, you know, and I had to get I

600
00:27:32,160 --> 00:27:34,280
Speaker 2: had to go home and repractice hey, But it had

601
00:27:34,320 --> 00:27:36,760
Speaker 2: nothing to do because he was white. He just happened

602
00:27:36,760 --> 00:27:41,240
Speaker 2: to be white, but he was dope shit. So I

603
00:27:41,359 --> 00:27:43,639
Speaker 2: never been we never been about that. We always got

604
00:27:43,800 --> 00:27:46,679
Speaker 2: down with everybody. And you know it, just even in

605
00:27:46,720 --> 00:27:49,359
Speaker 2: your career, how many times I supported your career, your

606
00:27:49,440 --> 00:27:51,640
Speaker 2: music and never been on know hater ship with that.

607
00:27:51,840 --> 00:27:53,399
Speaker 2: And that's what I don't like that they're trying to

608
00:27:53,400 --> 00:27:55,080
Speaker 2: bring in the hip hop today. Y'all need to stop

609
00:27:55,080 --> 00:27:57,680
Speaker 2: doing that. Man. It's it's not about Mexicans and blacks.

610
00:27:57,680 --> 00:28:00,719
Speaker 2: And it's like almost like you y'all at jail house

611
00:28:00,760 --> 00:28:03,120
Speaker 2: shitting spread it out. It like, man, leave that ship

612
00:28:03,160 --> 00:28:05,600
Speaker 2: over there, bro, Like we don't need that. We need

613
00:28:05,600 --> 00:28:09,080
Speaker 2: to work together. And if they don't work with you

614
00:28:09,240 --> 00:28:11,959
Speaker 2: or don't fuck with you, or that's cool too, they

615
00:28:11,960 --> 00:28:14,640
Speaker 2: don't make my name my night like your ship dogs.

616
00:28:14,800 --> 00:28:16,720
Speaker 2: You got how many black rappers that I have to

617
00:28:16,720 --> 00:28:18,080
Speaker 2: tell No, your ship whack.

618
00:28:18,240 --> 00:28:20,199
Speaker 1: Exactly right, So don't matter if you.

619
00:28:22,640 --> 00:28:23,159
Speaker 2: Go for you.

620
00:28:24,720 --> 00:28:27,240
Speaker 3: Well, you know what I think the problems today, Julio.

621
00:28:29,080 --> 00:28:31,760
Speaker 3: Back in the day, you had a criteria to get

622
00:28:31,760 --> 00:28:34,320
Speaker 3: in the game. You just didn't go just put out

623
00:28:34,320 --> 00:28:36,680
Speaker 3: a record, like when I first got with bobcat Dog

624
00:28:37,240 --> 00:28:40,680
Speaker 3: that Bobcat told me I was trashed like twelve thirteen

625
00:28:40,760 --> 00:28:42,840
Speaker 3: times and I had to keep going back. He would

626
00:28:42,840 --> 00:28:44,920
Speaker 3: give me beats, but be like, no, that ship whack.

627
00:28:45,040 --> 00:28:47,040
Speaker 3: You better go back and do it over. When I

628
00:28:47,080 --> 00:28:49,080
Speaker 3: finally got on, it was because I had some tight ship.

629
00:28:50,200 --> 00:28:53,360
Speaker 3: It wasn't no thing. And even then it was like,

630
00:28:53,680 --> 00:28:56,280
Speaker 3: you might do a record, but then you might hear

631
00:28:56,360 --> 00:28:59,520
Speaker 3: easy on that motherfucker decks and cube with somebody. It

632
00:28:59,600 --> 00:29:01,880
Speaker 3: wasn't your record. You just got to rap on that motherfucker.

633
00:29:02,600 --> 00:29:05,000
Speaker 3: You feel what I'm saying. And I think it was

634
00:29:05,120 --> 00:29:07,080
Speaker 3: just like that. I think motherfucker's got a sense of

635
00:29:07,200 --> 00:29:08,160
Speaker 3: entitlement now, bro.

636
00:29:08,680 --> 00:29:10,680
Speaker 2: Yeah, I think they do. And I just don't think

637
00:29:10,680 --> 00:29:12,520
Speaker 2: people just I don't know. I don't, like I said

638
00:29:12,520 --> 00:29:14,320
Speaker 2: to say, my generation, so I really can't really, I

639
00:29:14,360 --> 00:29:16,200
Speaker 2: don't really want to be speaking in this generation. It's

640
00:29:16,240 --> 00:29:18,520
Speaker 2: their business however they want to do it right. But

641
00:29:18,760 --> 00:29:21,400
Speaker 2: I'm just saying in our time, we were about no

642
00:29:21,480 --> 00:29:24,600
Speaker 2: color lines. When I did Cam's record, Woop woop. A

643
00:29:24,600 --> 00:29:26,240
Speaker 2: lot of people don't know Tony G, and well, I

644
00:29:26,240 --> 00:29:28,400
Speaker 2: would say Tony G. I kind of co produced that record,

645
00:29:28,440 --> 00:29:30,320
Speaker 2: but that was really Tony G. But we had been

646
00:29:30,320 --> 00:29:34,240
Speaker 2: working with Cam. We had recorded five songs for Cam

647
00:29:34,240 --> 00:29:39,880
Speaker 2: and the sixth one was Woo Whoop and when and

648
00:29:39,920 --> 00:29:41,440
Speaker 2: we had we used to when we used to record

649
00:29:41,480 --> 00:29:43,880
Speaker 2: with Cam, he he you know, we used to have

650
00:29:43,880 --> 00:29:47,040
Speaker 2: these deep conversations being him about the community, about what

651
00:29:47,080 --> 00:29:50,000
Speaker 2: can we do to uplift my people, your people? How

652
00:29:50,040 --> 00:29:52,920
Speaker 2: can we work together? How can we squash bees or

653
00:29:52,960 --> 00:29:54,480
Speaker 2: do you know I even squashed people? How can we

654
00:29:54,560 --> 00:29:56,680
Speaker 2: show that there is more unity with us? You know,

655
00:29:56,720 --> 00:29:58,280
Speaker 2: Cam is like that, you know what, I'm sorry And

656
00:29:58,320 --> 00:30:00,560
Speaker 2: I was like that too. So we click. That's why

657
00:30:00,600 --> 00:30:02,840
Speaker 2: we've been friends for so long. And that's my bro.

658
00:30:02,960 --> 00:30:06,720
Speaker 2: I love Cam. He introduced me to the Nation of Islam.

659
00:30:06,720 --> 00:30:08,000
Speaker 2: I ended up doing a lot of work with the

660
00:30:08,080 --> 00:30:11,400
Speaker 2: Nation of Islam when it wasn't popular, but I did

661
00:30:11,440 --> 00:30:13,800
Speaker 2: a lot of great work with them. And you know,

662
00:30:14,040 --> 00:30:16,800
Speaker 2: but the Cam when he did Woop whoop, he said,

663
00:30:17,560 --> 00:30:20,040
Speaker 2: the homie Cam back on the scene with the black

664
00:30:20,080 --> 00:30:22,120
Speaker 2: and Brown on the same team. And then the rest

665
00:30:22,160 --> 00:30:24,400
Speaker 2: of it is talking shit about ice Cube. But that beginning,

666
00:30:24,880 --> 00:30:28,120
Speaker 2: that was like a thing with us in that room

667
00:30:28,200 --> 00:30:30,480
Speaker 2: that me Tony and him what he was telling us

668
00:30:30,520 --> 00:30:33,480
Speaker 2: like it was crazy. We recorded because I knew. I said, damn,

669
00:30:33,520 --> 00:30:35,440
Speaker 2: that's dope. He said that like the way he started it,

670
00:30:35,520 --> 00:30:36,800
Speaker 2: and I knew what he meant because we had just

671
00:30:36,840 --> 00:30:39,680
Speaker 2: got this off, this deep conversation about black and brown,

672
00:30:39,720 --> 00:30:42,120
Speaker 2: and he put that in there. And I always appreciated

673
00:30:42,160 --> 00:30:45,160
Speaker 2: that because that he was letting us know, I'm fucking

674
00:30:45,200 --> 00:30:47,800
Speaker 2: with y'all, like black and around on the same team.

675
00:30:47,840 --> 00:30:49,840
Speaker 2: Let's get this. And that's how we always supported the camp.

676
00:30:50,280 --> 00:30:53,600
Speaker 2: We always always played his music. I've always been down

677
00:30:53,640 --> 00:30:55,960
Speaker 2: with him and whatever the Nation of Islam wanted to do,

678
00:30:56,200 --> 00:30:57,560
Speaker 2: I always was there with them too, you know what

679
00:30:57,560 --> 00:30:59,840
Speaker 2: I mean. So like I said, I don't, I don't

680
00:30:59,880 --> 00:31:01,920
Speaker 2: like all that stuff. Man, I think, uh, you know,

681
00:31:02,040 --> 00:31:04,320
Speaker 2: black and brown is a beautiful thing when we can

682
00:31:04,360 --> 00:31:07,680
Speaker 2: get together with the right mindset people. It's not for everybody.

683
00:31:07,800 --> 00:31:09,720
Speaker 2: You gotta have certain types of mindset of people that

684
00:31:09,840 --> 00:31:12,360
Speaker 2: understand me. I grew up with black people. I'm from

685
00:31:12,400 --> 00:31:13,120
Speaker 2: liliar with doctors.

686
00:31:13,200 --> 00:31:13,560
Speaker 1: I grew up.

687
00:31:13,800 --> 00:31:15,440
Speaker 2: My best friend that got me in the music was black.

688
00:31:15,480 --> 00:31:18,120
Speaker 2: My next door neighbors was black. Went across your forty

689
00:31:18,160 --> 00:31:20,400
Speaker 2: some years and my neighbor's two houses down and still

690
00:31:20,440 --> 00:31:22,640
Speaker 2: black for forty some fifty years. I know, it's like,

691
00:31:23,160 --> 00:31:25,760
Speaker 2: it's not you, it's just in our time.

692
00:31:26,080 --> 00:31:28,520
Speaker 4: Yeah, you know, bro And growing up in spook Town

693
00:31:28,640 --> 00:31:31,840
Speaker 4: half the half the half the neighborhood with CV seventies

694
00:31:31,880 --> 00:31:33,680
Speaker 4: and half of them was you know, so I had

695
00:31:33,680 --> 00:31:35,880
Speaker 4: a lot of Mexican friends growing man, That's.

696
00:31:35,680 --> 00:31:38,040
Speaker 2: Just how it was. So that's why people don't really

697
00:31:38,080 --> 00:31:40,280
Speaker 2: understand how the hood works. They have a whole different,

698
00:31:40,480 --> 00:31:42,200
Speaker 2: you know thing about it. And like I said, it's

699
00:31:42,240 --> 00:31:43,760
Speaker 2: not my generation, but I don't.

700
00:31:43,840 --> 00:31:44,120
Speaker 3: I don't.

701
00:31:44,320 --> 00:31:45,160
Speaker 2: I don't like that stuff.

702
00:31:45,240 --> 00:31:49,760
Speaker 3: Now, you were around during a whole bunch of important records,

703
00:31:49,760 --> 00:31:51,800
Speaker 3: you know, Lea being one of them right.

704
00:31:53,800 --> 00:31:55,040
Speaker 1: There, automatic for.

705
00:31:55,080 --> 00:31:58,560
Speaker 2: Me, Yeah, Sectionating.

706
00:31:58,440 --> 00:32:02,560
Speaker 3: Who did a lot of records. Yeah, what was what

707
00:32:02,680 --> 00:32:04,240
Speaker 3: was you thinking when you first heard the n w

708
00:32:04,440 --> 00:32:04,959
Speaker 3: A record?

709
00:32:06,040 --> 00:32:09,960
Speaker 2: M Well, NWA Like it was I knew I knew

710
00:32:09,960 --> 00:32:12,240
Speaker 2: all those guys, Like we already knew all those guys.

711
00:32:12,640 --> 00:32:14,840
Speaker 2: So like when we were doing like World on wheels,

712
00:32:14,840 --> 00:32:15,920
Speaker 2: like CIA used to.

713
00:32:15,840 --> 00:32:18,600
Speaker 3: Come and open for the Cubes group, right.

714
00:32:18,720 --> 00:32:19,960
Speaker 2: And they would do like ten minutes, you know what

715
00:32:20,000 --> 00:32:22,440
Speaker 2: I mean. And I knew Cube and I knew jeans

716
00:32:22,480 --> 00:32:24,760
Speaker 2: and uh, you know, I knew all those guys, you know,

717
00:32:24,800 --> 00:32:27,080
Speaker 2: because we were the mixed masters. We all. You gotta

718
00:32:27,080 --> 00:32:29,200
Speaker 2: remember in the eighties, it was only a handful of

719
00:32:29,240 --> 00:32:31,240
Speaker 2: us doing this, so we had to know each other

720
00:32:31,280 --> 00:32:33,840
Speaker 2: because there was nobody else doing rap. Bro it was

721
00:32:33,880 --> 00:32:35,280
Speaker 2: like it was only a handful of us.

722
00:32:35,520 --> 00:32:38,480
Speaker 4: A lot of our music was it was techno.

723
00:32:38,720 --> 00:32:41,120
Speaker 2: Yeah right, it was up temple techno and it wasn't

724
00:32:41,160 --> 00:32:43,320
Speaker 2: like it was the beginning and and uh, you know,

725
00:32:43,920 --> 00:32:46,680
Speaker 2: so when I met Easy. I met Easy in eighty

726
00:32:46,800 --> 00:32:50,200
Speaker 2: seven at a Bell High School dance and we were

727
00:32:50,200 --> 00:32:53,600
Speaker 2: live on the radio doing fifteen DYK Friday Night Live

728
00:32:54,120 --> 00:32:57,360
Speaker 2: and he and I've said the story before, but I'll

729
00:32:57,400 --> 00:33:00,160
Speaker 2: share it with you guys too. It was outside. It

730
00:33:00,160 --> 00:33:01,760
Speaker 2: was on the summertime, so it was outside in the

731
00:33:01,760 --> 00:33:05,040
Speaker 2: tennis court, so the turntables were behind the fence, and

732
00:33:05,080 --> 00:33:07,560
Speaker 2: the whole tennis court was the dance floor. And so

733
00:33:07,640 --> 00:33:09,400
Speaker 2: we were back here and there was these classrooms back

734
00:33:09,400 --> 00:33:10,800
Speaker 2: here that let us use two of them like his

735
00:33:10,880 --> 00:33:14,280
Speaker 2: little things to chill. And we had rock Sante Chantey

736
00:33:14,320 --> 00:33:19,040
Speaker 2: and Bobby Brown performing that night. And I remember looking

737
00:33:19,080 --> 00:33:22,080
Speaker 2: over I was djaying and I looked over and I

738
00:33:22,160 --> 00:33:24,240
Speaker 2: seen like right, like if it was right over here,

739
00:33:24,240 --> 00:33:27,000
Speaker 2: I've seen this dude standing there. But it was Bell

740
00:33:27,080 --> 00:33:30,120
Speaker 2: High School. That's all Mexicans over there, and those popular

741
00:33:30,160 --> 00:33:32,560
Speaker 2: those dances were popular back then, right, everybody from all

742
00:33:32,600 --> 00:33:34,920
Speaker 2: over the cities would come to these Bell High School dancers,

743
00:33:35,040 --> 00:33:37,440
Speaker 2: just like Garfield. There were certain schools that they were popular,

744
00:33:37,760 --> 00:33:41,320
Speaker 2: so that was one of them. So I said, looked over.

745
00:33:41,400 --> 00:33:44,120
Speaker 2: I said, damn, who who is this? You know from?

746
00:33:44,440 --> 00:33:46,720
Speaker 2: I'm like, who is this motherfucker? You don't know like

747
00:33:46,760 --> 00:33:51,080
Speaker 2: evens me around here? And I'll say this straight. I'll

748
00:33:51,080 --> 00:33:53,520
Speaker 2: always tell people. The first time I seen easy E,

749
00:33:53,840 --> 00:33:57,640
Speaker 2: he looked just like what you think as easy He

750
00:33:57,680 --> 00:34:01,720
Speaker 2: had the fucking the nugget fucking thing had, the shirt

751
00:34:01,880 --> 00:34:04,720
Speaker 2: was clean, the hat, the curl. I mean, he just

752
00:34:04,760 --> 00:34:06,360
Speaker 2: looked like a g That's why I was like, who

753
00:34:06,400 --> 00:34:10,360
Speaker 2: is but like a deep like a baller though, like gangster,

754
00:34:10,560 --> 00:34:13,080
Speaker 2: but baller. And that's when me notice, man, who is

755
00:34:13,120 --> 00:34:15,480
Speaker 2: this dude right here? Like damn, he's like standing up

756
00:34:15,600 --> 00:34:17,439
Speaker 2: like he looked like a straight up cump, Like he's

757
00:34:17,480 --> 00:34:20,560
Speaker 2: like like a dope dealer. And then he finally came over.

758
00:34:21,400 --> 00:34:25,160
Speaker 2: I took my shirt. Hey what's up man? He goes, Hey,

759
00:34:25,239 --> 00:34:27,560
Speaker 2: I got this record. I got this record, Man, can

760
00:34:27,640 --> 00:34:30,600
Speaker 2: you play it? And I'm like, I never had somebody

761
00:34:30,640 --> 00:34:32,640
Speaker 2: come up to me at a dance, Like, they didn't

762
00:34:32,680 --> 00:34:34,160
Speaker 2: come up there wasn't like I said, it wasn't a

763
00:34:34,160 --> 00:34:37,400
Speaker 2: bunch of rappers just shooting records. So I'm like, hey, man,

764
00:34:37,440 --> 00:34:40,160
Speaker 2: give me one second. I'm live on the air. So

765
00:34:40,920 --> 00:34:43,120
Speaker 2: I played like another record and he waited right there

766
00:34:43,560 --> 00:34:47,200
Speaker 2: and he went like he's like, man, just at least

767
00:34:47,239 --> 00:34:49,680
Speaker 2: listen to it. I said, all right, man, getting me here.

768
00:34:50,080 --> 00:34:52,520
Speaker 2: So I put a song on on this turntable and

769
00:34:52,560 --> 00:34:54,200
Speaker 2: I got the headphone and I just put this. I

770
00:34:54,239 --> 00:34:56,879
Speaker 2: didn't play it. I just put it and I played

771
00:34:57,120 --> 00:35:02,279
Speaker 2: cruising down the street in knocking to do went to

772
00:35:02,320 --> 00:35:04,759
Speaker 2: the point to get some school looking. Here is out

773
00:35:04,760 --> 00:35:06,920
Speaker 2: that stuff? Hey man, it sounds like six in the

774
00:35:06,960 --> 00:35:10,759
Speaker 2: morning right off rip. I knew that was what it

775
00:35:11,000 --> 00:35:12,880
Speaker 2: was because like DJ Bro, so, I know six in

776
00:35:12,920 --> 00:35:16,000
Speaker 2: the morning. Andre know, my god, Bros wasn't know all

777
00:35:16,040 --> 00:35:19,200
Speaker 2: this ship. So He's like, nah, that ain't no six

778
00:35:19,280 --> 00:35:21,760
Speaker 2: in the morning. That's boys in the hood. Man. Doctor

779
00:35:21,840 --> 00:35:26,239
Speaker 2: Dre did that. And I'm like, oh, doctor Dre did this, Okay.

780
00:35:26,480 --> 00:35:30,279
Speaker 2: I love Dre at the time. I grew up admiring

781
00:35:30,360 --> 00:35:32,480
Speaker 2: doctor Dre. When I was a kid, I remember driving

782
00:35:32,560 --> 00:35:35,000
Speaker 2: riding my bike. There was across the street from Sears

783
00:35:35,040 --> 00:35:36,600
Speaker 2: back in the days by that Peple used to be

784
00:35:36,600 --> 00:35:39,279
Speaker 2: a record store, and me and my homeboy went rode

785
00:35:39,320 --> 00:35:41,759
Speaker 2: our bikes and we were young, bro, and then like

786
00:35:41,840 --> 00:35:44,799
Speaker 2: going into confident on your bike back in them days,

787
00:35:44,800 --> 00:35:46,440
Speaker 2: it's like, hey, let's get up in here, get this

788
00:35:46,480 --> 00:35:48,799
Speaker 2: record and get the US tretch that's on CV three

789
00:35:48,840 --> 00:35:50,799
Speaker 2: right there on that side. And so we went in there,

790
00:35:50,840 --> 00:35:54,280
Speaker 2: we got Surgery, Surgery, came back to God.

791
00:35:54,280 --> 00:35:54,640
Speaker 3: We thought.

792
00:35:54,680 --> 00:35:56,759
Speaker 2: We was like, you know, so like I.

793
00:35:56,680 --> 00:35:58,920
Speaker 1: Said, that was the first record I ever brought the

794
00:35:59,080 --> 00:36:02,360
Speaker 1: surgery surgery. Oh my god, man, Bro, I couldn't blew.

795
00:36:02,160 --> 00:36:04,319
Speaker 2: Me away, just to scratch and we would just playing

796
00:36:04,400 --> 00:36:11,000
Speaker 2: over and over over and we just getting scratches. So

797
00:36:11,120 --> 00:36:14,000
Speaker 2: Doctor Dre was always like, you know, to this day,

798
00:36:14,040 --> 00:36:15,920
Speaker 2: wonderful guy, even back then. He was just always a

799
00:36:15,920 --> 00:36:17,600
Speaker 2: wonderful guy. Taught me a lot of things back then

800
00:36:17,800 --> 00:36:21,680
Speaker 2: when I was seeing But but you know that's how

801
00:36:21,800 --> 00:36:24,520
Speaker 2: like when he said that, I'm like, oh, okay, And

802
00:36:24,560 --> 00:36:27,560
Speaker 2: I played one verse of it and then I stopped

803
00:36:27,560 --> 00:36:29,480
Speaker 2: because we're live of the dance. Nobody heard this song.

804
00:36:29,520 --> 00:36:31,880
Speaker 2: Bro like the fucking thousand people out here, this is

805
00:36:32,000 --> 00:36:34,160
Speaker 2: I can't so boom. I gave him a verse and

806
00:36:34,200 --> 00:36:35,560
Speaker 2: then I got out of it and I played something

807
00:36:35,600 --> 00:36:38,600
Speaker 2: else cool. So then I got off the turntables. I

808
00:36:38,640 --> 00:36:40,279
Speaker 2: went into the one of the rooms to sit to

809
00:36:40,440 --> 00:36:42,120
Speaker 2: get some whatever we were doing back there, and then

810
00:36:42,440 --> 00:36:45,520
Speaker 2: I hear it again, and I'm like, because we never

811
00:36:45,520 --> 00:36:48,399
Speaker 2: played records twice. It was a thing like, we don't

812
00:36:48,400 --> 00:36:50,480
Speaker 2: want to play records twice, and if you play it,

813
00:36:50,800 --> 00:36:53,200
Speaker 2: don't use it too early. We got to save that,

814
00:36:53,239 --> 00:36:55,000
Speaker 2: you know what I mean. I hear crawling down the

815
00:36:55,000 --> 00:36:57,920
Speaker 2: street and I look out, Hey, what the fuck? I

816
00:36:58,000 --> 00:37:00,160
Speaker 2: look out because it stuck out the song. I look

817
00:37:00,160 --> 00:37:02,719
Speaker 2: out and here easy right there next to Tony G.

818
00:37:03,640 --> 00:37:10,239
Speaker 1: I said this, he got to get that hitting up

819
00:37:10,280 --> 00:37:12,160
Speaker 1: every hit the terror table.

820
00:37:12,440 --> 00:37:14,239
Speaker 2: So he got he got Tony to play like a

821
00:37:14,360 --> 00:37:16,279
Speaker 2: verse or or two of it. So that was the

822
00:37:16,320 --> 00:37:18,600
Speaker 2: first time. I'm not sure. Maybe I think, I mean,

823
00:37:18,600 --> 00:37:21,040
Speaker 2: Greg Manck is really responsible for making boys, and I

824
00:37:21,080 --> 00:37:23,279
Speaker 2: don't want to say I broke the record. I don't know.

825
00:37:23,360 --> 00:37:25,320
Speaker 2: It might have been the first time somebody heard it.

826
00:37:25,360 --> 00:37:28,160
Speaker 2: I don't know, but really he's responsible for making that

827
00:37:28,239 --> 00:37:33,200
Speaker 2: happen for him. But when they came, you know, I

828
00:37:33,239 --> 00:37:35,879
Speaker 2: just think it was a shift. And let me keep

829
00:37:35,880 --> 00:37:38,759
Speaker 2: it real with you, we as the mixed masters accepted

830
00:37:38,760 --> 00:37:42,200
Speaker 2: them because from one day, you know, world class wrecking crew.

831
00:37:42,440 --> 00:37:44,759
Speaker 2: They was up there doing the fly and cabbage back

832
00:37:45,000 --> 00:37:47,440
Speaker 2: and next thing I know, he comes ja yellow in

833
00:37:47,480 --> 00:37:51,919
Speaker 2: the khaki suit. I'm like, what like? But we didn't

834
00:37:51,960 --> 00:37:56,319
Speaker 2: trip off that. We like the music like they were danced. Bro.

835
00:37:56,400 --> 00:37:58,360
Speaker 4: It was a dance It was a dance crew. But

836
00:37:58,440 --> 00:38:02,080
Speaker 4: they had the music that was that was kept the

837
00:38:02,160 --> 00:38:02,640
Speaker 4: dance going.

838
00:38:02,680 --> 00:38:03,319
Speaker 2: Bro, that's a weird.

839
00:38:03,640 --> 00:38:07,320
Speaker 4: Like I said, our music around that time was dance music.

840
00:38:07,520 --> 00:38:12,520
Speaker 2: Was give me some juice, rock rockberry jam, the dream

841
00:38:12,560 --> 00:38:15,239
Speaker 2: Teams in the house, Egypt, Egypt. It was all these

842
00:38:15,360 --> 00:38:18,839
Speaker 2: l A records and they were popping those Those were

843
00:38:19,000 --> 00:38:22,880
Speaker 2: huge records, pop popping, dream Team popping. They were huge.

844
00:38:23,280 --> 00:38:26,000
Speaker 2: But the shift came with Easy when he started to

845
00:38:26,120 --> 00:38:28,920
Speaker 2: like and and King t you know, k when he.

846
00:38:28,960 --> 00:38:36,280
Speaker 4: Dropped me back, some money came the coolest unknown dropped

847
00:38:36,320 --> 00:38:37,680
Speaker 4: six in the morning.

848
00:38:37,360 --> 00:38:40,120
Speaker 2: The morning dogging the wax dog Don't Don't.

849
00:38:40,040 --> 00:38:43,160
Speaker 1: Quit started shifting.

850
00:38:43,080 --> 00:38:45,640
Speaker 2: Started shifting into like rap. But you got to remember,

851
00:38:45,719 --> 00:38:48,799
Speaker 2: you know, That's why I say it's it started to

852
00:38:48,840 --> 00:38:51,719
Speaker 2: move that direction, and I just think Easy caught it

853
00:38:51,800 --> 00:38:56,279
Speaker 2: at the right time and the way he packaged it, man,

854
00:38:56,320 --> 00:38:58,560
Speaker 2: I just think he just because he didn't he wasn't

855
00:38:58,600 --> 00:38:59,680
Speaker 2: like super banging on he was.

856
00:39:00,360 --> 00:39:02,440
Speaker 1: It was let me tell you what it was.

857
00:39:05,120 --> 00:39:07,000
Speaker 4: There was a lot of hood shit going on at

858
00:39:07,000 --> 00:39:11,040
Speaker 4: that time, and the early eighties it was cracking.

859
00:39:11,280 --> 00:39:12,240
Speaker 3: It was super cracking.

860
00:39:12,280 --> 00:39:15,880
Speaker 4: And I think because it started to get so cracking

861
00:39:15,960 --> 00:39:20,920
Speaker 4: with the gangs, it was the perfect time to drop

862
00:39:21,040 --> 00:39:26,120
Speaker 4: boys in the hood and everybody was about they gang.

863
00:39:25,960 --> 00:39:29,239
Speaker 1: And they section you get me, Like.

864
00:39:30,880 --> 00:39:34,759
Speaker 4: The culture started to evolve like it been around, but

865
00:39:35,800 --> 00:39:40,920
Speaker 4: our generation started growing up and the gang life was

866
00:39:40,960 --> 00:39:44,600
Speaker 4: so visible and so like popularized.

867
00:39:45,000 --> 00:39:46,560
Speaker 1: In the early eighties.

868
00:39:48,680 --> 00:39:51,160
Speaker 4: Niggas is like niggas were in no sequence suits and

869
00:39:51,200 --> 00:39:54,719
Speaker 4: shit nigga khaki suits and Cortes nigga and I'm going

870
00:39:54,760 --> 00:39:58,520
Speaker 4: on the block with my Duce five and the music

871
00:39:58,680 --> 00:39:59,560
Speaker 4: just fit the time.

872
00:40:00,040 --> 00:40:03,160
Speaker 2: And you gotta remember the lingo. Nobody was saying hood,

873
00:40:03,560 --> 00:40:05,680
Speaker 2: nobody was saying a learner that. So that's what caught

874
00:40:05,680 --> 00:40:07,759
Speaker 2: on the l A people because they were like it

875
00:40:07,880 --> 00:40:10,920
Speaker 2: related to them. And then just Easy's voice. He sounded

876
00:40:10,960 --> 00:40:13,399
Speaker 2: like a little kid, so he just sounded crazy, him

877
00:40:13,440 --> 00:40:17,280
Speaker 2: just rapping up. We all thought he was a little people.

878
00:40:17,320 --> 00:40:18,759
Speaker 1: He loved that.

879
00:40:19,040 --> 00:40:19,560
Speaker 2: He loved that.

880
00:40:19,680 --> 00:40:21,600
Speaker 1: He's two people. He was fifty.

881
00:40:21,680 --> 00:40:23,719
Speaker 2: He was a marketing genius, that guy. Man, I learned so.

882
00:40:23,760 --> 00:40:28,239
Speaker 1: Much with him, and I just think it was and

883
00:40:28,320 --> 00:40:28,759
Speaker 1: Dre too.

884
00:40:28,760 --> 00:40:30,800
Speaker 2: Man, you gotta give Dre he was hot bro before

885
00:40:30,920 --> 00:40:33,160
Speaker 2: even n w A. At the time he was dropping,

886
00:40:33,800 --> 00:40:37,440
Speaker 2: he was dropping a motherfucking East uh New York l

887
00:40:37,480 --> 00:40:39,960
Speaker 2: a rapper with Bobby Jimmy. That ship was a fire

888
00:40:40,040 --> 00:40:43,520
Speaker 2: on the radio. Uh you uh, just saying no and

889
00:40:43,680 --> 00:40:46,400
Speaker 2: just a lot of little records that Dre was dropping

890
00:40:46,440 --> 00:40:49,520
Speaker 2: with people and he he just caught that and he

891
00:40:49,719 --> 00:40:52,640
Speaker 2: booming when nw A came in. Ice Q too. Man,

892
00:40:52,840 --> 00:40:53,480
Speaker 2: you can't take nothing.

893
00:40:56,600 --> 00:40:59,400
Speaker 4: It just started opening the door for the street culture

894
00:40:59,440 --> 00:41:02,440
Speaker 4: of music. Even once it opened the door, it just

895
00:41:02,440 --> 00:41:05,239
Speaker 4: blew the doors off to where you could be l

896
00:41:05,320 --> 00:41:10,360
Speaker 4: niggas was like fuck some techno hopshit and and dancing

897
00:41:10,440 --> 00:41:13,960
Speaker 4: that parties niggas. It was all about drive bys, forty

898
00:41:14,040 --> 00:41:16,520
Speaker 4: ounces and gangster and what.

899
00:41:16,440 --> 00:41:18,680
Speaker 2: Was happening around us, you know, because that was happening

900
00:41:18,680 --> 00:41:21,240
Speaker 2: around us. What you're hearing the descriptions of these songs.

901
00:41:21,840 --> 00:41:24,600
Speaker 2: Crack was real, bro, game bang, it was real. It

902
00:41:24,680 --> 00:41:27,080
Speaker 2: was real, way different. I lift through that, Bro, so

903
00:41:27,120 --> 00:41:28,759
Speaker 2: I say, even going into Compton. I used to go

904
00:41:28,760 --> 00:41:30,239
Speaker 2: to serials all the time with my mom. It was

905
00:41:30,920 --> 00:41:33,239
Speaker 2: you know, it's Compton is Compton. Oh, you can't take

906
00:41:33,280 --> 00:41:35,360
Speaker 2: them away from it. So it was a depiction of

907
00:41:35,400 --> 00:41:38,080
Speaker 2: the reality that was really actually happening. It wasn't though.

908
00:41:38,840 --> 00:41:40,759
Speaker 2: I just think it was the way Easy did it

909
00:41:40,800 --> 00:41:42,759
Speaker 2: and Dre and the way they put it together, and

910
00:41:43,200 --> 00:41:44,400
Speaker 2: it was just put together.

911
00:41:45,160 --> 00:41:46,280
Speaker 1: It was a nuclear bond.

912
00:41:46,360 --> 00:41:50,200
Speaker 4: It was really that went off to to be a

913
00:41:50,239 --> 00:41:53,440
Speaker 4: young nigga riding around on your beach cruiser trying to

914
00:41:53,480 --> 00:41:55,319
Speaker 4: think you was you know, I don't give a fuck

915
00:41:55,320 --> 00:41:59,000
Speaker 4: where you from, Compton, Lynnwood, Watts, whatever. To hear a

916
00:41:59,080 --> 00:42:02,200
Speaker 4: nigga talking about the boys in the hood is always hard.

917
00:42:02,719 --> 00:42:06,440
Speaker 1: It's just it was over with. It was. It changed

918
00:42:06,480 --> 00:42:07,319
Speaker 1: the whole culture of.

919
00:42:07,440 --> 00:42:09,160
Speaker 2: And that record didn't even go away. It stayed on

920
00:42:09,160 --> 00:42:10,439
Speaker 2: the radio for a year.

921
00:42:10,560 --> 00:42:10,719
Speaker 1: Bro.

922
00:42:11,120 --> 00:42:13,200
Speaker 2: It was like that popular boys and there we couldn't

923
00:42:13,239 --> 00:42:16,399
Speaker 2: stop playing that record, Bro, Gangs Ganger couldn't stop playing

924
00:42:16,400 --> 00:42:17,120
Speaker 2: those records.

925
00:42:16,880 --> 00:42:18,680
Speaker 3: Like that was the real soundtrack to the Neighbor.

926
00:42:18,760 --> 00:42:21,080
Speaker 2: And then you don't. Then another thing people don't remember.

927
00:42:21,160 --> 00:42:24,080
Speaker 2: Remember fifteen I'm Gonna take y'all back. I Ain't the

928
00:42:24,120 --> 00:42:29,439
Speaker 2: one huge record on I Ain't the one you killed

929
00:42:29,480 --> 00:42:31,719
Speaker 2: them with that and then Dope Man huge on the

930
00:42:32,680 --> 00:42:35,080
Speaker 2: big on the radio because they're telling you stay away

931
00:42:35,080 --> 00:42:37,880
Speaker 2: from Dope. And that was the beginning where the Mexicans

932
00:42:37,880 --> 00:42:40,080
Speaker 2: really felt something because Crazy D was at the end

933
00:42:40,120 --> 00:42:42,440
Speaker 2: of that record and that little piece, believe it or not,

934
00:42:42,840 --> 00:42:45,719
Speaker 2: it had the Mexicans on Easy Bro when I tell

935
00:42:45,719 --> 00:42:48,600
Speaker 2: you and Easy even himself used to tell me, damn man,

936
00:42:48,680 --> 00:42:51,640
Speaker 2: my Mexican fans is off the meter.

937
00:42:51,800 --> 00:42:51,960
Speaker 1: Bro.

938
00:42:52,280 --> 00:42:58,799
Speaker 2: They used to buy so many person with Hispanics. Bro,

939
00:42:59,000 --> 00:43:01,920
Speaker 2: My god, Mexicans, and now they loved these definitely. He

940
00:43:02,000 --> 00:43:04,480
Speaker 2: knew that that was his fan base, like they loved

941
00:43:04,560 --> 00:43:06,919
Speaker 2: him a lot so and they bottled that with.

942
00:43:06,840 --> 00:43:10,200
Speaker 1: Some of that ship. You know, no color line.

943
00:43:10,560 --> 00:43:12,160
Speaker 2: He wasn't tripping on that. We loving that ship.

944
00:43:12,200 --> 00:43:12,680
Speaker 1: It was fun.

945
00:43:12,800 --> 00:43:15,000
Speaker 4: It was Crazy D on the end of the record

946
00:43:15,000 --> 00:43:18,080
Speaker 4: and having talking.

947
00:43:19,920 --> 00:43:23,480
Speaker 2: Brillian. He was genius, Bro.

948
00:43:23,560 --> 00:43:26,120
Speaker 1: Easy that was that was genius.

949
00:43:26,360 --> 00:43:28,799
Speaker 2: I'm gonna tell you something about easy speaking on that.

950
00:43:29,560 --> 00:43:31,600
Speaker 2: When we were doing the Ruthless Radio show on ninety

951
00:43:31,640 --> 00:43:33,440
Speaker 2: two point three to beat, we used to record like

952
00:43:33,480 --> 00:43:37,360
Speaker 2: these commercials and one day he said, uh, hey, go

953
00:43:37,400 --> 00:43:40,239
Speaker 2: in there and say the end part. And I'm like,

954
00:43:40,560 --> 00:43:42,799
Speaker 2: I wasn't like talking like that. I wasn't. I was like,

955
00:43:42,840 --> 00:43:44,560
Speaker 2: I DJ I put the show together, That's all I

956
00:43:44,600 --> 00:43:47,279
Speaker 2: was doing. So you know, come on, man, just go

957
00:43:47,320 --> 00:43:48,879
Speaker 2: in there and they just say some ship at the end.

958
00:43:49,480 --> 00:43:51,440
Speaker 2: And it took me a minute because I wasn't used

959
00:43:51,480 --> 00:43:52,319
Speaker 2: to really doing that.

960
00:43:52,840 --> 00:43:53,200
Speaker 1: And so.

961
00:43:54,880 --> 00:43:58,279
Speaker 2: He says, hey, how you say ninety two point three

962
00:43:58,320 --> 00:44:02,799
Speaker 2: the beat in Spanish? And I was like, he goes

963
00:44:02,800 --> 00:44:05,560
Speaker 2: say that. I'm like, because he can hear me. I'm

964
00:44:05,600 --> 00:44:08,680
Speaker 2: in the booth, he's outside. I'm like, all right, easy,

965
00:44:08,800 --> 00:44:11,440
Speaker 2: come on now. And he's like, no, man, I'm serious,

966
00:44:11,480 --> 00:44:14,440
Speaker 2: man say that ship. Oh man, that she just sounds.

967
00:44:14,440 --> 00:44:15,799
Speaker 2: I was come on easy, because you know, and I

968
00:44:15,840 --> 00:44:17,080
Speaker 2: used to going through the beat. At the time. It

969
00:44:17,120 --> 00:44:19,400
Speaker 2: was like more of a black radio station, and I

970
00:44:19,400 --> 00:44:21,279
Speaker 2: came from k I came from a black radio station.

971
00:44:21,360 --> 00:44:22,719
Speaker 2: I was kind of like, I don't know, bro, I

972
00:44:22,960 --> 00:44:25,319
Speaker 2: don't really know if that's man, trust me, that's how

973
00:44:25,320 --> 00:44:28,560
Speaker 2: you're gonna get the latinos. And so I said, all right,

974
00:44:28,960 --> 00:44:31,840
Speaker 2: I did it for him, and and they played the commercial.

975
00:44:31,920 --> 00:44:36,319
Speaker 2: They call me a few days later from the radio station. Hey,

976
00:44:37,200 --> 00:44:39,000
Speaker 2: I just had met him. I've only been working there

977
00:44:39,000 --> 00:44:42,520
Speaker 2: for like maybe three weeks, you know. He goes, They go, hey,

978
00:44:42,840 --> 00:44:45,359
Speaker 2: can you come in today and like voice some commercials

979
00:44:45,400 --> 00:44:47,319
Speaker 2: and can you do that thing where you said it

980
00:44:47,360 --> 00:44:54,759
Speaker 2: in Spanish? And I'm like, okay, I guess yeah. So

981
00:44:54,760 --> 00:44:57,480
Speaker 2: I went, I went over there. I did that, and

982
00:44:57,600 --> 00:45:02,080
Speaker 2: Easy heard it, and he called me, hey, man, how

983
00:45:02,120 --> 00:45:04,440
Speaker 2: come they got your voice up here saying no ventidos

984
00:45:04,480 --> 00:45:07,279
Speaker 2: punto trash man. I said, oh, it's because they called

985
00:45:07,320 --> 00:45:10,360
Speaker 2: me to do some commercials for me. Goes, oh, fuck that, Julio.

986
00:45:10,440 --> 00:45:13,279
Speaker 2: They gotta pay you. Fuck that. That's one thing about Easy.

987
00:45:13,280 --> 00:45:15,000
Speaker 2: He's always be on my ass about that. Fuck that

988
00:45:15,080 --> 00:45:17,520
Speaker 2: free ship. Man, they got to pay you. And so

989
00:45:17,680 --> 00:45:20,239
Speaker 2: he called them say, man, y'all can't be getting my

990
00:45:20,280 --> 00:45:22,320
Speaker 2: partner like that. Man, it's that's his ship. Yeah, you

991
00:45:22,400 --> 00:45:25,880
Speaker 2: gotta pay him. And so they started to begin like okay,

992
00:45:25,920 --> 00:45:27,680
Speaker 2: we're gonna figure out how to get you some money.

993
00:45:28,239 --> 00:45:30,359
Speaker 2: And that's because it was because it's easy. But really

994
00:45:30,400 --> 00:45:33,600
Speaker 2: I owe him that because that's what changed the game

995
00:45:33,719 --> 00:45:36,239
Speaker 2: for me. And that's what brought the Latino to ninety

996
00:45:36,239 --> 00:45:38,120
Speaker 2: two point three to beat. And why Power one on

997
00:45:38,239 --> 00:45:41,320
Speaker 2: six got beat was because I brought them with that,

998
00:45:41,520 --> 00:45:44,120
Speaker 2: not only the West Side radio and then Julio Gibo

999
00:45:44,120 --> 00:45:44,720
Speaker 2: when I would.

1000
00:45:44,520 --> 00:45:44,719
Speaker 1: Come on.

1001
00:45:46,200 --> 00:45:48,719
Speaker 2: Julio g that that little stuff, believe it or not,

1002
00:45:49,120 --> 00:45:51,839
Speaker 2: it just I was bringing in one by one because

1003
00:45:51,840 --> 00:45:54,760
Speaker 2: they started to feel, they started to feel like they

1004
00:45:55,560 --> 00:45:58,200
Speaker 2: had a space there. So that was really important and

1005
00:45:58,280 --> 00:46:00,480
Speaker 2: that's how we end up getting, you know, ninety two

1006
00:46:00,480 --> 00:46:02,879
Speaker 2: point three to beat at that time of my first

1007
00:46:02,920 --> 00:46:05,320
Speaker 2: year in ninety six when I was full time, we

1008
00:46:05,440 --> 00:46:07,640
Speaker 2: ended up beating Power within on six and that was

1009
00:46:07,760 --> 00:46:09,359
Speaker 2: you know, and that was the whole thing with them.

1010
00:46:09,400 --> 00:46:11,320
Speaker 2: They wanted me to bring the Latino listeners. That's what

1011
00:46:11,360 --> 00:46:12,040
Speaker 2: they asked, was that.

1012
00:46:12,040 --> 00:46:15,200
Speaker 3: At the beginning of you becoming a voice on radio.

1013
00:46:15,239 --> 00:46:17,840
Speaker 2: Well that happened after Easy passed away. When Easy he

1014
00:46:17,880 --> 00:46:19,680
Speaker 2: passed away, because I would talk like sometimes on the

1015
00:46:19,760 --> 00:46:22,440
Speaker 2: Ruthless Radio show, but I actually mixed more and kind

1016
00:46:22,440 --> 00:46:25,080
Speaker 2: of put the show together and like kind of produced it,

1017
00:46:25,160 --> 00:46:26,680
Speaker 2: you know what I mean, And this goes here, and

1018
00:46:26,760 --> 00:46:29,080
Speaker 2: this goes there. Make sure that yellers mixed Chris at

1019
00:46:29,080 --> 00:46:31,200
Speaker 2: this time. Make sure that this person says this kind

1020
00:46:31,239 --> 00:46:33,120
Speaker 2: of running it, you know what I mean, because easy,

1021
00:46:33,120 --> 00:46:35,080
Speaker 2: he didn't really know that stuff. He just chilled and

1022
00:46:35,160 --> 00:46:37,480
Speaker 2: he just interviewed people with whatever he could do. But

1023
00:46:37,960 --> 00:46:39,719
Speaker 2: that was kind of what what the whole thing was.

1024
00:46:39,800 --> 00:46:45,279
Speaker 2: But after he passed away, it was like it was like, well,

1025
00:46:45,320 --> 00:46:49,279
Speaker 2: first of all, when we were at the hospital, his

1026
00:46:49,440 --> 00:46:51,919
Speaker 2: wife came over to me and he hasn't he hadn't

1027
00:46:51,920 --> 00:46:54,239
Speaker 2: passed away yet, but he was not good and they

1028
00:46:54,280 --> 00:46:55,960
Speaker 2: had told us. We all knew now at this point.

1029
00:46:56,040 --> 00:46:57,879
Speaker 2: So we all went to the hospital where I see

1030
00:46:57,880 --> 00:47:00,600
Speaker 2: the Sinai and she came over to me and she

1031
00:47:00,760 --> 00:47:04,360
Speaker 2: was like, hey, holy, like I just I just I

1032
00:47:04,480 --> 00:47:06,440
Speaker 2: just want to take Ruther's radio off the radio. You know,

1033
00:47:06,800 --> 00:47:08,440
Speaker 2: I don't I don't want to do you know, I

1034
00:47:08,520 --> 00:47:09,880
Speaker 2: want to do it. So I'm gonna get these lawyers

1035
00:47:09,920 --> 00:47:11,920
Speaker 2: to call him. I said, no, Tamika Young gotta do that.

1036
00:47:12,040 --> 00:47:15,640
Speaker 2: I'll take care of it. It's done, show over. I'm

1037
00:47:15,640 --> 00:47:17,160
Speaker 2: telling you right now. I'll go to radio station right

1038
00:47:17,160 --> 00:47:19,000
Speaker 2: now when I get out of here and it's over.

1039
00:47:19,640 --> 00:47:22,080
Speaker 2: I wasn't even tripping off the radio show. I'm like,

1040
00:47:22,120 --> 00:47:24,440
Speaker 2: my homie's passing away over here. Dog and Easy was

1041
00:47:24,480 --> 00:47:26,840
Speaker 2: a friend. He really was a friend to me. He

1042
00:47:26,960 --> 00:47:29,400
Speaker 2: wasn't like some dude I kicked it winning just because

1043
00:47:29,400 --> 00:47:32,000
Speaker 2: he's easy. He actually got very tight with me and Tony.

1044
00:47:32,000 --> 00:47:33,520
Speaker 2: He used to be at her house all the time.

1045
00:47:33,600 --> 00:47:35,920
Speaker 2: Bro The last picture he took a live he took

1046
00:47:35,920 --> 00:47:37,759
Speaker 2: it with me. It was that Saturday night before he

1047
00:47:37,800 --> 00:47:40,440
Speaker 2: went to the hospital. I had that conversation with him

1048
00:47:40,480 --> 00:47:42,759
Speaker 2: outside and he told me what was going on. My

1049
00:47:42,840 --> 00:47:45,760
Speaker 2: Bronchiti secting up. I'm gonna go to the doctor on Monday,

1050
00:47:45,760 --> 00:47:48,520
Speaker 2: and then you know, I'm beatre at the studio Monday night.

1051
00:47:48,560 --> 00:47:50,200
Speaker 2: Because he used to come to our studio and our money.

1052
00:47:50,239 --> 00:47:53,880
Speaker 2: We had our own home studio. And so I went

1053
00:47:53,920 --> 00:47:55,560
Speaker 2: to the radio station and told me he checked this out.

1054
00:47:56,080 --> 00:47:59,279
Speaker 2: Ruth's radio is over. And they were like, oh no.

1055
00:48:00,360 --> 00:48:03,040
Speaker 2: They're like Noah, they like, we don't want to, we

1056
00:48:03,080 --> 00:48:06,880
Speaker 2: don't want to. Can we work with you? Can? And

1057
00:48:07,600 --> 00:48:11,080
Speaker 2: I was like like, nah, man, we I wouldn't do that.

1058
00:48:11,120 --> 00:48:12,800
Speaker 2: I said, look, man, just give me a couple of

1059
00:48:12,800 --> 00:48:14,759
Speaker 2: weeks to think about it because I didn't have I

1060
00:48:14,880 --> 00:48:18,160
Speaker 2: wasn't a host, and so I was thinking, damn, who

1061
00:48:18,160 --> 00:48:19,640
Speaker 2: could I get to help me host this show?

1062
00:48:19,719 --> 00:48:20,239
Speaker 4: In my head?

1063
00:48:20,239 --> 00:48:23,360
Speaker 2: And then finally Tony was like, hey, bro, stop bullshit

1064
00:48:23,400 --> 00:48:25,040
Speaker 2: and just get your ass up there and start talking.

1065
00:48:25,320 --> 00:48:27,360
Speaker 2: And I used to talk and run over to do

1066
00:48:27,480 --> 00:48:29,520
Speaker 2: the mix, come back and talk. So I basically was

1067
00:48:29,560 --> 00:48:31,560
Speaker 2: doing that mix. I called it the mix Master Show

1068
00:48:31,600 --> 00:48:35,080
Speaker 2: after he passed away, and then that's where the radio

1069
00:48:35,160 --> 00:48:38,279
Speaker 2: station started. Like hearing me now in the beginning, the

1070
00:48:38,440 --> 00:48:41,360
Speaker 2: real real, the real thing is that they wanted it

1071
00:48:41,440 --> 00:48:44,880
Speaker 2: to be swaying me at the time. It was supposed

1072
00:48:44,880 --> 00:48:47,320
Speaker 2: to be Sway kind of leading it because he's more talkative.

1073
00:48:47,840 --> 00:48:49,680
Speaker 2: And then I was gonna co host with him and

1074
00:48:49,880 --> 00:48:54,359
Speaker 2: DJ IT and so right before, maybe like two weeks

1075
00:48:54,400 --> 00:48:56,080
Speaker 2: before we were about to start, we met and Swed

1076
00:48:56,080 --> 00:48:58,000
Speaker 2: had already sat down and met a few times. We

1077
00:48:58,080 --> 00:49:01,799
Speaker 2: already were mapping it out. He calls me and he goes, hey,

1078
00:49:01,840 --> 00:49:04,960
Speaker 2: William Man, I'm so sorry, bro, Please don't be mad

1079
00:49:04,960 --> 00:49:07,080
Speaker 2: at me. But they offered me a morning show at

1080
00:49:07,160 --> 00:49:09,759
Speaker 2: km L, so I knew how money worked, and of

1081
00:49:09,840 --> 00:49:12,239
Speaker 2: course that's way more money than some nighttime showing in

1082
00:49:12,239 --> 00:49:15,799
Speaker 2: the LA. You know, hey, Sway Man, don't even trip dog,

1083
00:49:15,880 --> 00:49:17,040
Speaker 2: do you no problem?

1084
00:49:17,080 --> 00:49:17,200
Speaker 1: Man?

1085
00:49:19,640 --> 00:49:21,319
Speaker 2: Yeah? And I knew it was big for him too,

1086
00:49:21,400 --> 00:49:23,719
Speaker 2: so I was like, I was gonna stop that, Sway Man.

1087
00:49:23,719 --> 00:49:25,799
Speaker 2: I don't even feel bad about it. But he felt bad.

1088
00:49:25,880 --> 00:49:27,680
Speaker 2: He called me like, Man, know, Man, I feel bad bro,

1089
00:49:27,719 --> 00:49:30,640
Speaker 2: because we I committed to this with you, and I

1090
00:49:30,719 --> 00:49:33,120
Speaker 2: feel bad that I'm I'd be just in a bad space.

1091
00:49:33,160 --> 00:49:34,480
Speaker 2: And I didn't want him to feel like that. Man,

1092
00:49:34,920 --> 00:49:36,799
Speaker 2: make at your money, dog, I'm not tripping man.

1093
00:49:36,880 --> 00:49:37,160
Speaker 3: Whatever.

1094
00:49:37,200 --> 00:49:39,160
Speaker 2: I go back to producing records. I ain't triple dog.

1095
00:49:40,160 --> 00:49:42,319
Speaker 2: And then you know, they called me from the radio

1096
00:49:42,320 --> 00:49:44,279
Speaker 2: stations like, hey, did you hear about Sway. I'm like yeah,

1097
00:49:44,320 --> 00:49:47,239
Speaker 2: he told me, Okay, so you starting two weeks And

1098
00:49:47,360 --> 00:49:51,919
Speaker 2: I'm like me, yeah, you starting two weeks. So people

1099
00:49:51,960 --> 00:49:53,960
Speaker 2: don't know that I jumped right into that. I wasn't

1100
00:49:54,080 --> 00:49:58,640
Speaker 2: like radio DJ talker. I was a mixture cutter and

1101
00:49:59,040 --> 00:50:00,600
Speaker 2: trying to be on the mic. I never liked my

1102
00:50:00,719 --> 00:50:03,440
Speaker 2: voice like that that I got pushed into. And then

1103
00:50:04,360 --> 00:50:07,120
Speaker 2: I basically said, okay, I got to figure this out

1104
00:50:07,200 --> 00:50:11,080
Speaker 2: because the Baker Boys was hot. Deal was fucking hot,

1105
00:50:11,719 --> 00:50:13,640
Speaker 2: you know, the wake up show. I just got into town.

1106
00:50:14,400 --> 00:50:15,799
Speaker 2: I had I had a lot of shit to deal

1107
00:50:15,880 --> 00:50:18,600
Speaker 2: with it out, like where is my space? What am

1108
00:50:18,680 --> 00:50:20,920
Speaker 2: I going to do? And that was that was that

1109
00:50:21,080 --> 00:50:23,359
Speaker 2: was That was an interesting first year. My mom gave

1110
00:50:23,360 --> 00:50:25,239
Speaker 2: me the advice. She told me before I left the

1111
00:50:25,320 --> 00:50:28,279
Speaker 2: house one day. She goes, hey, she could tell I

1112
00:50:28,400 --> 00:50:31,000
Speaker 2: was worried, Hey, are you all right? I'm like, no,

1113
00:50:31,280 --> 00:50:32,879
Speaker 2: I'm own good, Mom. It's just that, you know, it's

1114
00:50:33,480 --> 00:50:35,880
Speaker 2: my like first week or whatever. I was just just, hey,

1115
00:50:36,719 --> 00:50:38,120
Speaker 2: why don't you just be you? And then it won't

1116
00:50:38,160 --> 00:50:40,960
Speaker 2: feel like a job in your head you're trying to

1117
00:50:41,040 --> 00:50:44,080
Speaker 2: be something stop like And it made me think, Damn,

1118
00:50:44,080 --> 00:50:46,279
Speaker 2: I am thinking too much about THEO. Damn I am

1119
00:50:46,360 --> 00:50:48,799
Speaker 2: thinking too much about Dinah Steel. Damn, I'm thinking too

1120
00:50:48,880 --> 00:50:51,680
Speaker 2: much about the down London, the house party, I'm thinking

1121
00:50:51,680 --> 00:50:53,640
Speaker 2: too much of the Baker Boys. What am I doing?

1122
00:50:54,040 --> 00:50:54,600
Speaker 2: I'm trying to?

1123
00:50:54,760 --> 00:50:54,800
Speaker 3: Like?

1124
00:50:55,360 --> 00:50:57,560
Speaker 2: I was so nervous, you know, how do I feel?

1125
00:50:57,880 --> 00:50:58,719
Speaker 1: All right? Just be you?

1126
00:50:59,160 --> 00:51:00,600
Speaker 2: And that that really helped, man, because that's what I

1127
00:51:00,680 --> 00:51:03,319
Speaker 2: end up doing. I just like, you know, I came

1128
00:51:03,400 --> 00:51:04,680
Speaker 2: with my own approach, and I think it was just

1129
00:51:04,760 --> 00:51:07,759
Speaker 2: so real. People just accepted it, and I got numb

1130
00:51:07,760 --> 00:51:10,360
Speaker 2: of love for the Black community because they supported me.

1131
00:51:10,680 --> 00:51:11,960
Speaker 2: That's why I don't like when I hear all this,

1132
00:51:12,239 --> 00:51:14,279
Speaker 2: Oh they're black man, bro, they ain't not blocking you.

1133
00:51:14,360 --> 00:51:16,680
Speaker 2: They they gave me so much love to black community

1134
00:51:16,920 --> 00:51:19,279
Speaker 2: and my ratings. When I would see my ratings, that's

1135
00:51:19,320 --> 00:51:22,040
Speaker 2: where I knew. I'm like, damn, man, that's I had

1136
00:51:22,080 --> 00:51:25,120
Speaker 2: the Hispanics, but the Blacks was up there, and so

1137
00:51:25,239 --> 00:51:27,520
Speaker 2: I was like, damn, they really got my back. So

1138
00:51:27,600 --> 00:51:29,560
Speaker 2: every like once or twice a year, I would always

1139
00:51:29,600 --> 00:51:31,719
Speaker 2: thank the black community for giving me that love. I

1140
00:51:31,800 --> 00:51:34,040
Speaker 2: appreciate y'all. Thank you so much. I know you know

1141
00:51:34,640 --> 00:51:37,239
Speaker 2: you're accepting me into a space and y'all letting me

1142
00:51:37,280 --> 00:51:39,120
Speaker 2: get in. I appreciate that. And I think that's what

1143
00:51:39,239 --> 00:51:42,520
Speaker 2: they loved about the realness of it. Like damn, That's

1144
00:51:42,520 --> 00:51:44,560
Speaker 2: why I tell people, you gotta recognize all there's nothing

1145
00:51:44,600 --> 00:51:47,279
Speaker 2: wrong that they don't diminish you. It actually makes you

1146
00:51:47,360 --> 00:51:49,719
Speaker 2: look right when you give props to what is right.

1147
00:51:49,760 --> 00:51:50,359
Speaker 2: You know what I'm saying.

1148
00:51:53,719 --> 00:51:54,920
Speaker 3: Do you understand? Man?

1149
00:51:55,040 --> 00:51:55,160
Speaker 2: Nick?

1150
00:51:55,280 --> 00:51:58,880
Speaker 3: She broke so many different acts through West Side Radio,

1151
00:51:59,120 --> 00:52:02,759
Speaker 3: like where the first time I heard master P. This

1152
00:52:02,920 --> 00:52:07,840
Speaker 3: is how I went. I was in Warehouse Music in Lakewood.

1153
00:52:08,840 --> 00:52:08,960
Speaker 1: Now.

1154
00:52:08,960 --> 00:52:11,600
Speaker 3: I was reading the magazine when the magazines, and I

1155
00:52:11,680 --> 00:52:14,359
Speaker 3: saw an ad with him in there, you know, two ads.

1156
00:52:14,440 --> 00:52:16,520
Speaker 3: He had two ads in that motherfucker. And I said,

1157
00:52:16,520 --> 00:52:18,919
Speaker 3: who is this motherfucker right here? Man the white suit

1158
00:52:18,960 --> 00:52:20,640
Speaker 3: with I don't know what he holding up a piece

1159
00:52:20,680 --> 00:52:23,840
Speaker 3: of crack or something. And then I heard him on

1160
00:52:23,920 --> 00:52:26,000
Speaker 3: the radio with you, and I said, let me go

1161
00:52:26,120 --> 00:52:29,480
Speaker 3: buy this dude ship to see how it sound. Yeah.

1162
00:52:29,520 --> 00:52:31,799
Speaker 2: I was the first one to do master blowing up.

1163
00:52:31,880 --> 00:52:35,840
Speaker 2: Yeah I didn't. I broke master p no limit and

1164
00:52:35,920 --> 00:52:39,319
Speaker 2: then I broke cash money and that was a really

1165
00:52:39,400 --> 00:52:41,439
Speaker 2: good story, true story that was that was a really

1166
00:52:41,560 --> 00:52:46,200
Speaker 2: really big deal. But master P. I just like master P.

1167
00:52:46,440 --> 00:52:49,440
Speaker 2: But I wasn't like super like into his music like

1168
00:52:49,520 --> 00:52:53,640
Speaker 2: that nobody was. But I knew he had something because

1169
00:52:53,760 --> 00:52:56,439
Speaker 2: it goes back to the West Coast thing. He had

1170
00:52:56,600 --> 00:52:59,480
Speaker 2: something about him that I liked, and I always kept up.

1171
00:53:00,600 --> 00:53:03,080
Speaker 2: I would say, like I always kept a part of

1172
00:53:03,160 --> 00:53:06,360
Speaker 2: me that kept that open. And I credit that the

1173
00:53:06,480 --> 00:53:09,439
Speaker 2: too Short because I think people thought that too Short

1174
00:53:09,560 --> 00:53:12,239
Speaker 2: was very simple rap in a way at the time.

1175
00:53:12,280 --> 00:53:13,759
Speaker 2: You know what I'm saying at that time, they didn't

1176
00:53:13,760 --> 00:53:16,799
Speaker 2: say he was a lyricist, right, but I thought too

1177
00:53:16,880 --> 00:53:19,399
Speaker 2: short didn't need to be no lyricist. I just knew

1178
00:53:19,480 --> 00:53:21,560
Speaker 2: his voice and what he was saying and how he

1179
00:53:21,680 --> 00:53:25,080
Speaker 2: was delivering it. That shit was just street shit, so

1180
00:53:25,320 --> 00:53:27,879
Speaker 2: I knew that the streets really fucked with certain things

1181
00:53:27,920 --> 00:53:30,160
Speaker 2: like that. So master P, I thought of him like that.

1182
00:53:30,160 --> 00:53:32,840
Speaker 2: I said, you know what, who will this is GOODA GOODA.

1183
00:53:33,280 --> 00:53:35,759
Speaker 2: You gotta take care of the GOODA GOODA. There's gonna

1184
00:53:35,800 --> 00:53:38,240
Speaker 2: be some haters, but the good are good and good ones.

1185
00:53:38,360 --> 00:53:40,640
Speaker 2: They're gonna fuck with this dude, especially because he was

1186
00:53:40,719 --> 00:53:43,480
Speaker 2: rapping over world class record crew to turn off the lights.

1187
00:53:43,840 --> 00:53:46,239
Speaker 2: So that's what got me like, that's gonna connect once again,

1188
00:53:46,320 --> 00:53:49,279
Speaker 2: the records that connect to people, right, So they're gonna

1189
00:53:49,320 --> 00:53:51,759
Speaker 2: love that because that's La right. So and that's how

1190
00:53:51,840 --> 00:53:55,640
Speaker 2: he slid in. And then one night I had him

1191
00:53:55,640 --> 00:53:58,320
Speaker 2: bring them all me an eggs, murder soaked the shackra.

1192
00:53:58,360 --> 00:54:00,320
Speaker 2: I had him all I played all that shit, and

1193
00:54:00,440 --> 00:54:02,440
Speaker 2: that's where they started to blow up at in La.

1194
00:54:02,560 --> 00:54:05,160
Speaker 2: That's when and you know, and and I give him props,

1195
00:54:05,280 --> 00:54:08,160
Speaker 2: master B, because he's always said the story. Julio g

1196
00:54:08,440 --> 00:54:09,560
Speaker 2: was the one that broke me, and.

1197
00:54:09,600 --> 00:54:11,920
Speaker 3: I appreciate that because in the second biggest market in

1198
00:54:11,960 --> 00:54:12,320
Speaker 3: the country.

1199
00:54:12,400 --> 00:54:14,359
Speaker 2: Yeah, he blew after that. Bro when he used to come.

1200
00:54:14,400 --> 00:54:15,960
Speaker 2: He told me one day, Man, when I used to

1201
00:54:15,960 --> 00:54:18,000
Speaker 2: come to LA always just come pick up checks and priority.

1202
00:54:18,040 --> 00:54:20,560
Speaker 2: Nobody fucking me out here. I never know interviews, nobody

1203
00:54:20,640 --> 00:54:22,440
Speaker 2: know me. And that's all he would do is come

1204
00:54:22,480 --> 00:54:23,960
Speaker 2: pick up checks and get back on a plane and leave.

1205
00:54:24,280 --> 00:54:26,200
Speaker 2: And that's how one day he happened to be a priority.

1206
00:54:26,520 --> 00:54:28,640
Speaker 2: And my homegirl, she was a publicist there, and she

1207
00:54:28,760 --> 00:54:30,400
Speaker 2: was talking to him on the phone and I go, oh,

1208
00:54:30,520 --> 00:54:31,960
Speaker 2: is that master p Hey tell him come to the

1209
00:54:32,000 --> 00:54:34,600
Speaker 2: show tonight and he changes flight and everything. Oh, I'm

1210
00:54:34,600 --> 00:54:36,560
Speaker 2: bringing the whole crew. I'll bring me. He came, brought

1211
00:54:36,600 --> 00:54:38,440
Speaker 2: all his ship. He was he was a real promoter.

1212
00:54:38,520 --> 00:54:39,920
Speaker 2: He was like an easy eating me Like he was

1213
00:54:39,960 --> 00:54:43,520
Speaker 2: a real promoter dude, Like he promoted his artist and

1214
00:54:43,840 --> 00:54:45,840
Speaker 2: he was serious about it. But yeah, I broke a

1215
00:54:45,880 --> 00:54:49,359
Speaker 2: lot of people, especially West Side Radio. It's like, I mean,

1216
00:54:49,400 --> 00:54:53,040
Speaker 2: you know, I don't want to like just you don't

1217
00:54:53,040 --> 00:54:54,960
Speaker 2: talk about anybody and none. But there's people that come

1218
00:54:55,040 --> 00:54:57,759
Speaker 2: out and they start taking a little more credit for

1219
00:54:57,840 --> 00:54:59,320
Speaker 2: the West Coast shit, you know what I mean. And

1220
00:55:00,000 --> 00:55:01,360
Speaker 2: I kind of bothered me a little bit because I

1221
00:55:01,360 --> 00:55:02,640
Speaker 2: don't like people to rewrite history.

1222
00:55:03,040 --> 00:55:03,200
Speaker 1: You know.

1223
00:55:03,280 --> 00:55:08,360
Speaker 2: It's like nobody was nobody was fucking with the West

1224
00:55:08,400 --> 00:55:11,120
Speaker 2: Coast in La. Let me let me say that right now.

1225
00:55:11,640 --> 00:55:14,120
Speaker 2: When I started in nineteen ninety five, well, I started

1226
00:55:14,160 --> 00:55:17,759
Speaker 2: West Eyne Radio seriously in nineteen eighty six. Where it

1227
00:55:17,960 --> 00:55:21,960
Speaker 2: really started was when that whole thing went down with

1228
00:55:22,520 --> 00:55:26,520
Speaker 2: death rowing them at the Source Awards. When all that

1229
00:55:26,600 --> 00:55:29,920
Speaker 2: went down, I was on that Saturday night and I

1230
00:55:30,000 --> 00:55:33,120
Speaker 2: remember I went on the air and I said, I

1231
00:55:33,200 --> 00:55:35,160
Speaker 2: believe they were coming like they were starting to come

1232
00:55:35,239 --> 00:55:38,520
Speaker 2: back to La on the plane from that Source Awards,

1233
00:55:38,600 --> 00:55:41,759
Speaker 2: and I said, I don't want I don't want none

1234
00:55:41,800 --> 00:55:44,480
Speaker 2: of my West Coast artists to get off that plane

1235
00:55:44,800 --> 00:55:47,840
Speaker 2: and just be hearing shit that ain't from La. Fuck that.

1236
00:55:48,280 --> 00:55:48,680
Speaker 3: So I did.

1237
00:55:48,880 --> 00:55:52,160
Speaker 2: I did a whole hour on my show of Straight

1238
00:55:52,239 --> 00:55:55,360
Speaker 2: West Coast and that was kind of the beginning idea

1239
00:55:55,400 --> 00:55:58,600
Speaker 2: where I said, oh man, this And then what happened

1240
00:55:58,600 --> 00:56:01,920
Speaker 2: is that a few months later Ice Cube called me

1241
00:56:02,480 --> 00:56:04,359
Speaker 2: and he had tried to do a show called West

1242
00:56:04,400 --> 00:56:07,400
Speaker 2: Side radio in the Bay, but he didn't realize how

1243
00:56:07,480 --> 00:56:09,960
Speaker 2: much work radio took. So he called me and he

1244
00:56:09,960 --> 00:56:11,440
Speaker 2: said me me in my office, I want to talk

1245
00:56:11,440 --> 00:56:13,319
Speaker 2: to you. I'm like, cool if I went over there

1246
00:56:13,360 --> 00:56:16,160
Speaker 2: and he's like, hey, man, man, I got this show

1247
00:56:16,239 --> 00:56:17,920
Speaker 2: that I did. It's called west Side Radio. Man, but

1248
00:56:18,000 --> 00:56:20,040
Speaker 2: I really can't fuck with it. But man, are you

1249
00:56:20,200 --> 00:56:22,120
Speaker 2: interested in doing it? Would you want to do it?

1250
00:56:22,960 --> 00:56:25,200
Speaker 2: I'm like, yeah, hell yeah, I'll do it.

1251
00:56:25,239 --> 00:56:25,479
Speaker 1: Shit.

1252
00:56:26,360 --> 00:56:28,560
Speaker 2: I'll come on the first show with you and then

1253
00:56:28,680 --> 00:56:31,040
Speaker 2: I'll do an intro for you, and then I come

1254
00:56:31,080 --> 00:56:33,279
Speaker 2: on the first show well started. And then you know,

1255
00:56:33,400 --> 00:56:36,040
Speaker 2: that's why it's called west II Radio. It's really behind

1256
00:56:36,080 --> 00:56:39,439
Speaker 2: west Side Connection. That's why it's called west Side Radio.

1257
00:56:39,440 --> 00:56:41,640
Speaker 2: It wasn't necessarily I came up with that. He gave

1258
00:56:41,719 --> 00:56:43,840
Speaker 2: me that, so I got to give ice Cube his proct.

1259
00:56:43,920 --> 00:56:45,560
Speaker 2: But he came on the work first show and from

1260
00:56:45,600 --> 00:56:47,759
Speaker 2: there on, I went for broke and he just every

1261
00:56:47,800 --> 00:56:50,120
Speaker 2: time he's seen me, he just you killing it, bro.

1262
00:56:50,200 --> 00:56:52,160
Speaker 2: You're doing way more than I would have thought. You

1263
00:56:52,440 --> 00:56:54,759
Speaker 2: killed that bro, Like he used to always telling me that, like, man,

1264
00:56:54,800 --> 00:56:57,000
Speaker 2: you man, you killed that bro. Like you killing it

1265
00:56:57,320 --> 00:56:59,960
Speaker 2: because you know it spawns so many people because look,

1266
00:57:00,640 --> 00:57:05,040
Speaker 2: MC eight didn't get radio play, wasn't playing MC eight bro.

1267
00:57:06,200 --> 00:57:10,200
Speaker 2: I will say this, Marie Ama Snyder, she added and

1268
00:57:10,440 --> 00:57:12,560
Speaker 2: put that record in rotation off for the Money. That

1269
00:57:12,719 --> 00:57:14,399
Speaker 2: one record did get a lot of play on ninety

1270
00:57:14,400 --> 00:57:17,440
Speaker 2: two point three to b it was in rotation like

1271
00:57:17,520 --> 00:57:20,080
Speaker 2: it was playing all day. But I remember who it

1272
00:57:20,160 --> 00:57:24,880
Speaker 2: took me under? And then I started bringing back the

1273
00:57:25,040 --> 00:57:27,280
Speaker 2: older records, the growing up in the hood, and I

1274
00:57:27,360 --> 00:57:29,080
Speaker 2: started all that on West Side radio. I didn't just

1275
00:57:29,160 --> 00:57:31,440
Speaker 2: start from where I started. I went back and started

1276
00:57:31,480 --> 00:57:34,600
Speaker 2: bringing back records that didn't get no action and started

1277
00:57:34,600 --> 00:57:38,200
Speaker 2: bringing Peace Treat back and Black Superman and these guys

1278
00:57:38,320 --> 00:57:40,760
Speaker 2: back like into the mix with the newer shit too.

1279
00:57:40,880 --> 00:57:43,560
Speaker 2: So I was doing that, and I used to play

1280
00:57:44,480 --> 00:57:46,680
Speaker 2: the song with eight and Dazz. I used to play

1281
00:57:46,720 --> 00:57:49,040
Speaker 2: straight up Man. I used to play all for the

1282
00:57:49,160 --> 00:57:50,919
Speaker 2: Money all the time. I used to play the Hood

1283
00:57:50,920 --> 00:57:54,000
Speaker 2: took me under. I used to play my fucking gang stories.

1284
00:57:54,760 --> 00:57:57,720
Speaker 2: I played gang Story, South Central Cartel and so it's like,

1285
00:57:57,920 --> 00:58:01,760
Speaker 2: so that's why I say, you know, certain people be

1286
00:58:01,880 --> 00:58:04,840
Speaker 2: saying like they like there was the West Coast there

1287
00:58:04,880 --> 00:58:07,320
Speaker 2: is nobody was doing that before me. Dog The only

1288
00:58:07,400 --> 00:58:11,000
Speaker 2: reason Paraweo six ever started to even think about fucking

1289
00:58:11,040 --> 00:58:13,000
Speaker 2: on the West Coast like that was because we beat

1290
00:58:13,040 --> 00:58:15,800
Speaker 2: them and they had to because I got the streets

1291
00:58:16,440 --> 00:58:18,160
Speaker 2: they didn't have target and.

1292
00:58:18,200 --> 00:58:20,440
Speaker 3: They started really targeting the Hispanic audience.

1293
00:58:20,720 --> 00:58:23,600
Speaker 2: Well, there always been always been a Hispanic station. You know,

1294
00:58:23,640 --> 00:58:26,440
Speaker 2: you gotta remember that they're they're they're demographic is Hispanic.

1295
00:58:26,480 --> 00:58:29,080
Speaker 2: It's not black. So they only deal with that. But

1296
00:58:29,120 --> 00:58:31,600
Speaker 2: I'm saying in ninety five and ninety six when I

1297
00:58:31,640 --> 00:58:33,440
Speaker 2: got west Side Radio going, we went number one that

1298
00:58:33,560 --> 00:58:36,840
Speaker 2: year the station and west Side Radio. And so now

1299
00:58:37,000 --> 00:58:39,520
Speaker 2: ninety seven ninety eight, when you know, Damian Young comes

1300
00:58:39,560 --> 00:58:41,240
Speaker 2: in and they start saying, because's why I say Damien

1301
00:58:41,320 --> 00:58:44,400
Speaker 2: Sometimes he gets to start talking and none of disrespect

1302
00:58:44,440 --> 00:58:47,560
Speaker 2: to him, but he doesn't say it correctly. He says, oh,

1303
00:58:47,600 --> 00:58:49,720
Speaker 2: he went to Parawino six and he made you know,

1304
00:58:50,560 --> 00:58:54,560
Speaker 2: gangster rap cool? What bro we're talking about? Dog, I've

1305
00:58:54,560 --> 00:58:55,560
Speaker 2: been done west Side Radio.

1306
00:58:55,680 --> 00:58:55,960
Speaker 1: I was.

1307
00:58:56,120 --> 00:58:57,840
Speaker 2: I was okay, let me let me tell you like this,

1308
00:58:58,160 --> 00:59:00,640
Speaker 2: when the East Coast and West Coast beef was going down.

1309
00:59:00,960 --> 00:59:05,840
Speaker 2: Who wrapped the West? I did it by myself because

1310
00:59:05,880 --> 00:59:09,000
Speaker 2: nobody else wanted to rep Tupac when to hit him up. Look, man,

1311
00:59:10,200 --> 00:59:11,520
Speaker 2: let me do it like this, just to keep it

1312
00:59:11,600 --> 00:59:13,479
Speaker 2: rolling with you, bro, because I know I was gonna

1313
00:59:13,480 --> 00:59:14,720
Speaker 2: come on here, and I just wanted to make sure

1314
00:59:14,760 --> 00:59:17,720
Speaker 2: that I don't just be capping and just saying things.

1315
00:59:18,520 --> 00:59:20,800
Speaker 2: This is right here. These are different little tweets that

1316
00:59:20,840 --> 00:59:24,480
Speaker 2: I grab from people. I still remember the feeling when

1317
00:59:24,560 --> 00:59:27,120
Speaker 2: Julio G dropped Tupac hit him up for the first time.

1318
00:59:27,200 --> 00:59:29,800
Speaker 2: I was twelve years old. He became my favorite DJ

1319
00:59:29,920 --> 00:59:32,880
Speaker 2: after that. That night that he's talking about, I played

1320
00:59:32,920 --> 00:59:35,800
Speaker 2: Tupac hit him up eight times in a row, so

1321
00:59:36,080 --> 00:59:39,320
Speaker 2: and then I'm so old. I'm so old. I remember

1322
00:59:39,360 --> 00:59:41,280
Speaker 2: when Julio G played Pox hit him up for the

1323
00:59:41,360 --> 00:59:43,440
Speaker 2: first time on west Side Radio while Above the Law

1324
00:59:43,560 --> 00:59:46,160
Speaker 2: was their facts. They were there. They was like god,

1325
00:59:46,320 --> 00:59:48,439
Speaker 2: CAMG was like, you ain't gonna do it again?

1326
00:59:48,520 --> 00:59:48,920
Speaker 3: Oh you man?

1327
00:59:49,040 --> 00:59:49,480
Speaker 1: Fuck them?

1328
00:59:49,560 --> 00:59:52,600
Speaker 2: KMG boom fucked that and they were like, oh my

1329
00:59:52,760 --> 00:59:53,480
Speaker 2: ass cutching them.

1330
00:59:53,520 --> 00:59:53,880
Speaker 3: They were there.

1331
00:59:53,920 --> 01:00:00,120
Speaker 2: They were going Crashmi, yeah for sure, mack man my

1332
01:00:00,200 --> 01:00:03,080
Speaker 2: smoking party being hutch we've been we've I've been friends

1333
01:00:03,080 --> 01:00:04,920
Speaker 2: with them for so long. Do I love They're like

1334
01:00:05,000 --> 01:00:07,640
Speaker 2: family dog. But they were having, you know, but I

1335
01:00:07,800 --> 01:00:09,920
Speaker 2: wasn't supposed to do that. They didn't want me to

1336
01:00:09,920 --> 01:00:12,040
Speaker 2: play the ninety two point three to be begged me

1337
01:00:12,160 --> 01:00:14,040
Speaker 2: not to do that. Bro, They're like, please, please, don't.

1338
01:00:14,080 --> 01:00:15,680
Speaker 2: They knew I had the song because Johnny gave it

1339
01:00:15,680 --> 01:00:19,520
Speaker 2: to me Johnny J recipes and he was like, please

1340
01:00:19,560 --> 01:00:21,040
Speaker 2: don't do that, man, please. I say, yeah, no, no,

1341
01:00:21,160 --> 01:00:22,640
Speaker 2: I want, I want. I don't worry by the guys.

1342
01:00:22,680 --> 01:00:25,160
Speaker 2: I'm not gonna do ship. I was so West Coast

1343
01:00:25,200 --> 01:00:28,840
Speaker 2: dog and I was so fucking with our ship that

1344
01:00:29,040 --> 01:00:32,240
Speaker 2: I just it was us against them. I don't can't

1345
01:00:32,280 --> 01:00:34,360
Speaker 2: care where the fuck the ship fell. And I wasn't

1346
01:00:34,400 --> 01:00:36,680
Speaker 2: scared to do that. But the wake up Show wasn't

1347
01:00:36,720 --> 01:00:39,840
Speaker 2: doing that. The Baker Boys weren't doing that. Yo wasn't

1348
01:00:39,880 --> 01:00:41,680
Speaker 2: doing that. None of these people was doing that. And no,

1349
01:00:41,680 --> 01:00:44,000
Speaker 2: nothing disretracted them. They didn't want to smoke. They didn't

1350
01:00:44,000 --> 01:00:45,280
Speaker 2: want to deal with what was going on with the

1351
01:00:45,320 --> 01:00:45,720
Speaker 2: East Coast.

1352
01:00:45,720 --> 01:00:45,880
Speaker 1: West.

1353
01:00:45,920 --> 01:00:47,919
Speaker 3: You were for sure pushing the line with the gangs.

1354
01:00:48,520 --> 01:00:53,200
Speaker 4: You no, Holy YO pushed the line as far as

1355
01:00:55,520 --> 01:00:58,560
Speaker 4: motherfuckers who were trying to get noticed, who had good

1356
01:00:58,720 --> 01:01:02,360
Speaker 4: music and who couldn't You heard a lot of independent

1357
01:01:02,480 --> 01:01:05,840
Speaker 4: dudes from the West Coast who were on the come

1358
01:01:05,960 --> 01:01:09,560
Speaker 4: up who wasn't getting they shine because we couldn't.

1359
01:01:10,040 --> 01:01:12,080
Speaker 3: I think, is you the first person to play two

1360
01:01:12,160 --> 01:01:13,040
Speaker 3: hundred by Glasses?

1361
01:01:13,680 --> 01:01:14,320
Speaker 2: I started broke?

1362
01:01:15,280 --> 01:01:15,960
Speaker 3: That's what I'm saying.

1363
01:01:16,000 --> 01:01:19,680
Speaker 1: I think, Yeah, he broke class west side radio. This

1364
01:01:19,840 --> 01:01:21,160
Speaker 1: was later. This is later.

1365
01:01:21,200 --> 01:01:23,520
Speaker 2: You're talking about West radio nineties with Glasses. This is

1366
01:01:23,560 --> 01:01:25,040
Speaker 2: when I went at ninety through five K and I

1367
01:01:25,080 --> 01:01:28,800
Speaker 2: said a whole new Bishop Lamont came through me, Glasses

1368
01:01:28,880 --> 01:01:31,760
Speaker 2: came through me, Jay Rock came through me, Jay Rock

1369
01:01:31,800 --> 01:01:35,000
Speaker 2: and TD started with me. No, I don't know what

1370
01:01:35,200 --> 01:01:37,000
Speaker 2: other people are saying, because other people that came out

1371
01:01:37,000 --> 01:01:38,640
Speaker 2: and said, oh, GD, well I.

1372
01:01:38,760 --> 01:01:41,000
Speaker 3: Was running with. I was running with top of them

1373
01:01:41,040 --> 01:01:43,200
Speaker 3: at the time they were going up there.

1374
01:01:43,320 --> 01:01:45,560
Speaker 2: Yeah, let me tell you something, because he was the

1375
01:01:45,600 --> 01:01:47,960
Speaker 2: only one fucking with TD for I started. He was

1376
01:01:49,200 --> 01:01:51,760
Speaker 2: when I when I put Jay Rock on Lift Me Up.

1377
01:01:52,160 --> 01:01:54,280
Speaker 2: That was another record. I was a Sunday night when

1378
01:01:54,280 --> 01:01:56,600
Speaker 2: I was doing West Sundays on this time, and I

1379
01:01:56,720 --> 01:02:00,640
Speaker 2: played that record fifteen times in a row. I never

1380
01:02:00,720 --> 01:02:02,760
Speaker 2: had done that. I just wanted to fuck with him

1381
01:02:03,000 --> 01:02:05,960
Speaker 2: because I just wanted Watts to get on. I just

1382
01:02:06,080 --> 01:02:08,120
Speaker 2: had a stamp it in their ear that this this

1383
01:02:08,200 --> 01:02:09,920
Speaker 2: is gonna happen because I was trying to get wats on.

1384
01:02:09,960 --> 01:02:11,800
Speaker 2: That's why I fucked with Glasses and I had my

1385
01:02:11,920 --> 01:02:15,160
Speaker 2: other friend drove from Grape, and then I had Jay

1386
01:02:15,280 --> 01:02:17,360
Speaker 2: Rock and then with the Nickersons, so my things. I

1387
01:02:17,480 --> 01:02:19,320
Speaker 2: was telling all of them, Hey, I know y'all got

1388
01:02:19,360 --> 01:02:21,120
Speaker 2: beef with each other, but when we're doing this music shop,

1389
01:02:21,160 --> 01:02:22,840
Speaker 2: we gotta rogue, like I gotta. I need y'all be

1390
01:02:23,040 --> 01:02:25,320
Speaker 2: And they were all cool. They actually got around each other.

1391
01:02:25,560 --> 01:02:28,040
Speaker 2: We never had no issues. They all knew what the

1392
01:02:28,080 --> 01:02:30,040
Speaker 2: purpose was. Look, man, we gotta get this going. I

1393
01:02:30,080 --> 01:02:31,800
Speaker 2: need the West to blow. We did, and they were

1394
01:02:31,840 --> 01:02:34,320
Speaker 2: with it, you know. So yeah, they they started with

1395
01:02:34,400 --> 01:02:37,560
Speaker 2: me saying with saying with k dot Uh. He came

1396
01:02:37,640 --> 01:02:40,800
Speaker 2: through Jay Rock. I met him first. I met Jay

1397
01:02:40,880 --> 01:02:46,520
Speaker 2: Rock first, but he introduced me to uh to K. Yeah,

1398
01:02:46,520 --> 01:02:48,840
Speaker 2: And I'm gonna tell you a story about that. When

1399
01:02:48,880 --> 01:02:53,880
Speaker 2: I met Jay Rock the first time. He I'm trying

1400
01:02:53,880 --> 01:02:56,720
Speaker 2: to find this. There's a song that Kendrick Lamar did,

1401
01:02:56,840 --> 01:03:01,000
Speaker 2: Kendad Lamar, K Dot Don't Do It, featuring Julio g Okay.

1402
01:03:01,080 --> 01:03:03,240
Speaker 2: He did a song that I'm in because I used

1403
01:03:03,280 --> 01:03:05,480
Speaker 2: to say on the radio, don't do it to him

1404
01:03:05,520 --> 01:03:07,960
Speaker 2: k dot. Every time I would play j Rock, I

1405
01:03:08,000 --> 01:03:09,880
Speaker 2: would That was my way of kind of introducing him

1406
01:03:09,880 --> 01:03:11,920
Speaker 2: because he didn't have no music, but I liked him.

1407
01:03:12,440 --> 01:03:14,720
Speaker 2: The first time Jay Rock Interests I met Jay Rock,

1408
01:03:14,760 --> 01:03:17,280
Speaker 2: he was with Kadok, and he told me like this, man,

1409
01:03:17,360 --> 01:03:19,280
Speaker 2: Julio G, thank you so much for everything you've done

1410
01:03:19,320 --> 01:03:21,360
Speaker 2: for me. Man, you had no idea. Man like the

1411
01:03:21,480 --> 01:03:24,040
Speaker 2: hood man the whole Nickerson went crazy and man, this

1412
01:03:24,120 --> 01:03:26,439
Speaker 2: is my little Homie's ka doot. He goes, I'm dope,

1413
01:03:27,080 --> 01:03:30,560
Speaker 2: but this dude's the truth. First time, bro, and I

1414
01:03:30,680 --> 01:03:33,640
Speaker 2: was like, oh, never had a rapper do that so

1415
01:03:33,760 --> 01:03:35,640
Speaker 2: that I don't want people to know that Jay Rock

1416
01:03:36,080 --> 01:03:39,720
Speaker 2: never hated on K dot bro, never blocked, never tried.

1417
01:03:40,120 --> 01:03:41,840
Speaker 2: He didn't have to do that. He was the star.

1418
01:03:42,000 --> 01:03:45,440
Speaker 2: To me, He's the dude I'm playing and he'ster hey, homie,

1419
01:03:45,520 --> 01:03:47,840
Speaker 2: this is this dude the truth. And that's what made

1420
01:03:47,880 --> 01:03:49,080
Speaker 2: me say, Okay, what's.

1421
01:03:49,000 --> 01:03:49,520
Speaker 1: Up with your name?

1422
01:03:49,600 --> 01:03:51,320
Speaker 2: Kato? Okay, little homy, all right, don't do it to

1423
01:03:51,400 --> 01:03:53,680
Speaker 2: him Kadok. So he became like his little homie, so

1424
01:03:54,200 --> 01:03:56,080
Speaker 2: That's how I got them going.

1425
01:03:56,640 --> 01:03:57,160
Speaker 1: And then.

1426
01:03:58,600 --> 01:04:00,480
Speaker 2: I saved one of them DJs from Power one on

1427
01:04:00,600 --> 01:04:03,040
Speaker 2: six bro. He was gonna get God from these dudes.

1428
01:04:04,040 --> 01:04:07,040
Speaker 2: Mind you, I now blow them up. Not only am

1429
01:04:07,080 --> 01:04:09,200
Speaker 2: I playing it fifteen times the first time, I kept

1430
01:04:09,240 --> 01:04:12,200
Speaker 2: playing the record. So now Warner Brothers got attention on them.

1431
01:04:12,560 --> 01:04:16,160
Speaker 2: They want to So they come to me topping them

1432
01:04:16,200 --> 01:04:18,560
Speaker 2: and like, can you come up to Warner Brothers with us?

1433
01:04:19,120 --> 01:04:21,840
Speaker 2: Because you know, they were new to the game, they

1434
01:04:21,880 --> 01:04:23,520
Speaker 2: didn't really know what was happening, like that, can you

1435
01:04:23,600 --> 01:04:25,640
Speaker 2: come up there because I want to We want to

1436
01:04:25,640 --> 01:04:28,439
Speaker 2: see if you would consult for us, because they wanted

1437
01:04:28,520 --> 01:04:30,400
Speaker 2: to kind of tell Warner Brothers like we got Julio

1438
01:04:30,560 --> 01:04:32,760
Speaker 2: g like you know he gonna come help us, right,

1439
01:04:33,040 --> 01:04:34,800
Speaker 2: So I went over there, we sat down, they played

1440
01:04:34,840 --> 01:04:39,040
Speaker 2: me some songs and I said, jay Rod, you need

1441
01:04:39,120 --> 01:04:41,760
Speaker 2: to find somebody to make your songs. Your songs are

1442
01:04:41,880 --> 01:04:46,160
Speaker 2: just they're not there like sound wise sonically. That's why

1443
01:04:46,200 --> 01:04:50,200
Speaker 2: they got all leave. From the first day. He listened

1444
01:04:50,240 --> 01:04:53,120
Speaker 2: to me, you need to have a cohesive sound, and

1445
01:04:53,240 --> 01:04:55,000
Speaker 2: you have like a sound that's like up And they

1446
01:04:55,000 --> 01:04:58,160
Speaker 2: didn't know that. They weren't paying attention to like, oh shitty, right,

1447
01:04:58,240 --> 01:05:00,520
Speaker 2: I didn't think about it like that. And but that's

1448
01:05:00,520 --> 01:05:02,640
Speaker 2: which that's why I used to produce records, so I understand.

1449
01:05:02,680 --> 01:05:06,560
Speaker 2: So so that's you know, I gave them so much

1450
01:05:06,600 --> 01:05:08,560
Speaker 2: love basically right, And then Warner Brothers was happy. So

1451
01:05:09,440 --> 01:05:13,600
Speaker 2: they thought, oh shit, I have Julio g playing us

1452
01:05:13,760 --> 01:05:16,480
Speaker 2: like this. I know these motherfucker's gonna play us. So

1453
01:05:16,560 --> 01:05:18,200
Speaker 2: when they went up to Power one, those six, they

1454
01:05:18,200 --> 01:05:22,600
Speaker 2: were like, and they didn't know what that was. They

1455
01:05:22,640 --> 01:05:25,040
Speaker 2: were new to the games, so they were like. They

1456
01:05:25,160 --> 01:05:27,120
Speaker 2: called me one day because I was consulting them. They

1457
01:05:27,200 --> 01:05:29,200
Speaker 2: called me one day I was getting off of work, Hey,

1458
01:05:29,240 --> 01:05:31,160
Speaker 2: Julio G. Man, can you believe we went up to

1459
01:05:31,160 --> 01:05:32,640
Speaker 2: power one? Those six? Man, they give us as big

1460
01:05:32,720 --> 01:05:35,720
Speaker 2: as run around the shit fucked fucked around and played

1461
01:05:35,760 --> 01:05:36,600
Speaker 2: us like we were suckers.

1462
01:05:36,680 --> 01:05:36,800
Speaker 3: Man.

1463
01:05:37,480 --> 01:05:39,720
Speaker 2: They said, but but don't trip. We're gonna snatch your

1464
01:05:39,800 --> 01:05:45,120
Speaker 2: motherfuck up. And right when I heard that, I said, hey, hey, bro, listen,

1465
01:05:45,200 --> 01:05:47,680
Speaker 2: Jimmy DOGG. You don't want to do that. And I'm

1466
01:05:47,680 --> 01:05:51,080
Speaker 2: gonna tell you why they're nerds. You put your fingers

1467
01:05:51,120 --> 01:05:53,320
Speaker 2: and hands on them, dog. It tells all the rest

1468
01:05:53,360 --> 01:05:55,360
Speaker 2: of the DJs across the country. And I don't mean

1469
01:05:55,360 --> 01:05:57,280
Speaker 2: to say in a distrepept for nerds. I'm just saying

1470
01:05:57,600 --> 01:06:00,280
Speaker 2: you're not on the level of niggas and Garden Bounty Hull. Bro,

1471
01:06:00,400 --> 01:06:02,880
Speaker 2: you have no understanding when they say I'm gonna snatch

1472
01:06:02,920 --> 01:06:07,360
Speaker 2: your ass up. That's not a good You don't want that, right. So,

1473
01:06:08,400 --> 01:06:10,240
Speaker 2: and that was my guy too. And I don't want

1474
01:06:10,240 --> 01:06:12,040
Speaker 2: to say who he was, but he was my guy

1475
01:06:12,120 --> 01:06:14,000
Speaker 2: in the way too, So I felt for him. I

1476
01:06:14,080 --> 01:06:16,960
Speaker 2: knew that wasn't his thing. He's not from LA like that.

1477
01:06:18,160 --> 01:06:18,320
Speaker 6: Yeah.

1478
01:06:18,400 --> 01:06:19,560
Speaker 2: So I don't want to say what it is, you

1479
01:06:19,600 --> 01:06:21,840
Speaker 2: know what I mean. But they was gonna get him dog,

1480
01:06:21,960 --> 01:06:23,600
Speaker 2: and I told him, please, Bro, don't do that. It's

1481
01:06:23,640 --> 01:06:26,640
Speaker 2: gonna ruin you, man, because they don't make it'll make Look.

1482
01:06:26,640 --> 01:06:29,680
Speaker 2: I remember when Game got into it with some DJ

1483
01:06:29,920 --> 01:06:31,480
Speaker 2: somewhere in DC or something that that kind of fucked

1484
01:06:31,520 --> 01:06:32,800
Speaker 2: him up, bro, believe it or not. That she got

1485
01:06:32,800 --> 01:06:34,120
Speaker 2: back to me, but was like, hey, man, you're gonna

1486
01:06:34,120 --> 01:06:37,880
Speaker 2: fuck with that dude. DJs know each other, Bro, we talk.

1487
01:06:38,280 --> 01:06:41,800
Speaker 2: Rappers don't know that, but we all do talk. Yeah,

1488
01:06:41,800 --> 01:06:43,720
Speaker 2: Because once they feel that you did that to one person,

1489
01:06:43,800 --> 01:06:45,520
Speaker 2: and then you think they want to have you on

1490
01:06:45,600 --> 01:06:49,400
Speaker 2: it to if you start stomping somebody out, you think

1491
01:06:49,440 --> 01:06:50,880
Speaker 2: you're gonna come on my radio show.

1492
01:06:50,680 --> 01:06:51,320
Speaker 1: I'm not gonna do that.

1493
01:06:51,800 --> 01:06:53,800
Speaker 2: I'm gonna skip that because I don't want to. Who

1494
01:06:53,840 --> 01:06:55,560
Speaker 2: was this crazy motherfucker? I ain't trying to do with

1495
01:06:55,600 --> 01:06:58,280
Speaker 2: no knucklehead like that's what that? And I'm from this

1496
01:06:58,400 --> 01:07:00,600
Speaker 2: tood doc, so I should be able look at least

1497
01:07:00,640 --> 01:07:03,040
Speaker 2: half some halfway with a lot of uncle heads. But

1498
01:07:03,400 --> 01:07:05,440
Speaker 2: you think somebody from Birdbank is gonna be able to

1499
01:07:05,520 --> 01:07:08,720
Speaker 2: understand that they're not bro? So you know, they were

1500
01:07:08,840 --> 01:07:10,920
Speaker 2: very lucky over the head man that was nice enough

1501
01:07:11,000 --> 01:07:12,960
Speaker 2: to like. And I'm glad that those guys started out

1502
01:07:12,960 --> 01:07:15,160
Speaker 2: because they're who they are today and they have a

1503
01:07:15,200 --> 01:07:17,919
Speaker 2: good relationship with them over there now. So I'm glad

1504
01:07:17,920 --> 01:07:20,240
Speaker 2: that it did work out because it almost went left

1505
01:07:20,280 --> 01:07:21,000
Speaker 2: on him in the beginning.

1506
01:07:23,720 --> 01:07:26,760
Speaker 3: Man during that time, too, Top wasn't playing man, he was.

1507
01:07:27,120 --> 01:07:33,200
Speaker 3: I tell everybody, man, it's a different level of relentlessness

1508
01:07:33,320 --> 01:07:36,000
Speaker 3: that he had when he came in like that. Dude

1509
01:07:36,160 --> 01:07:40,480
Speaker 3: had more determination than anybody I've ever seen in my life.

1510
01:07:40,480 --> 01:07:42,560
Speaker 3: I'm gonna tell you a funny story, man, Me and

1511
01:07:42,680 --> 01:07:44,200
Speaker 3: glasses down there in Louisiana.

1512
01:07:44,760 --> 01:07:46,280
Speaker 2: We on the bus with bird Man.

1513
01:07:47,640 --> 01:07:49,360
Speaker 3: Top calls me before I get him the bus and say,

1514
01:07:49,440 --> 01:07:52,160
Speaker 3: when you go in front of bird Man, I want

1515
01:07:52,200 --> 01:07:55,080
Speaker 3: you to put that nigga on the phone. They just

1516
01:07:55,200 --> 01:07:56,840
Speaker 3: let him know I could talk to him whenever I

1517
01:07:56,960 --> 01:07:58,600
Speaker 3: want to. My phone died.

1518
01:07:59,240 --> 01:07:59,400
Speaker 2: Man.

1519
01:07:59,440 --> 01:08:02,080
Speaker 3: That dude went talked me for well and I said, nigga,

1520
01:08:02,120 --> 01:08:03,440
Speaker 3: how long you gonn be mad at me? And he

1521
01:08:03,640 --> 01:08:04,120
Speaker 3: just laughed.

1522
01:08:04,800 --> 01:08:08,040
Speaker 2: Now he's a good dude, dude. They were, They were

1523
01:08:08,080 --> 01:08:10,480
Speaker 2: They were solid dudes, and I'm glad to see their success, man,

1524
01:08:10,520 --> 01:08:13,400
Speaker 2: because they deserve and they worked hard. When I got

1525
01:08:13,440 --> 01:08:16,080
Speaker 2: off the radio in ninety three five ninety three five

1526
01:08:16,160 --> 01:08:19,040
Speaker 2: K I felt kind of bad because I had kind

1527
01:08:19,080 --> 01:08:21,640
Speaker 2: of gotten them going, like we were almost about to

1528
01:08:21,720 --> 01:08:24,120
Speaker 2: break the whole thing, and then I got off, so

1529
01:08:24,280 --> 01:08:26,280
Speaker 2: that kind of stumbled everybody and they had to kind

1530
01:08:26,320 --> 01:08:29,880
Speaker 2: of regroup and started dropping mixtapes and kind of get

1531
01:08:29,920 --> 01:08:32,320
Speaker 2: the whole thing back going again. But there was a

1532
01:08:32,360 --> 01:08:35,519
Speaker 2: point where ship I had Bishop, I had Glasses going,

1533
01:08:35,600 --> 01:08:38,479
Speaker 2: I had a Jay Rock Kata I was just about

1534
01:08:38,520 --> 01:08:42,519
Speaker 2: to drop a topic. Who else did I? It was

1535
01:08:42,640 --> 01:08:46,000
Speaker 2: just a lot of different rappers that we were trying to,

1536
01:08:46,160 --> 01:08:48,519
Speaker 2: you know, get on and get going. But yeah, you

1537
01:08:48,600 --> 01:08:49,640
Speaker 2: need that in l A, you know what I mean.

1538
01:08:49,680 --> 01:08:51,679
Speaker 2: That's why West I Radio was important in the nineties

1539
01:08:51,720 --> 01:08:56,200
Speaker 2: because it established a lot of these guys that imagine,

1540
01:08:56,240 --> 01:08:57,920
Speaker 2: if I wouldn't have been on West Side Radio, it

1541
01:08:57,920 --> 01:09:00,439
Speaker 2: would have been the records would have just never came

1542
01:09:00,479 --> 01:09:02,439
Speaker 2: out and met nothing. It ne would have been you know,

1543
01:09:02,520 --> 01:09:06,240
Speaker 2: forgotten about, and nobody would have really understood how to

1544
01:09:06,800 --> 01:09:08,800
Speaker 2: how to play a Spice one or how to play

1545
01:09:08,880 --> 01:09:11,360
Speaker 2: selly cell and those records that used to come to

1546
01:09:11,400 --> 01:09:12,920
Speaker 2: me all the time and tell me like, man, I

1547
01:09:12,960 --> 01:09:15,880
Speaker 2: ain't playing that for and then I'll be like, bro,

1548
01:09:16,000 --> 01:09:18,559
Speaker 2: you don't have no understanding of LA music and how

1549
01:09:18,600 --> 01:09:21,360
Speaker 2: the hood works. And one thing I will say too

1550
01:09:21,520 --> 01:09:23,800
Speaker 2: is like I didn't play disc records on West Side

1551
01:09:23,840 --> 01:09:28,240
Speaker 2: Radio against against exactly, I played call now Names and

1552
01:09:28,240 --> 01:09:30,559
Speaker 2: they talking about New York mothers. I didn't give the fuck.

1553
01:09:30,960 --> 01:09:34,240
Speaker 2: But there was no dre Day, definitely not the one

1554
01:09:34,280 --> 01:09:37,120
Speaker 2: with Quick that you know that he did towards you.

1555
01:09:37,280 --> 01:09:39,960
Speaker 2: I didn't play the Duck six. I didn't play because

1556
01:09:39,960 --> 01:09:41,640
Speaker 2: I never wanted us to be beef with each I

1557
01:09:41,680 --> 01:09:42,360
Speaker 2: didn't want to do that.

1558
01:09:43,280 --> 01:09:48,799
Speaker 3: I think because you understood the potential ramifications absolutely.

1559
01:09:49,400 --> 01:09:52,320
Speaker 4: Being from the hood, being from Lynnwood, I knowing the

1560
01:09:52,400 --> 01:09:56,439
Speaker 4: connection and Long Beach in l A.

1561
01:09:56,880 --> 01:09:58,920
Speaker 2: Niggas was really about it, and they were listening.

1562
01:09:59,040 --> 01:10:03,400
Speaker 4: Niggas was really about gang bang game banging, and niggas

1563
01:10:03,520 --> 01:10:06,040
Speaker 4: was listening to the radio and niggas w was stepped

1564
01:10:06,040 --> 01:10:09,040
Speaker 4: to you, nigga, you played that record. Oh you played

1565
01:10:09,080 --> 01:10:12,320
Speaker 4: that record, Julio or you played that record, So it

1566
01:10:12,520 --> 01:10:15,840
Speaker 4: was good to stay neutral. Oh yeah, like I get it.

1567
01:10:15,960 --> 01:10:19,040
Speaker 4: It's records in this radio. But I'm not gonna pay

1568
01:10:19,479 --> 01:10:22,400
Speaker 4: quick song. I'm not gonna play They's song. I'm not

1569
01:10:22,439 --> 01:10:24,880
Speaker 4: gonna play eight songs. I'm not gonna play this song.

1570
01:10:24,960 --> 01:10:28,160
Speaker 4: I'm not gonna play again Cam. I'm not gonna do

1571
01:10:28,280 --> 01:10:31,120
Speaker 4: none of that because we already know what the rama

1572
01:10:31,160 --> 01:10:34,000
Speaker 4: for cases be. Look at what happened with with with

1573
01:10:34,240 --> 01:10:37,559
Speaker 4: my with my sister, d and and Dre and Cube

1574
01:10:37,640 --> 01:10:41,479
Speaker 4: and pump it up. You get me niggas watching. Oh

1575
01:10:41,560 --> 01:10:44,360
Speaker 4: you let the nigga go on there say that, Okay, okay,

1576
01:10:44,640 --> 01:10:47,519
Speaker 4: we got you and and that's like you said, that's

1577
01:10:47,560 --> 01:10:48,559
Speaker 4: gonna happen to the DJ.

1578
01:10:48,920 --> 01:10:51,599
Speaker 2: Listen, think about it like this. I always tell people

1579
01:10:51,640 --> 01:10:54,479
Speaker 2: this too. If I was like like these guys are

1580
01:10:54,520 --> 01:10:56,799
Speaker 2: today with the clicks and of this and that, imagine

1581
01:10:56,800 --> 01:10:59,880
Speaker 2: I was on West Side, I'm like, man, oh damn eight,

1582
01:11:00,160 --> 01:11:03,280
Speaker 2: you're gonna let them talk to you like that? That

1583
01:11:03,320 --> 01:11:04,679
Speaker 2: would have gotten heavy rating.

1584
01:11:07,240 --> 01:11:07,720
Speaker 1: They would be.

1585
01:11:09,560 --> 01:11:12,760
Speaker 2: But the reason why is because, like he said, I

1586
01:11:12,800 --> 01:11:14,679
Speaker 2: grew up in the hood like that, and I know Compton.

1587
01:11:14,800 --> 01:11:17,200
Speaker 2: I know his neighborhood, I know people from his neighborhood,

1588
01:11:17,200 --> 01:11:20,479
Speaker 2: I know people from his right wal neighborhoods. That it's serious.

1589
01:11:20,560 --> 01:11:23,920
Speaker 2: That bro with him and DJ Quick was way deeper

1590
01:11:23,960 --> 01:11:27,560
Speaker 2: than people could even ever imagine. The records bro that

1591
01:11:27,680 --> 01:11:31,240
Speaker 2: she was complicated in Compton, so any little and then

1592
01:11:31,240 --> 01:11:32,880
Speaker 2: they'll have tuned into me. If at it came and

1593
01:11:32,920 --> 01:11:34,880
Speaker 2: said some stupid I would have never done that. But

1594
01:11:35,400 --> 01:11:37,360
Speaker 2: I wouldn't have never played. I don't just out of

1595
01:11:37,479 --> 01:11:41,240
Speaker 2: just no, I can't do that because we don't vicious

1596
01:11:41,280 --> 01:11:42,519
Speaker 2: broos vicious.

1597
01:11:42,600 --> 01:11:46,040
Speaker 4: That's what I'll be telling people about being in that

1598
01:11:46,320 --> 01:11:52,599
Speaker 4: situation of trying to transition to being an artist coming

1599
01:11:52,720 --> 01:11:56,080
Speaker 4: up out of the gang life in the streets. It's hard, man,

1600
01:11:56,800 --> 01:12:02,800
Speaker 4: because you're still you still looked upon as you that

1601
01:12:02,960 --> 01:12:05,679
Speaker 4: crypt that blood nigga, I don't give a fuck because

1602
01:12:05,720 --> 01:12:08,360
Speaker 4: you got a hit record on the nigga, I went

1603
01:12:08,400 --> 01:12:09,400
Speaker 4: to elementary with you.

1604
01:12:09,600 --> 01:12:13,600
Speaker 1: He was claiming so and so or it's hard to

1605
01:12:13,880 --> 01:12:14,800
Speaker 1: bypass that.

1606
01:12:15,120 --> 01:12:17,519
Speaker 2: And it's worse that you were known because that was like.

1607
01:12:19,520 --> 01:12:24,240
Speaker 4: Because I was like, you gotta watch him with straps

1608
01:12:24,280 --> 01:12:26,479
Speaker 4: because when you're still in like and I said, I

1609
01:12:26,600 --> 01:12:29,959
Speaker 4: was still going to Compton my first three four albums.

1610
01:12:30,479 --> 01:12:33,400
Speaker 4: I was still on the clock, Like, I didn't give

1611
01:12:33,439 --> 01:12:35,880
Speaker 4: a fuck because I got a number one song and

1612
01:12:36,360 --> 01:12:41,000
Speaker 4: the fucking video is cracking. And Nigga, this gang beef.

1613
01:12:41,800 --> 01:12:44,439
Speaker 4: It wasn't no hip hop record. This was a gang

1614
01:12:44,560 --> 01:12:48,960
Speaker 4: beef straight up. So it's like I tell niggas, niggas

1615
01:12:48,960 --> 01:12:53,439
Speaker 4: don't know that you get other EMC's or other beefs

1616
01:12:53,479 --> 01:12:56,400
Speaker 4: and they're looked upon differently. I said, but when you

1617
01:12:56,600 --> 01:13:00,400
Speaker 4: talk about beefs in La with rappers.

1618
01:13:00,320 --> 01:13:03,800
Speaker 2: That was a serious serious niggas was getting They didn't know.

1619
01:13:03,880 --> 01:13:06,960
Speaker 4: Niggas was dying. Yeah, niggas was getting shot at, niggas

1620
01:13:07,040 --> 01:13:10,320
Speaker 4: was getting hurt. It wasn't no record, no ll cool,

1621
01:13:10,640 --> 01:13:15,200
Speaker 4: cool modigga. This was like nigga Okay, funk that record.

1622
01:13:15,479 --> 01:13:17,759
Speaker 4: I'll see you in the streets some a dump on yeah.

1623
01:13:17,920 --> 01:13:20,479
Speaker 2: Especially because you know, you know, it is an extra

1624
01:13:20,640 --> 01:13:21,120
Speaker 2: extra strike.

1625
01:13:21,280 --> 01:13:24,560
Speaker 4: And that's like you said, now you got extra curiosity,

1626
01:13:24,600 --> 01:13:27,439
Speaker 4: you got extra gotta be extra cautious because like you said,

1627
01:13:27,520 --> 01:13:28,160
Speaker 4: now you known.

1628
01:13:28,320 --> 01:13:31,519
Speaker 1: Yeah, so now it's on you on videos, you on

1629
01:13:31,680 --> 01:13:32,559
Speaker 1: fucking records.

1630
01:13:32,960 --> 01:13:36,160
Speaker 4: Niggas are seeing you in magazines and niggas you're standing

1631
01:13:36,200 --> 01:13:38,240
Speaker 4: around the corner in the neighborhood right.

1632
01:13:38,160 --> 01:13:43,280
Speaker 1: Now, and niggas know, let's go through that right now.

1633
01:13:43,960 --> 01:13:45,120
Speaker 1: You had all of that.

1634
01:13:45,320 --> 01:13:46,800
Speaker 2: I don't know if you remember this eight, but when

1635
01:13:46,840 --> 01:13:49,720
Speaker 2: we recorded that song for your Section eighty album, we

1636
01:13:49,800 --> 01:13:53,439
Speaker 2: did Automatic. We did, we went and recorded. Well, how

1637
01:13:53,520 --> 01:13:55,680
Speaker 2: that even happened was that me and Fred recused to

1638
01:13:55,720 --> 01:13:58,040
Speaker 2: live in the same building, apartment buildings right across from me.

1639
01:13:58,240 --> 01:14:00,600
Speaker 2: So I would go pop in there and and he

1640
01:14:00,640 --> 01:14:02,240
Speaker 2: had his drum machines and all that stuff in there.

1641
01:14:02,320 --> 01:14:04,240
Speaker 2: So one day he was like, hey, let's make a beat,

1642
01:14:04,920 --> 01:14:07,160
Speaker 2: and so I pulled out that guitar. I said, you know,

1643
01:14:07,240 --> 01:14:08,720
Speaker 2: I just hun this record of the day, man, it's

1644
01:14:08,720 --> 01:14:10,880
Speaker 2: simple this and we started and we made the beat

1645
01:14:10,920 --> 01:14:12,800
Speaker 2: for Automatic. This is before you heard it and all

1646
01:14:12,840 --> 01:14:14,160
Speaker 2: we just had it. It was like in a pact

1647
01:14:14,200 --> 01:14:16,240
Speaker 2: that he had. So he called me and he's like, hey,

1648
01:14:16,760 --> 01:14:19,120
Speaker 2: MC eight wants to do that beat we did. I said, oh,

1649
01:14:19,200 --> 01:14:20,400
Speaker 2: for real, I am. He goes to meet me at

1650
01:14:20,400 --> 01:14:22,680
Speaker 2: the studio. We gonna go record it, okay. So we

1651
01:14:22,760 --> 01:14:26,320
Speaker 2: go to the studio. We recorded three songs, of one

1652
01:14:26,360 --> 01:14:29,599
Speaker 2: of them being automatic, right. And I want to tell

1653
01:14:29,640 --> 01:14:34,880
Speaker 2: the audience that this about MC eight. That session is

1654
01:14:34,960 --> 01:14:37,559
Speaker 2: where I had a whole other respect for you eight

1655
01:14:37,600 --> 01:14:39,720
Speaker 2: when it came to rapping, Like I listened to you

1656
01:14:39,840 --> 01:14:42,160
Speaker 2: as MC eight and yeah, I respect your music and

1657
01:14:42,200 --> 01:14:43,880
Speaker 2: I liked what it was and I was with it.

1658
01:14:44,400 --> 01:14:47,960
Speaker 2: But I didn't look at you like a MC like that,

1659
01:14:48,240 --> 01:14:51,080
Speaker 2: like until that day. And then I remember driving the

1660
01:14:51,160 --> 01:14:52,800
Speaker 2: night I was left to go to work because I

1661
01:14:52,880 --> 01:14:55,879
Speaker 2: was going to work that day. I was driving down Kawanga.

1662
01:14:55,920 --> 01:14:57,920
Speaker 2: I forgot we recorded, but I was coming down Hawanga

1663
01:14:57,920 --> 01:15:01,160
Speaker 2: and I remember saying to ourselves, I'm dumb, motherfucker. He's

1664
01:15:01,200 --> 01:15:05,160
Speaker 2: called MC eight stupid as motherfucker. Like I was telling

1665
01:15:05,240 --> 01:15:08,400
Speaker 2: myself that that's why he's called MC eight. This is

1666
01:15:08,439 --> 01:15:12,120
Speaker 2: a real fucking From that point on of that session

1667
01:15:12,600 --> 01:15:15,200
Speaker 2: I looked, I put you in the category of nas J,

1668
01:15:16,280 --> 01:15:20,240
Speaker 2: scar Face cube all that, like all that, and he

1669
01:15:20,280 --> 01:15:23,720
Speaker 2: probably wrote the verse like even we go in there.

1670
01:15:24,520 --> 01:15:26,559
Speaker 2: I never seen and I used to record. I recorded

1671
01:15:26,560 --> 01:15:27,880
Speaker 2: a lot of people in my studio I have in

1672
01:15:27,960 --> 01:15:31,040
Speaker 2: my own studio. Right, we go in there. He does

1673
01:15:31,120 --> 01:15:34,639
Speaker 2: the first song. He does the three verses in one take,

1674
01:15:35,800 --> 01:15:38,720
Speaker 2: and I'm talking and I'm talking about the attitude, the

1675
01:15:39,000 --> 01:15:42,000
Speaker 2: every the pronunciation, the attitude because I'm listening and this

1676
01:15:42,120 --> 01:15:44,240
Speaker 2: is going because I'm ready to say, all right, hold on, man,

1677
01:15:44,320 --> 01:15:45,960
Speaker 2: take it back. Can you say that word? Because I'm

1678
01:15:46,000 --> 01:15:48,200
Speaker 2: used to doing that with artists, Oh height Frost, man,

1679
01:15:48,600 --> 01:15:50,240
Speaker 2: just say that one word a little bit different because

1680
01:15:50,240 --> 01:15:51,800
Speaker 2: you're the way you're all right, cool, take it back,

1681
01:15:51,840 --> 01:15:53,320
Speaker 2: you know, because I used to record Frost a lot.

1682
01:15:53,400 --> 01:15:55,519
Speaker 2: So he was like, we were just like that, you know.

1683
01:15:55,640 --> 01:15:59,000
Speaker 2: So I said, damn, damn, it just that the three

1684
01:15:59,040 --> 01:16:03,960
Speaker 2: fucking verses, and it was the attitude eight. You just

1685
01:16:04,080 --> 01:16:06,599
Speaker 2: jump right into it. And it was like, the attitude

1686
01:16:06,680 --> 01:16:07,320
Speaker 2: is perfect.

1687
01:16:07,400 --> 01:16:07,479
Speaker 1: Bro.

1688
01:16:07,520 --> 01:16:10,000
Speaker 2: It was like damn. Then he went back and did

1689
01:16:10,040 --> 01:16:14,720
Speaker 2: the ad lib one take, Then he did another ad

1690
01:16:14,840 --> 01:16:17,720
Speaker 2: lib and filled in these pieces. I was just in

1691
01:16:17,840 --> 01:16:19,720
Speaker 2: my head. I'm like, how the fuck is this guy

1692
01:16:19,880 --> 01:16:20,280
Speaker 2: doing this?

1693
01:16:20,560 --> 01:16:20,680
Speaker 1: Bro?

1694
01:16:21,160 --> 01:16:24,320
Speaker 2: Because it was almost like he was designing the verse

1695
01:16:24,720 --> 01:16:27,760
Speaker 2: and now it's starting to become even Joper. I'm like,

1696
01:16:27,920 --> 01:16:30,160
Speaker 2: oh ship, now that he dropped these oh shit. So

1697
01:16:30,280 --> 01:16:33,240
Speaker 2: then he that's it, song done, You're gonna put the

1698
01:16:33,280 --> 01:16:37,240
Speaker 2: next one up. He does the next one, all three

1699
01:16:37,360 --> 01:16:38,080
Speaker 2: fucking verses.

1700
01:16:38,120 --> 01:16:38,320
Speaker 1: Again.

1701
01:16:38,400 --> 01:16:40,320
Speaker 2: I was like, I was like, oh my god, I can't.

1702
01:16:40,720 --> 01:16:43,439
Speaker 2: I almost thought like I can't believe I'm watching this.

1703
01:16:43,600 --> 01:16:44,520
Speaker 2: This is impossible.

1704
01:16:44,760 --> 01:16:46,400
Speaker 1: I don't believe in wasting niggas time.

1705
01:16:47,280 --> 01:16:50,160
Speaker 2: I never seen somebody do it like that. You did

1706
01:16:50,240 --> 01:16:52,439
Speaker 2: the three songs, the only one.

1707
01:16:52,439 --> 01:16:55,840
Speaker 1: Yeah, just let the song go, Let it go, just go,

1708
01:16:56,200 --> 01:16:56,439
Speaker 1: And so.

1709
01:16:56,520 --> 01:16:58,120
Speaker 2: He let the ad lib the whole shit, and then

1710
01:16:58,160 --> 01:16:58,840
Speaker 2: the third one.

1711
01:16:58,880 --> 01:17:01,200
Speaker 1: The first verse, let the hooks whatever.

1712
01:17:01,439 --> 01:17:03,519
Speaker 4: I'm gonna come in with the second verse, and I'm

1713
01:17:03,520 --> 01:17:05,559
Speaker 4: gonna come in with the third verse, and I'm gonna

1714
01:17:05,560 --> 01:17:07,120
Speaker 4: say take it all the way back to the top

1715
01:17:07,200 --> 01:17:08,599
Speaker 4: and run it back through the whole thing.

1716
01:17:08,680 --> 01:17:12,479
Speaker 2: Basically three songs in thirty minutes. It was that fast,

1717
01:17:12,680 --> 01:17:15,320
Speaker 2: and I said, damn. I just was like, this is

1718
01:17:15,479 --> 01:17:16,200
Speaker 2: fucking mine.

1719
01:17:16,760 --> 01:17:17,479
Speaker 1: Do you job.

1720
01:17:20,800 --> 01:17:22,599
Speaker 2: But the reason I bring the story up is because

1721
01:17:22,640 --> 01:17:24,240
Speaker 2: it goes back to Quick. So I don't know if

1722
01:17:24,280 --> 01:17:26,920
Speaker 2: you remember this, but that day we went out into

1723
01:17:27,000 --> 01:17:29,920
Speaker 2: the little outside room and I went out and I

1724
01:17:30,040 --> 01:17:33,479
Speaker 2: told Eight. I said, he eight, man like, I'm really

1725
01:17:33,640 --> 01:17:36,360
Speaker 2: because look after the East coast, West coast beef and

1726
01:17:36,439 --> 01:17:38,559
Speaker 2: when Biggie got killed, we weren't good on the west.

1727
01:17:39,439 --> 01:17:41,400
Speaker 2: It was hard. And I'm telling you because I was

1728
01:17:41,439 --> 01:17:43,639
Speaker 2: on the radio. I was trying to find any record

1729
01:17:43,680 --> 01:17:47,320
Speaker 2: to get us. They just didn't like us. They wasn't

1730
01:17:47,360 --> 01:17:49,080
Speaker 2: really tripping in the beginning. The first couple of years.

1731
01:17:49,120 --> 01:17:51,360
Speaker 2: It was hard, like ninety seven, ny eight, ninety nine.

1732
01:17:51,479 --> 01:17:54,200
Speaker 2: It was it was we had to push through with

1733
01:17:54,320 --> 01:17:58,160
Speaker 2: d please and we had Yeah, it wasn't really they

1734
01:17:58,240 --> 01:18:00,719
Speaker 2: wasn't it wasn't happy with us. They wasn't like super

1735
01:18:00,760 --> 01:18:03,800
Speaker 2: happy with right. So now we're around ninety nine, I

1736
01:18:03,840 --> 01:18:06,360
Speaker 2: think when with this section eighty and I was with

1737
01:18:06,520 --> 01:18:09,400
Speaker 2: eight and I said, hey, hey, man, listen, man, man,

1738
01:18:09,439 --> 01:18:11,920
Speaker 2: we got to get past this beef. Man, it's just

1739
01:18:12,000 --> 01:18:15,080
Speaker 2: been dragging on too fucking long, bro like. And I

1740
01:18:15,240 --> 01:18:18,160
Speaker 2: lied to Eight. I told him I talked to Quick.

1741
01:18:18,200 --> 01:18:19,920
Speaker 2: He said he'd be cool to squadsh it if you

1742
01:18:20,040 --> 01:18:21,720
Speaker 2: was cool with it, but man, I just wanted to

1743
01:18:21,760 --> 01:18:23,400
Speaker 2: ask you, man, because I really don't know how deep

1744
01:18:23,400 --> 01:18:25,760
Speaker 2: because I knew this is like I said, I'm from

1745
01:18:25,760 --> 01:18:27,280
Speaker 2: that side of town, so I knew that this is

1746
01:18:27,360 --> 01:18:30,080
Speaker 2: way more than record. This is like an early street thing.

1747
01:18:30,640 --> 01:18:33,200
Speaker 2: So I don't I didn't know how to check eight

1748
01:18:33,280 --> 01:18:35,160
Speaker 2: temperature or like, I don't know if he'll roll with it.

1749
01:18:35,680 --> 01:18:38,920
Speaker 2: And he said he said that. I said, yeah, man,

1750
01:18:39,000 --> 01:18:42,000
Speaker 2: he's you know, I'm like, you know what, man, all right?

1751
01:18:42,360 --> 01:18:45,280
Speaker 2: Fuck it then and then I went out. When I

1752
01:18:45,320 --> 01:18:49,080
Speaker 2: got out of there, I call Quick, Hey, Quick, and

1753
01:18:49,240 --> 01:18:54,559
Speaker 2: he was Quick was coming on west Side Radio that Friday,

1754
01:18:55,080 --> 01:18:57,679
Speaker 2: and I asked you to call in, and y'all squashed

1755
01:18:57,720 --> 01:19:00,519
Speaker 2: the beef on that call. Yeah, And I wish I

1756
01:19:00,560 --> 01:19:02,880
Speaker 2: had the recording. It's on the tape somewhere. But that's

1757
01:19:02,920 --> 01:19:03,720
Speaker 2: how that went down.

1758
01:19:03,800 --> 01:19:08,000
Speaker 4: And then a week later we did Snoop got us

1759
01:19:08,040 --> 01:19:11,120
Speaker 4: to go on Tavish Smiley and we got on Tabas

1760
01:19:11,200 --> 01:19:12,200
Speaker 4: Smarted moving from.

1761
01:19:12,160 --> 01:19:14,400
Speaker 2: There, and that's how that whole thing. That's why I said,

1762
01:19:14,520 --> 01:19:16,880
Speaker 2: I'm glad I came to because I wanted to see

1763
01:19:16,880 --> 01:19:19,559
Speaker 2: if you remembered that, because that's how it all started.

1764
01:19:19,960 --> 01:19:21,680
Speaker 2: And it was. It was a good thing, because that's

1765
01:19:21,680 --> 01:19:23,120
Speaker 2: all I always try to do. I always try to

1766
01:19:23,120 --> 01:19:25,679
Speaker 2: squash beefs. Like when Daz and Corrupt had their beef.

1767
01:19:26,160 --> 01:19:27,720
Speaker 2: I was the one that jumped in because they're both

1768
01:19:27,800 --> 01:19:30,160
Speaker 2: my friends, and I was like, come on, man, I

1769
01:19:30,240 --> 01:19:32,599
Speaker 2: had to figure out how I had dads on the air.

1770
01:19:32,800 --> 01:19:34,360
Speaker 2: And I say, hey, man, you're gonna talk to Corrupt

1771
01:19:34,400 --> 01:19:36,120
Speaker 2: or not man like like I make it happen, you

1772
01:19:36,160 --> 01:19:38,000
Speaker 2: know what I mean? Like, and he's like, oh, you know,

1773
01:19:38,120 --> 01:19:40,800
Speaker 2: he was kind of half with that started the conversation,

1774
01:19:41,160 --> 01:19:42,960
Speaker 2: and they'll tell you that that's how they got back together,

1775
01:19:43,000 --> 01:19:45,680
Speaker 2: and they came back with Kelly's active. So it was

1776
01:19:45,720 --> 01:19:48,639
Speaker 2: always about to me, I always wondered, didn't I didn't

1777
01:19:48,680 --> 01:19:51,200
Speaker 2: like the negativity. I thought our music was too important

1778
01:19:51,320 --> 01:19:54,439
Speaker 2: and we needed some of the beef because it charged

1779
01:19:54,479 --> 01:19:56,920
Speaker 2: our music up in a sense. But you know, at

1780
01:19:56,920 --> 01:19:58,120
Speaker 2: the same time, it's like, look.

1781
01:19:58,040 --> 01:20:02,560
Speaker 4: Man, beefs got a little out of hand because of

1782
01:20:02,880 --> 01:20:06,360
Speaker 4: our backgrounds. You get me, And I was one of

1783
01:20:06,400 --> 01:20:10,360
Speaker 4: those dudes who always felt like that's why I never

1784
01:20:13,680 --> 01:20:17,280
Speaker 4: I never try to alienate the other side with my music.

1785
01:20:17,640 --> 01:20:19,040
Speaker 4: You never heard me saying.

1786
01:20:20,400 --> 01:20:22,240
Speaker 1: Records or your hood.

1787
01:20:22,280 --> 01:20:24,360
Speaker 2: You didn't really bang because.

1788
01:20:24,080 --> 01:20:27,479
Speaker 4: I wanted everybody to play my records. I wanted the

1789
01:20:27,520 --> 01:20:30,479
Speaker 4: bloods to buy my records too, Which what's happening?

1790
01:20:30,800 --> 01:20:31,240
Speaker 3: You get me.

1791
01:20:32,120 --> 01:20:35,400
Speaker 4: I was getting played by everybody until the beef started.

1792
01:20:35,800 --> 01:20:41,680
Speaker 4: But now, like I tell motherfuckers, now you making motherfucker's

1793
01:20:41,800 --> 01:20:46,760
Speaker 4: choose because you get me. And as a fan, I

1794
01:20:46,880 --> 01:20:50,200
Speaker 4: go buy both you niggas records quick and apes. But

1795
01:20:50,360 --> 01:20:53,599
Speaker 4: as a game banger, now I got to pick and choose.

1796
01:20:53,720 --> 01:20:56,200
Speaker 4: If I'm a crip, I got to buy the crip record.

1797
01:20:56,439 --> 01:20:59,400
Speaker 4: If I'm a blood, I got to buy the blood record.

1798
01:21:00,080 --> 01:21:03,080
Speaker 4: Can't be riding through the hood and the nigga sees

1799
01:21:03,320 --> 01:21:06,880
Speaker 4: Compton's most wanted on my seat, I'm gonna get clean.

1800
01:21:07,120 --> 01:21:09,200
Speaker 4: You know, nigga, What the fuck you doing with that

1801
01:21:09,400 --> 01:21:13,040
Speaker 4: nigga taping your vice versa You a crip and you

1802
01:21:13,160 --> 01:21:16,519
Speaker 4: in a grouphood and you come bumping tonight. Nigga's gonna

1803
01:21:16,560 --> 01:21:18,840
Speaker 4: get on your head. Nigga, the only got beef with

1804
01:21:19,000 --> 01:21:22,000
Speaker 4: that nigga. You bumping this nigga me, So now you're

1805
01:21:22,080 --> 01:21:26,240
Speaker 4: making fans picking chick. I want the whole fucking thirty

1806
01:21:26,320 --> 01:21:29,360
Speaker 4: dollars you get sure. I don't want just that one

1807
01:21:29,520 --> 01:21:32,639
Speaker 4: fourteen ninety nine from these niggas.

1808
01:21:32,960 --> 01:21:33,920
Speaker 1: I want it from there.

1809
01:21:34,560 --> 01:21:37,599
Speaker 4: And then I felt like that's what fucked us up,

1810
01:21:38,520 --> 01:21:41,920
Speaker 4: because now you're making niggas when the whole city of

1811
01:21:42,080 --> 01:21:47,080
Speaker 4: Compton should be bumping us. Now you separate because now

1812
01:21:47,120 --> 01:21:49,719
Speaker 4: you got the crips only wanting to bump the crip nigga,

1813
01:21:50,000 --> 01:21:52,120
Speaker 4: and you got the blood niggas want to bump the

1814
01:21:52,200 --> 01:21:55,960
Speaker 4: blood niggas. And that's what's gonna happen technically, because that's

1815
01:21:56,080 --> 01:21:58,479
Speaker 4: just the demographics of how neighborhoods work.

1816
01:21:58,680 --> 01:21:59,519
Speaker 2: Let me tell you something funny.

1817
01:21:59,520 --> 01:22:00,160
Speaker 3: You bring that up.

1818
01:22:00,200 --> 01:22:02,640
Speaker 2: Man. One day I was on Westside Radio and I

1819
01:22:02,760 --> 01:22:05,519
Speaker 2: used to program the show. You know, I like programming

1820
01:22:05,560 --> 01:22:07,519
Speaker 2: Everything that came out of that I put together right.

1821
01:22:07,600 --> 01:22:10,960
Speaker 2: So I'm taking phone calls and editing calls and playing

1822
01:22:11,040 --> 01:22:12,800
Speaker 2: songs and hitting the drop and looking at the time

1823
01:22:13,080 --> 01:22:15,479
Speaker 2: all was going on, right. I didn't realize that I

1824
01:22:15,640 --> 01:22:19,560
Speaker 2: just played like four crip songs in a row. So

1825
01:22:20,160 --> 01:22:22,479
Speaker 2: I used to answer my own phone. That's what was

1826
01:22:22,520 --> 01:22:24,280
Speaker 2: cool about my show, Like people could call me like

1827
01:22:24,760 --> 01:22:26,200
Speaker 2: I had people. They just call me like every night

1828
01:22:26,280 --> 01:22:28,840
Speaker 2: after work. That's up was happening. Man, you been brother?

1829
01:22:29,240 --> 01:22:31,360
Speaker 2: You playing the song my wife and so I used

1830
01:22:31,400 --> 01:22:33,120
Speaker 2: to stay used to comfortable with that. So I answered

1831
01:22:33,160 --> 01:22:34,839
Speaker 2: the phone. It was like, hey man, what's up wuliog?

1832
01:22:35,280 --> 01:22:36,680
Speaker 2: It was going on. I could hear the homies in

1833
01:22:36,720 --> 01:22:39,280
Speaker 2: the background, and like, hey man, what's up with it?

1834
01:22:39,360 --> 01:22:40,360
Speaker 1: Blood? Man?

1835
01:22:40,400 --> 01:22:42,280
Speaker 2: You don't play full cripts in the road way, what's

1836
01:22:42,360 --> 01:22:44,040
Speaker 2: up with it? Blood? Come on, man, we are they

1837
01:22:44,080 --> 01:22:46,240
Speaker 2: in the Jones right now? Blood? You fucking us up?

1838
01:22:46,720 --> 01:22:49,200
Speaker 2: And I was like I did, and I thought back,

1839
01:22:49,240 --> 01:22:51,920
Speaker 2: I go, oh ship, my bad bro? Oh man, what's

1840
01:22:51,960 --> 01:22:53,000
Speaker 2: your homies name over there?

1841
01:22:53,040 --> 01:22:53,200
Speaker 6: Man?

1842
01:22:53,240 --> 01:22:55,640
Speaker 2: Oh man, it's l Ron and Woofy Woolby. Okay, I'm

1843
01:22:55,760 --> 01:22:57,360
Speaker 2: shot y'all out. And I had to play three or

1844
01:22:57,400 --> 01:22:59,720
Speaker 2: four fucking blood songs in a row. And that's how

1845
01:23:00,000 --> 01:23:03,200
Speaker 2: serious it wasn't that day on. I had to be

1846
01:23:03,600 --> 01:23:07,400
Speaker 2: conscious of how I was playing and who I spread

1847
01:23:07,439 --> 01:23:11,160
Speaker 2: it out spread love. It was serious, bro, It was

1848
01:23:11,280 --> 01:23:14,040
Speaker 2: that serious back then, like they really was checking for

1849
01:23:14,120 --> 01:23:16,080
Speaker 2: stuff like that. I didn't even pay attention to, man,

1850
01:23:16,160 --> 01:23:18,759
Speaker 2: So so that was a great times. Man, absolutely, man.

1851
01:23:18,960 --> 01:23:22,680
Speaker 3: I know you're running with Cypress hill man. I know

1852
01:23:22,800 --> 01:23:24,880
Speaker 3: you was heavy into the smoke man to the weed.

1853
01:23:25,080 --> 01:23:27,800
Speaker 3: I'm always going and you know, I appreciate you coming

1854
01:23:27,840 --> 01:23:34,840
Speaker 3: to bless us man this Los Angeles. Cush MANU cush Man.

1855
01:23:36,160 --> 01:23:39,400
Speaker 3: You know forty four thirty nine West said Boulevard.

1856
01:23:39,000 --> 01:23:41,000
Speaker 2: Lost a Hollywood story.

1857
01:23:41,160 --> 01:23:47,519
Speaker 7: We don't have that one no more East l all right, God, Google,

1858
01:23:47,800 --> 01:23:51,280
Speaker 7: get on your Google map whatever you need, man, go

1859
01:23:51,479 --> 01:23:52,240
Speaker 7: take a visit that.

1860
01:23:52,360 --> 01:23:54,840
Speaker 3: Like cush Man, he blessed us. I'm about to feel

1861
01:23:54,880 --> 01:23:57,400
Speaker 3: good this weekend today? How long you don't have this

1862
01:23:57,560 --> 01:23:57,840
Speaker 3: going on?

1863
01:23:58,040 --> 01:23:58,160
Speaker 6: Man?

1864
01:23:58,600 --> 01:24:01,120
Speaker 2: I do work with cush from maybe like like maybe

1865
01:24:01,160 --> 01:24:02,639
Speaker 2: ten years now, ten years.

1866
01:24:02,720 --> 01:24:03,800
Speaker 3: That's dope, man.

1867
01:24:04,800 --> 01:24:06,320
Speaker 2: So it's I've been in the like you know, the

1868
01:24:06,400 --> 01:24:09,559
Speaker 2: cannabis business doing a thing too. So but that's something

1869
01:24:09,600 --> 01:24:11,800
Speaker 2: that I always have been doing since wild way back.

1870
01:24:11,880 --> 01:24:13,920
Speaker 2: Like a lot of rap believe it or not, a

1871
01:24:13,960 --> 01:24:15,519
Speaker 2: lot of people they used to come on the radio show,

1872
01:24:15,600 --> 01:24:17,519
Speaker 2: especially from the East Coast. They used to just come

1873
01:24:17,600 --> 01:24:20,080
Speaker 2: through just because I had the weed, like just to

1874
01:24:20,200 --> 01:24:22,040
Speaker 2: be oh, I want to come by and get an interview.

1875
01:24:22,080 --> 01:24:22,920
Speaker 1: But then you go that w.

1876
01:24:25,080 --> 01:24:29,840
Speaker 2: New York, New York's and Atlanta dudes. Oh man, I

1877
01:24:30,040 --> 01:24:32,800
Speaker 2: always had good bro. So it's like it's always, you know,

1878
01:24:32,880 --> 01:24:35,400
Speaker 2: they any rapper will tell you Snoop Dogg, every I've

1879
01:24:35,439 --> 01:24:37,800
Speaker 2: smoked them all out and they always been like, damn,

1880
01:24:37,840 --> 01:24:40,080
Speaker 2: where'd you get this? Like, But that's always been me.

1881
01:24:40,160 --> 01:24:42,920
Speaker 2: I was always been like into and that Actually I

1882
01:24:42,960 --> 01:24:45,160
Speaker 2: got to give credit to be Real Land Kid Frost

1883
01:24:45,400 --> 01:24:47,840
Speaker 2: because they were the first dudes that put me onto

1884
01:24:47,920 --> 01:24:50,960
Speaker 2: better weed. I used to smoke like street weed, but

1885
01:24:51,040 --> 01:24:53,599
Speaker 2: then when they got more technicals with them, like oh ship,

1886
01:24:53,640 --> 01:24:54,240
Speaker 2: where'd you get that?

1887
01:24:54,439 --> 01:24:54,680
Speaker 1: All this?

1888
01:24:54,800 --> 01:24:57,160
Speaker 2: Dude? So they'll introduce me to somebody, and that's how

1889
01:24:57,200 --> 01:25:00,040
Speaker 2: I started to like kind of find just better women.

1890
01:25:00,120 --> 01:25:01,120
Speaker 1: Be real, real kind.

1891
01:25:01,439 --> 01:25:04,559
Speaker 2: He's for real, There's no question about that. He's putting

1892
01:25:04,640 --> 01:25:07,320
Speaker 2: out so much, so much, so much different weed. Man,

1893
01:25:07,400 --> 01:25:08,479
Speaker 2: this is another level.

1894
01:25:08,720 --> 01:25:11,840
Speaker 3: And before we get out of here, man, first of all, man,

1895
01:25:11,960 --> 01:25:13,880
Speaker 3: thank you for coming to sit down with this man.

1896
01:25:14,000 --> 01:25:16,880
Speaker 3: Man and the west Side Radio is back.

1897
01:25:17,160 --> 01:25:18,000
Speaker 2: I'm doing a podcast.

1898
01:25:18,080 --> 01:25:19,559
Speaker 3: Yeah, podcast.

1899
01:25:19,760 --> 01:25:21,880
Speaker 2: I definitely wanted you to come on to it. Yeah,

1900
01:25:22,360 --> 01:25:24,240
Speaker 2: I just started doing the West Side Radio podcast. But

1901
01:25:24,600 --> 01:25:26,479
Speaker 2: once again, it's it's it's a little bit of everything

1902
01:25:26,600 --> 01:25:27,960
Speaker 2: because I like to talk a little bit of everybody

1903
01:25:27,960 --> 01:25:31,120
Speaker 2: because I really do enjoy interviewing people. But I'm doing it,

1904
01:25:31,560 --> 01:25:33,920
Speaker 2: like really just to kind of document our l A history,

1905
01:25:33,960 --> 01:25:36,920
Speaker 2: because I think like our LA history is not documented enough,

1906
01:25:36,960 --> 01:25:39,160
Speaker 2: and I don't think like the ogs have really been

1907
01:25:39,200 --> 01:25:40,880
Speaker 2: able to speak. Like I'm hoping to get Bob Cat

1908
01:25:40,960 --> 01:25:43,400
Speaker 2: on there one day. I just had I just had

1909
01:25:44,280 --> 01:25:49,479
Speaker 2: Chrystal Glove Taylor and and then you know, fred Red

1910
01:25:49,520 --> 01:25:51,040
Speaker 2: came through, and then i had Kid Frost. He was

1911
01:25:51,120 --> 01:25:52,920
Speaker 2: my first one that was dope because he has so

1912
01:25:53,080 --> 01:25:55,080
Speaker 2: much history and you know, a lot of people don't

1913
01:25:55,120 --> 01:25:57,200
Speaker 2: know how far back his history goes, the early eighties.

1914
01:25:57,240 --> 01:25:59,040
Speaker 3: Like, what's the YouTube channel?

1915
01:26:00,040 --> 01:26:02,080
Speaker 2: It's west Side Radio Online.

1916
01:26:02,439 --> 01:26:06,400
Speaker 3: Inside man, y'all make sure you'll subscribe to that, man,

1917
01:26:06,560 --> 01:26:07,960
Speaker 3: and I'm gonna share it. I'm gonna put a link

1918
01:26:07,960 --> 01:26:10,880
Speaker 3: at the bottom, link at the bottom. Thank you. Do

1919
01:26:10,960 --> 01:26:12,320
Speaker 3: you have the audio up of it too?

1920
01:26:12,439 --> 01:26:14,519
Speaker 2: Yeah, I do the audio. It's all Apple on Spotify,

1921
01:26:14,560 --> 01:26:15,759
Speaker 2: Apple on Spotify.

1922
01:26:15,880 --> 01:26:16,800
Speaker 3: Man, y'all gotta go back.

1923
01:26:16,840 --> 01:26:18,840
Speaker 2: I'm trying. I'm thinking like it just depends just because

1924
01:26:18,840 --> 01:26:21,120
Speaker 2: I'm working on a few things, but I do want

1925
01:26:21,160 --> 01:26:24,080
Speaker 2: to bring back west Side Radio in a radio form, right,

1926
01:26:24,320 --> 01:26:26,559
Speaker 2: but in a mixture of the mixture of some new

1927
01:26:26,640 --> 01:26:29,120
Speaker 2: stuff and some in our classic stuff.

1928
01:26:29,120 --> 01:26:30,920
Speaker 1: That's what I've been talking trying to get on the

1929
01:26:31,040 --> 01:26:31,879
Speaker 1: radio myself.

1930
01:26:32,680 --> 01:26:34,160
Speaker 2: Yeah, you know, we need it.

1931
01:26:34,520 --> 01:26:36,880
Speaker 4: You know, we do get some of the heritage of

1932
01:26:36,960 --> 01:26:40,040
Speaker 4: our music, you know cracking. Yeah, a lot of people

1933
01:26:40,240 --> 01:26:43,240
Speaker 4: gotta you know, go on these little streaming sites or

1934
01:26:43,240 --> 01:26:45,320
Speaker 4: whatever just to be able to get a dose of

1935
01:26:45,400 --> 01:26:47,400
Speaker 4: our music that's that created.

1936
01:26:47,760 --> 01:26:49,840
Speaker 1: You know, a lot of this. I think we need

1937
01:26:49,960 --> 01:26:51,560
Speaker 1: it on a real actual.

1938
01:26:51,320 --> 01:26:52,760
Speaker 2: And there's a lot of history with the music.

1939
01:26:52,960 --> 01:26:55,320
Speaker 3: You never thought about going to mess it serious or

1940
01:26:55,360 --> 01:26:55,760
Speaker 3: something like that.

1941
01:26:56,520 --> 01:26:57,519
Speaker 2: I would, I would do that.

1942
01:26:58,880 --> 01:26:59,040
Speaker 3: You know.

1943
01:26:59,160 --> 01:27:02,280
Speaker 2: The thing about it is that it's nothing about them personally,

1944
01:27:02,320 --> 01:27:04,240
Speaker 2: because I like them over there and all that. It's

1945
01:27:04,320 --> 01:27:06,439
Speaker 2: just that it has to be it has to be

1946
01:27:06,520 --> 01:27:08,120
Speaker 2: the right freedom for me to do what I do.

1947
01:27:08,600 --> 01:27:11,040
Speaker 2: I just don't like the people always ask me you

1948
01:27:11,080 --> 01:27:13,000
Speaker 2: should get back on the radios. Yeah it's cool and

1949
01:27:13,040 --> 01:27:14,439
Speaker 2: all that, but the problem with the radio is just

1950
01:27:14,520 --> 01:27:17,880
Speaker 2: toot too restrictive, and it's just not like the old

1951
01:27:17,960 --> 01:27:19,519
Speaker 2: days where they used to like let me. The reason

1952
01:27:19,560 --> 01:27:21,639
Speaker 2: I was successful is because I programmed half my show.

1953
01:27:21,760 --> 01:27:23,680
Speaker 2: So if I would have just let them do it,

1954
01:27:23,840 --> 01:27:24,919
Speaker 2: I wouldn't have been successful.

1955
01:27:25,280 --> 01:27:28,280
Speaker 3: Maybe you need to start Peley Man put.

1956
01:27:30,600 --> 01:27:33,560
Speaker 2: In the world. I'm gonna do something with it, and

1957
01:27:33,720 --> 01:27:35,960
Speaker 2: and I do want to bring it back, you know

1958
01:27:36,000 --> 01:27:37,559
Speaker 2: what I mean, And and just to have some fun

1959
01:27:37,640 --> 01:27:40,160
Speaker 2: with the radio thing again. But you know, I'll see

1960
01:27:40,160 --> 01:27:42,280
Speaker 2: what happens. I'm hoping for later this year, maybe a

1961
01:27:42,280 --> 01:27:44,760
Speaker 2: little maybe after the summertime. We'll get it up and

1962
01:27:44,840 --> 01:27:45,479
Speaker 2: running somewhere.

1963
01:27:45,920 --> 01:27:48,439
Speaker 3: Well, Man, we appreciate you falking to man.

1964
01:27:48,920 --> 01:27:50,320
Speaker 2: Thank you for having me. I appreciate it. Man, It's

1965
01:27:50,320 --> 01:27:51,200
Speaker 2: always a pleasure.

1966
01:27:50,920 --> 01:27:51,240
Speaker 3: To be with you.

1967
01:27:51,280 --> 01:27:55,280
Speaker 1: Guys. Man, you know, I'm sure you already know what

1968
01:27:55,400 --> 01:27:55,640
Speaker 1: it is.

1969
01:27:57,120 --> 01:27:58,880
Speaker 2: Hey, I want to ask you one thing, man, I

1970
01:27:59,040 --> 01:28:01,880
Speaker 2: was It's funny brought this record up earlier. Man, I

1971
01:28:02,000 --> 01:28:03,960
Speaker 2: used to play that Cypress record with you all the

1972
01:28:04,040 --> 01:28:08,760
Speaker 2: time from their Cypress Hill four the when it starts off,

1973
01:28:08,880 --> 01:28:11,640
Speaker 2: it creeps up to a come up.

1974
01:28:11,720 --> 01:28:11,920
Speaker 5: Man.

1975
01:28:12,000 --> 01:28:13,920
Speaker 2: I used to bang that on West Side RADI And

1976
01:28:13,960 --> 01:28:15,800
Speaker 2: when I tell you, bro, I used to get so

1977
01:28:15,880 --> 01:28:18,040
Speaker 2: many people that would call me to ask me what

1978
01:28:18,720 --> 01:28:21,479
Speaker 2: is that like? That's but I have to ask you

1979
01:28:21,560 --> 01:28:24,840
Speaker 2: man like you I never thought d because I know

1980
01:28:24,960 --> 01:28:27,080
Speaker 2: mugs like I know so long. He's such a like

1981
01:28:27,160 --> 01:28:30,720
Speaker 2: a hip hop Yes, he's a serious hip hop dude, right,

1982
01:28:31,680 --> 01:28:35,160
Speaker 2: and I just always tripped like you had such a

1983
01:28:35,240 --> 01:28:38,679
Speaker 2: great like connection with him, Like the way you maybe

1984
01:28:38,760 --> 01:28:40,759
Speaker 2: like heavyweights was amazing.

1985
01:28:40,840 --> 01:28:40,920
Speaker 1: Bro.

1986
01:28:41,320 --> 01:28:42,960
Speaker 4: It's just like what I did with Pete Rock on

1987
01:28:43,040 --> 01:28:48,680
Speaker 4: One Life to Live because you're an m C and

1988
01:28:48,800 --> 01:28:53,160
Speaker 4: that's that's that's my thing, ju Leo. I come from Compton,

1989
01:28:53,920 --> 01:28:59,080
Speaker 4: gang Bang and all that walks of life. Uh you

1990
01:28:59,479 --> 01:29:02,120
Speaker 4: You you would think that people would just you know,

1991
01:29:02,320 --> 01:29:04,280
Speaker 4: keep you in the in the in the in the

1992
01:29:04,680 --> 01:29:08,400
Speaker 4: category of being that street dude you know just talk about.

1993
01:29:08,479 --> 01:29:12,840
Speaker 4: But I pride myself on being an EMC. I come

1994
01:29:12,960 --> 01:29:19,120
Speaker 4: from that era of mc shan you know, KRS one

1995
01:29:19,439 --> 01:29:24,960
Speaker 4: dudes were lyrical, and I prided myself on that, even

1996
01:29:25,000 --> 01:29:27,400
Speaker 4: though I walked the streets of Compton and had to

1997
01:29:27,520 --> 01:29:32,880
Speaker 4: represent on that aspect. Getting with dudes like Mugs, getting

1998
01:29:33,000 --> 01:29:36,520
Speaker 4: dudes with like Pete Rock, getting with dudes like Premiere,

1999
01:29:37,360 --> 01:29:41,040
Speaker 4: they allow you to be what you are, and that's

2000
01:29:41,080 --> 01:29:41,479
Speaker 4: an MC.

2001
01:29:41,720 --> 01:29:42,000
Speaker 1: First.

2002
01:29:42,160 --> 01:29:44,720
Speaker 2: You weren't intimidated by that anyway. When you were walking out,

2003
01:29:45,360 --> 01:29:47,479
Speaker 2: you hear like a more of a hip hop swing

2004
01:29:47,560 --> 01:29:48,640
Speaker 2: beat because you.

2005
01:29:48,760 --> 01:29:51,880
Speaker 4: Just man, go back listen to songs like I give

2006
01:29:52,000 --> 01:29:56,400
Speaker 4: up nothing on my first project. Listen to songs like

2007
01:29:56,720 --> 01:29:59,880
Speaker 4: you know, eight is enough off of music to drive.

2008
01:30:00,640 --> 01:30:03,439
Speaker 4: They weren't talking about the hood or the block. Now

2009
01:30:03,479 --> 01:30:08,080
Speaker 4: I'm just busting because I prided myself on being a

2010
01:30:08,280 --> 01:30:14,559
Speaker 4: master of seramony, you know, Eric being Roy Rock Kim those.

2011
01:30:14,479 --> 01:30:19,280
Speaker 1: Days MC and was everything and that's all that's all

2012
01:30:19,360 --> 01:30:20,360
Speaker 1: yourself a MC.

2013
01:30:21,160 --> 01:30:24,320
Speaker 4: You know, it can't just be about you know, I

2014
01:30:24,439 --> 01:30:26,360
Speaker 4: got a pocket full of rocks and now I'm on

2015
01:30:26,520 --> 01:30:28,040
Speaker 4: my fuck. You got to be able to get on

2016
01:30:28,120 --> 01:30:33,240
Speaker 4: the motherfucking beat. That's that's unfamiliar that you're uncomfortable with,

2017
01:30:33,680 --> 01:30:35,880
Speaker 4: and show your skills as a MC.

2018
01:30:36,400 --> 01:30:38,240
Speaker 2: You know what's crazy that you say that because and

2019
01:30:38,560 --> 01:30:44,920
Speaker 2: I want to ask you this because Okay, so Ice

2020
01:30:45,000 --> 01:30:47,960
Speaker 2: Tea gave me South Bronx from Boogie Down Productions before

2021
01:30:48,040 --> 01:30:51,680
Speaker 2: anybody I ever heard, and about maybe a month later,

2022
01:30:51,800 --> 01:30:54,280
Speaker 2: I got on fifteen eighty KD, so I was world

2023
01:30:54,320 --> 01:30:57,840
Speaker 2: premiered that basically I started Carris Bulletn Productions right South

2024
01:30:57,880 --> 01:31:02,759
Speaker 2: Bronx and then Poet Tree and all that. But but explain,

2025
01:31:02,880 --> 01:31:06,479
Speaker 2: man like, explain how impactful that guy was because when

2026
01:31:06,560 --> 01:31:09,160
Speaker 2: he dropped in that I mean when he dropped it

2027
01:31:09,320 --> 01:31:11,640
Speaker 2: was so and I'll tell you this because you specifically

2028
01:31:11,680 --> 01:31:15,080
Speaker 2: because you do something that reminds me of him a lot,

2029
01:31:15,240 --> 01:31:19,519
Speaker 2: like and you adapted that where you paused and do things.

2030
01:31:19,680 --> 01:31:22,800
Speaker 2: And then because that was something up sitting up, no

2031
01:31:23,160 --> 01:31:23,760
Speaker 2: more or less.

2032
01:31:25,640 --> 01:31:26,160
Speaker 1: He had that.

2033
01:31:26,320 --> 01:31:29,200
Speaker 2: When kr Ris came at first, it was weird because

2034
01:31:29,200 --> 01:31:31,240
Speaker 2: everybody rapped like dodo do do do do do do do.

2035
01:31:31,320 --> 01:31:33,400
Speaker 4: Do do do do do do right, And I was like,

2036
01:31:35,520 --> 01:31:39,080
Speaker 4: I'm a very big kr Ris fan from from from

2037
01:31:39,800 --> 01:31:41,000
Speaker 4: the BDP days.

2038
01:31:41,000 --> 01:31:43,360
Speaker 2: From beginning Criminal Minded Dog.

2039
01:31:43,360 --> 01:31:46,479
Speaker 4: Yeah, poetry was I used to play man, I used

2040
01:31:46,520 --> 01:31:49,040
Speaker 4: to sit up and I used to just listen to.

2041
01:31:49,120 --> 01:31:52,920
Speaker 1: That record over and over and over again.

2042
01:31:52,880 --> 01:31:58,560
Speaker 4: Because it amaze me how lyrical this dude was, you know,

2043
01:31:58,880 --> 01:32:02,879
Speaker 4: coming from listening to a lot of techno hop records

2044
01:32:02,920 --> 01:32:07,120
Speaker 4: and Electric Kingdom and all that type to hear this

2045
01:32:07,400 --> 01:32:10,760
Speaker 4: dude speak and I'm a poet to listen to the

2046
01:32:10,840 --> 01:32:12,200
Speaker 4: teacher and the lesson.

2047
01:32:13,560 --> 01:32:15,760
Speaker 1: Use to stop that motherfucker was.

2048
01:32:18,080 --> 01:32:20,880
Speaker 2: And and his delivery, his voice, the way I mean

2049
01:32:20,920 --> 01:32:23,320
Speaker 2: some of the like the how would I say, like

2050
01:32:23,400 --> 01:32:23,920
Speaker 2: what do you say?

2051
01:32:24,040 --> 01:32:24,080
Speaker 3: Like?

2052
01:32:24,960 --> 01:32:28,240
Speaker 2: Just the way it's just the projection. It's the projection

2053
01:32:28,400 --> 01:32:32,120
Speaker 2: he has. Caris let me.

2054
01:32:32,200 --> 01:32:36,240
Speaker 1: Explain instructions to a game. See not insane. In fact,

2055
01:32:36,320 --> 01:32:37,439
Speaker 1: I'm kind of rational.

2056
01:32:39,560 --> 01:32:42,360
Speaker 2: And you know what, people didn't remember the white one

2057
01:32:42,400 --> 01:32:44,240
Speaker 2: with the black one. You know what a lot of

2058
01:32:44,280 --> 01:32:46,439
Speaker 2: people didn't really hear in the beginning too, is like

2059
01:32:46,840 --> 01:32:48,240
Speaker 2: he was coming at run DMC.

2060
01:32:49,400 --> 01:32:53,479
Speaker 1: He was coming at No Kings, this and the Ridges over.

2061
01:32:54,520 --> 01:32:55,720
Speaker 1: He was just hard man.

2062
01:32:55,840 --> 01:32:56,519
Speaker 2: Did ja the.

2063
01:32:58,040 --> 01:33:00,760
Speaker 3: Oh he take him? Seeing? Real serious? I don't know

2064
01:33:00,800 --> 01:33:01,559
Speaker 3: if y'all saw the.

2065
01:33:01,600 --> 01:33:05,640
Speaker 1: Jersey everything.

2066
01:33:06,920 --> 01:33:09,040
Speaker 2: He came, I don't know I've seen that or nothing.

2067
01:33:09,120 --> 01:33:09,160
Speaker 6: No.

2068
01:33:09,280 --> 01:33:12,040
Speaker 3: I love big that he came. But carras One was

2069
01:33:12,120 --> 01:33:14,920
Speaker 3: really out there trying to tear his head that he

2070
01:33:15,040 --> 01:33:16,400
Speaker 3: was out there really trying to battle.

2071
01:33:17,160 --> 01:33:19,479
Speaker 1: This dude is a performer. I saw.

2072
01:33:19,880 --> 01:33:23,960
Speaker 4: I saw him perform in Oakland one time at a showcase.

2073
01:33:24,120 --> 01:33:26,479
Speaker 4: We was doing Motherfucker's hard Man.

2074
01:33:26,600 --> 01:33:28,400
Speaker 2: He's one of the best dudes every So.

2075
01:33:29,080 --> 01:33:32,760
Speaker 4: I prided myself on That's why I came up with

2076
01:33:33,000 --> 01:33:36,320
Speaker 4: MC eight. I wanted to be an MC before anything,

2077
01:33:36,600 --> 01:33:39,519
Speaker 4: So I prided myself on that. You know, I listened

2078
01:33:39,600 --> 01:33:42,600
Speaker 4: to the rock hems, even the cubes. You know, in

2079
01:33:42,720 --> 01:33:46,160
Speaker 4: the beginning, Niggas was just lyrical and I just felt

2080
01:33:46,360 --> 01:33:50,800
Speaker 4: like even though I'm from Compton and I'm you know,

2081
01:33:51,000 --> 01:33:53,519
Speaker 4: trying to be the block and the strap and whatever.

2082
01:33:54,040 --> 01:33:55,760
Speaker 1: I was like nah, man, and.

2083
01:33:55,840 --> 01:33:58,760
Speaker 4: Then you know I was big on words and lyricism

2084
01:33:58,880 --> 01:34:01,600
Speaker 4: and ship, you know, because those were the guys that

2085
01:34:01,800 --> 01:34:02,320
Speaker 4: stood out.

2086
01:34:02,600 --> 01:34:04,320
Speaker 1: You get me. Man.

2087
01:34:04,400 --> 01:34:08,479
Speaker 3: We could do this all motherfucking night. Man, but I

2088
01:34:08,600 --> 01:34:10,160
Speaker 3: feel like we can go another two hours.

2089
01:34:10,240 --> 01:34:10,360
Speaker 6: Man.

2090
01:34:11,800 --> 01:34:15,280
Speaker 1: It's all good things. Man, you got good history. Man,

2091
01:34:15,600 --> 01:34:16,479
Speaker 1: can just go and go.

2092
01:34:16,760 --> 01:34:20,000
Speaker 3: Yeah, we we for sure, Julio, you definitely man, open

2093
01:34:20,120 --> 01:34:21,840
Speaker 3: door up here. Man, you can come up here whenever

2094
01:34:21,880 --> 01:34:24,160
Speaker 3: you want. You definitely got to do a point because

2095
01:34:24,160 --> 01:34:25,840
Speaker 3: it's so much. We got to do a part too,

2096
01:34:25,840 --> 01:34:28,799
Speaker 3: because it's so much, and it's like all the stuff.

2097
01:34:28,880 --> 01:34:30,880
Speaker 3: I got a whole bunch of other stuff.

2098
01:34:30,960 --> 01:34:34,760
Speaker 4: Yeah, it's the beginning. You know, Julio was there in

2099
01:34:34,840 --> 01:34:37,559
Speaker 4: the beginning. You know, I was there in the beginning

2100
01:34:39,320 --> 01:34:41,519
Speaker 4: a lot of us, man, And you know, you don't

2101
01:34:41,560 --> 01:34:46,320
Speaker 4: get to hear those stories from from dudes who really

2102
01:34:46,439 --> 01:34:50,640
Speaker 4: had connections with some of these forefathers who you know,

2103
01:34:50,880 --> 01:34:53,880
Speaker 4: gave us our foundation, you know, because the stories of

2104
01:34:54,000 --> 01:34:59,479
Speaker 4: easy stories of the mixed Masters and m walking and

2105
01:34:59,560 --> 01:34:59,920
Speaker 4: we just.

2106
01:35:00,120 --> 01:35:01,920
Speaker 3: Text on this much chef. But we ain't even got

2107
01:35:01,960 --> 01:35:04,600
Speaker 3: the like like going and who you might have to

2108
01:35:04,640 --> 01:35:05,439
Speaker 3: come back next week?

2109
01:35:05,479 --> 01:35:05,960
Speaker 1: Do yeah?

2110
01:35:06,200 --> 01:35:08,880
Speaker 3: Do it like you might have to come back next week.

2111
01:35:09,640 --> 01:35:11,559
Speaker 2: I appreciate his show.

2112
01:35:11,760 --> 01:35:13,240
Speaker 3: Yeah, oh yeah show.

2113
01:35:13,320 --> 01:35:14,759
Speaker 1: Hell yeah whatever.

2114
01:35:14,880 --> 01:35:17,840
Speaker 3: Man, but you know you got the open door up here. Man, seriously, Man,

2115
01:35:17,880 --> 01:35:20,960
Speaker 3: whenever you want to come. Man and man, make sure

2116
01:35:21,080 --> 01:35:23,720
Speaker 3: y'all go banging that out. Man, go bang the homely ship. Man,

2117
01:35:23,800 --> 01:35:27,640
Speaker 3: go watch your ship. Go listen. Available on Spotify, iTunes,

2118
01:35:27,960 --> 01:35:29,800
Speaker 3: on YouTube. Y'all want to go watch it? Man? He

2119
01:35:29,880 --> 01:35:32,000
Speaker 3: got some dope ass interviews online.

2120
01:35:32,080 --> 01:35:32,519
Speaker 2: Check it out.

2121
01:35:32,800 --> 01:35:34,479
Speaker 3: Yeah, sure, and we're gone.

2122
01:35:35,560 --> 01:35:35,680
Speaker 1: Well.

2123
01:35:35,720 --> 01:35:38,519
Speaker 3: That concludes another episode of the Gainst the Chronicles podcast.

2124
01:35:38,640 --> 01:35:40,880
Speaker 3: Be sure to download the iHeart app and subscribe to

2125
01:35:40,960 --> 01:35:44,160
Speaker 3: The Gangster Chronicles podcast For Apple users, find a purple

2126
01:35:44,240 --> 01:35:46,240
Speaker 3: mica on the front of your screen, subscribe to the show,

2127
01:35:46,360 --> 01:35:49,240
Speaker 3: leave a comment and rating. Executive producers for The Gangster

2128
01:35:49,320 --> 01:35:52,240
Speaker 3: Chronicles podcasts of Norman Stelled Aaron M. C a Tyler.

2129
01:35:52,600 --> 01:35:55,679
Speaker 3: Our visual media director is Brian Whatt, and audio editors

2130
01:35:55,720 --> 01:35:58,160
Speaker 3: tell it Hey. The Gangster Chronicles is a production of

2131
01:35:58,240 --> 01:36:01,800
Speaker 3: iHeartMedia Network and the Black OFFAE Podcast Network. For more

2132
01:36:01,880 --> 01:36:05,960
Speaker 3: podcasts from iHeartRadio. Visit the iHeartRadio app. Apple Podcasts wherever

2133
01:36:06,000 --> 01:36:07,200
Speaker 3: you're listening to your podcasts.