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Speaker 1: Don't every day up waiting click up the Breakfast Club,

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Speaker 1: finish for.

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Speaker 2: Y'all done morning.

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Speaker 3: Everybody is the j n V Jess hilarious, Charlamagne the

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Speaker 3: guy we all the Breakfast Club.

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Speaker 4: He got some special guest.

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Speaker 2: In the belly.

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Speaker 3: Indeed got the brother ninth wonder he's back, and Ruben

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Speaker 3: Vincent back?

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Speaker 2: What's up?

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Speaker 4: Guys? Are y'all feeling man?

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Speaker 2: Every day all as well? Man?

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Speaker 1: I love seeing this because I always feel like the young,

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Speaker 1: younger lyricists need to get with the o G veteran producers,

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Speaker 1: like somebody like Knife and create magic.

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Speaker 5: I don't think that there's and I could.

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Speaker 1: Be wrong, but I don't think that there's anybody that can,

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Speaker 1: you know, do for a Ruben what a Knife could sound?

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Speaker 5: Wise what you think Ruby, I agree?

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Speaker 6: Just being real, I mean, I don't think it's been

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Speaker 6: done on this level, you know what I mean. I

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Speaker 6: feel like, you know, there's been few folks that might

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Speaker 6: have ded records, but it's either sending the beats off

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Speaker 6: and then they over there like we really sat in

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Speaker 6: the studio with each other, you know what I mean?

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Speaker 6: It was I moved in the studio for six months,

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Speaker 6: sleeping on the couch. So it was like, you know,

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Speaker 6: he going to his crib, but I'll wake up, go

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Speaker 6: to the gym. He pull up at twelve o'clock and

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Speaker 6: we just really the synergy was there, you know what

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Speaker 6: I mean.

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Speaker 2: So I think this is the first of his conference.

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Speaker 4: Sure, what do you have the time?

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Speaker 3: Because you're also a professor, Like, when do you have

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Speaker 3: the time? I've seen ninety so many times and it

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Speaker 3: really never has to do with music. It's always I'm

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Speaker 3: not at speaking or something like that.

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Speaker 5: Or basketball. Yeah, when do you have the time?

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Speaker 4: Bro?

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Speaker 5: Man?

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Speaker 1: That's the beauty about living in North Carolina, dog Like,

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Speaker 1: there's no rat race to run, really, and so I

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Speaker 1: kind of you know, I teach twice a week. I

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Speaker 1: teach at Duke on Wednesdays and Wake Forest University on Thursdays,

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Speaker 1: and with outside of that, the rest of the week

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Speaker 1: is either comprised of doing stuff with basketball or just

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Speaker 1: making music. And so that's how I deal with it.

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Speaker 1: But I think the biggest thing between me and him

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Speaker 1: is well, teaching has helped me do that too. Teaching

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Speaker 1: has helped me understand the next generation way more than

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Speaker 1: anybody else. Most people only deal with like seventeen eighteen

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Speaker 1: with eighteen nineteen twenty year olds.

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Speaker 5: That's like family members blah blah blah, and and.

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Speaker 1: Use those people to like put a blanket on how

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Speaker 1: every eighteen year old acts me. I've been looking at

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Speaker 1: eighteen year olds and twenty two year olds since what

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Speaker 1: nineteen years now, this is my nineteen year teacher. So

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Speaker 1: an eighteen year old in two thousand and six, and

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Speaker 1: an eighteen year old in twenty sixteen, and an eighteen

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Speaker 1: year old in twenty twenty five, them three different eighteen

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Speaker 1: year old of course, so I kind of look at

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Speaker 1: it that way. But the thing about me and him

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Speaker 1: is a lot of people don't think that these two

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Speaker 1: generations can't communicate well facts, and that's kind of we

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Speaker 1: debunked that with this. I mean even when I first

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Speaker 1: met him. That's how it's been. But we kind of,

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Speaker 1: you know, getting away to it as far as time. Yeah, man,

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Speaker 1: I just I'm just real focused, Charlota Magne know, I'm

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Speaker 1: just real focus on what I do, what I need

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Speaker 1: to do. I like serving the culture all the time.

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Speaker 1: And yeah, man, if I'm not helping the culture, then

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Speaker 1: I'm taking away from it. I feel like with hip

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Speaker 1: hop though, you know, young men like Ruben are trying

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Speaker 1: to do y'all already did, so they got to come

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Speaker 1: to you for that sound.

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Speaker 5: You can't treat that.

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Speaker 4: Man.

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Speaker 1: I want to make an ill madic. I want to

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Speaker 1: make something that sound like reasonable doubt. I want to

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Speaker 1: make something that sound like the first Little Brother, Like

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Speaker 1: you got to come to the people who did that.

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Speaker 2: Then.

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Speaker 6: Yeah, man, I think it's each one teach one, you

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Speaker 6: know what I mean. And you know they talk about

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Speaker 6: you know, the they say it didn't exist, but the

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Speaker 6: Willie Lynch letter. But you know what I'm saying, it's

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Speaker 6: real common to what really happens, you know what I'm saying,

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Speaker 6: from breaking generations apart and you know, separating us.

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Speaker 2: But you know, I had my father.

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Speaker 6: We didn't live in the same house, but you know,

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Speaker 6: he always used to pick me up on weekends. So

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Speaker 6: I know how to take a person's counsel, you know

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Speaker 6: what I mean. And I also too, is like I'm

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Speaker 6: a sponge, you know what I mean. So it's like

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Speaker 6: I'm willing to learn, you know what I mean. Where

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Speaker 6: I feel like you know, people, some people my age,

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Speaker 6: they'll be turned off and try to like, you know, cool,

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Speaker 6: But I think for me, it's just like I want

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Speaker 6: to know. And then also too, they were our Age

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Speaker 6: when they were making the ill maadics. They were our

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Speaker 6: Age when they was making the reasonable.

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Speaker 2: Doubts, you know what I mean.

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Speaker 6: They make it seem like now me being twenty four

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Speaker 6: and me being like having debt to my lyrics or

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Speaker 6: wisdom is.

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Speaker 2: Like like whoa, you know what I mean? Like, oh

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Speaker 2: you you sound like an old nigga. But it's like.

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Speaker 6: Right, right, So it's like yo, like it's not uncommon,

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Speaker 6: you know what I mean, And it's only right that

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Speaker 6: you know, you go tapping with the pioneers who've been

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Speaker 6: there before because they the only ones they can.

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Speaker 2: Tell you, you know what I mean, You sitting and listen

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Speaker 2: to somebody who ain't never done it don't make no

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Speaker 2: sense to me.

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Speaker 3: Is there a place for lyricists in this game to

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Speaker 3: be at the top of the game?

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Speaker 5: Right?

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Speaker 3: And the reason I say that is you mentioned you

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Speaker 3: mentioned Jay, you mentioned Nows. You know, you could talk pac,

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Speaker 3: you can talk big. They were lyricists, but they were

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Speaker 3: top and people respected them as being the top. You

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Speaker 3: can look at outcasts and even TI like they were top.

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Speaker 4: But now it seems like that lyricists they put in

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Speaker 4: a box.

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Speaker 1: You know, with our casts, man, we have to understand

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Speaker 1: what our casts. It took a couple of albums for

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Speaker 1: everybody to truly respect our casts.

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Speaker 2: Correct.

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Speaker 1: It wasn't from the South, I mean Southern playerlistic, Okay, okay,

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Speaker 1: you know what, having a source of wars. Then at Aliens,

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Speaker 1: it wasn't until they got to a Quemini and Stank

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Speaker 1: Conya that everybody was like, okay.

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Speaker 5: You know what I mean.

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Speaker 1: But even with Big and Jay, that's kind of where

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Speaker 1: hip hop was taking a turn.

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Speaker 5: You know.

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Speaker 1: Before that hip hop wasn't as commercial everywhere, like whatever.

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Speaker 1: But when Big and J came, especially when Jay came

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Speaker 1: along them DMX and now we're looking at hip hop more.

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Speaker 1: People that don't look like us as listening to hip

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Speaker 1: hop way more than ever, you know what I mean.

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Speaker 1: So that's kind of what that was. But I think

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Speaker 1: it's and I'm gonna say this, man, I just love

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Speaker 1: and I remember, I know we all do. Remember when

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Speaker 1: the culture was ours. We had our own validation points.

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Speaker 1: If you were on Rap City, you're on TV raps,

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Speaker 1: our Senior Hall Show, Soul Train, in the back of

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Speaker 1: the Jet magazine, the albums, the singles they showed your

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Speaker 1: house in ebony, if you were on those, the cover,

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Speaker 1: the sources, Essence magazine, if you were in the hair salons,

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Speaker 1: the barbershop, the music, if you went outside with your

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Speaker 1: homies after church and played whatever you was listening to

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Speaker 1: the car. If you were in all those places one time,

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Speaker 1: that's validation enough.

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Speaker 5: You made it, you know what I mean.

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Speaker 1: And it's not trying to say because I'm here. This

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Speaker 1: is one of the few last rites of patches, passages

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Speaker 1: for people y'all look like us, you know what I mean,

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Speaker 1: and you got to come through here to be validated.

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Speaker 1: We need more of that, you know what I'm saying.

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Speaker 1: Like so when we say mainstream top of the game,

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Speaker 1: this is part of the top of the game right

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Speaker 1: here to me.

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Speaker 6: And I also feel like when you talk about lyricists,

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Speaker 6: I also feel like when you talk about lyricists, you

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Speaker 6: got to know how to make a song, you know

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Speaker 6: what I mean. And I think that's the biggest thing

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Speaker 6: with this album that people want to see from me.

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Speaker 6: Like we were just talking about it, where it was like,

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Speaker 6: what was the turning point for you? Where a lot

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Speaker 6: of people we did listening on Friday, and everybody was like, Yo,

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Speaker 6: you really like showed your songwriting, you know, on here

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Speaker 6: and like you have choruses and it's like now you

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Speaker 6: could tell you a lot of time, it was just

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Speaker 6: me in the studio, you know what I mean by myself.

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Speaker 6: So I feel like a lot of the lyricists at

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Speaker 6: this time is still proving they trying to rap on

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Speaker 6: their records and they're not giving.

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Speaker 2: Nothing that people can relate to or people can feel.

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Speaker 6: It's always I'm just trying to show you I can

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Speaker 6: do this crazy word play, Like now I want to

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Speaker 6: make records that you're gonna play Monday through Friday, when

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Speaker 6: you on the way to work, when you on the

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Speaker 6: way to school, you getting ready, you know what I mean,

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Speaker 6: or even for the before the party, you know what

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Speaker 6: I'm saying, or at the party.

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Speaker 2: You know what I mean.

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Speaker 6: And I think this album that was the example, and

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Speaker 6: I feel like that's the only way lyricists can really

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Speaker 6: reach them heights is if they know how to make

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Speaker 6: a record.

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Speaker 4: They gotta be taught, right.

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Speaker 3: Yeah, if you watch Nas and Nas and tell you,

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Speaker 3: I don't know if it's tragedy, but taught them how

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Speaker 3: to make a song, right, like, this is the components

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Speaker 3: to make a song. I love Big Biggest, probably my

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Speaker 3: favorite artist ever, him and Jay, But I don't know.

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Speaker 3: If Puff wasn't there, I don't know if Big knew

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Speaker 3: how to make those type of songs and how.

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Speaker 5: To break down, that would have been that and it.

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Speaker 3: Would have been partying bull. But yeah, Puff taught him like, no,

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Speaker 3: you need to make a song like this. You need

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Speaker 3: a hook, you need this, And I feel like that's

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Speaker 3: what's missing a lot of times in this game.

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Speaker 2: Kobe Bryant needed to Phil Jackson, and that's my Phil Jackson.

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Speaker 5: Drede Snoop needed dre Facts.

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Speaker 7: So what is the creative process, like, you know what.

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Speaker 1: Making this project? Making this project? Well, welcome home, Welcome home.

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Speaker 1: I called Ruben in a special place. Ruben came to

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Speaker 1: me and said, man, you seen the Lego movie. I said,

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Speaker 1: I saw one. Farrad said yeah for real one. Yeah,

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Speaker 1: he said, man, I ain't no. Pharrell was close to

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Speaker 1: tribe like that that he revered tribe called Quest. I'm like, yeah,

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Speaker 1: he said, that's who I am. I come from that.

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Speaker 1: I'm not like yeah, like I knew this whole time.

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Speaker 1: I'm just letting him realize, like you know, sometimes you

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Speaker 1: have to step out the way and let you figure

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Speaker 1: it out on your own. But then while we're recording it,

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Speaker 1: we're recording with cod when we thought we was done,

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Speaker 1: Ruben started following for somebody, HM, okay, okay, all right,

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Speaker 1: And so I'm coming in the studio. I'm coming to

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Speaker 1: the studio. You always got to catch HI where they are.

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Speaker 1: I'm coming in the studio. He on the phone.

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Speaker 5: He facetied me on the phone.

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Speaker 4: You love Jones, yea.

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Speaker 1: Coca at work, And I'm like, you know, but I

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Speaker 1: have to catch him where he is. So now all

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Speaker 1: my beasts started to turn a certain way for him

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Speaker 1: to talk about what he wanted to talk about. That

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Speaker 1: he found somebody, and I thought that was amazing, which

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Speaker 1: something we talked about. There's nothing wrong with talking about

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Speaker 1: embracing black women on your projects.

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Speaker 2: Yeah, young men. Young men don't do that a lot.

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Speaker 6: And I think even the routine again, like right before,

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Speaker 6: like he said, he let me figure it out on

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Speaker 6: my own. When I got when I first got my

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Speaker 6: deal with Rock and I was moving around, I was

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Speaker 6: in LA and then you know, I started to see

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Speaker 6: how weird the industry can get and then you know,

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Speaker 6: a lot of people is in my ear like you

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Speaker 6: need to make this type of record and this type

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Speaker 6: of record that don't necessarily fit who I am. So

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Speaker 6: when I watched the Lego movie, I was like, oh,

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Speaker 6: this is my tree. I come from the tree of tribe.

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Speaker 6: I come from the tree of Kanye West in his

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Speaker 6: early stages. I come from that tree. Okay, let me

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Speaker 6: navigate that and you know, study and really figure it out.

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Speaker 6: But then also to my mom and like living in Charlotte.

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Speaker 6: You know my mom, she's an African mother. You know,

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Speaker 6: she's from Liberia. So she was always supportive of me.

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Speaker 6: But the industry started to change, money started to slow

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Speaker 6: up at a little bit, and she's like, yo, you

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Speaker 6: either got to go back to school or get a job.

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Speaker 6: And I was like, I ain't doing none of that,

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Speaker 6: you know what I mean. So I called Knife, we

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Speaker 6: talked about it. He was like, YO, just come down

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Speaker 6: the Raleigh. Sleeping on sleeping on the couch. For six months,

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Speaker 6: my routine was I wake up, save my prayers, go

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Speaker 6: to the gym. By the time I get back from

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Speaker 6: the gym, I take a shower cause we have a

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Speaker 6: shower at the studio, which is a blessing. Like there's

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Speaker 6: a lot of artists can't say they have a mentor

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Speaker 6: who has a whole studio that you don't got to

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Speaker 6: pay for studio time.

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Speaker 2: So I'm gonna take all advantage, you know what I mean.

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Speaker 1: You don't know if you don't have to pay for

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Speaker 1: it yet.

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Speaker 6: Coming nah, But then after that, you know, like he'll

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Speaker 6: probably get to the studio around twelve o'clock and we'll

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Speaker 6: sit there, we'll discuss talk about, you know, what movies

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Speaker 6: remind us of home, what music videos that we are

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Speaker 6: favorite rap music videos.

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Speaker 2: Then were going through samples, you know what I mean.

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Speaker 6: So the way the studio is set up, Knife got

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Speaker 6: his beat room, and then we got the recording room,

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Speaker 6: and then we got the living area where I used

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Speaker 6: to sleep at.

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Speaker 2: But ninth will come in around twelve o'clock.

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Speaker 6: We'll sit there, chop it up, maybe watch some basketball,

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Speaker 6: watch some videos. He finds some samples, he make the beat.

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Speaker 6: I'm sitting there. He gonna air He's all right, I'm

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Speaker 6: gonna drop it to the big computer. I'm gonna run

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Speaker 6: to the other room, accept it on the big computer.

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Speaker 6: Record then he gonna be in there watching basketball. Thirty

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Speaker 6: minutes later, I come back around. I think I got something.

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Speaker 6: I got some Yeah, and then he'd come in there

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Speaker 6: hear it and then do what he does as a producer.

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Speaker 5: And then what made you want to work with him?

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Speaker 1: No? Because I mean nine, because I'm sure it's a

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Speaker 1: million artists that come to you, especially in.

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Speaker 2: Name. I don't want to get with you.

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Speaker 1: I want to do something with you.

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Speaker 5: Okay.

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Speaker 1: So I was on tour in Germany and had the

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Speaker 1: day off and somebody on I was doing to ask

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Speaker 1: ninth on Twitter and somebody said to me, so, I

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Speaker 1: ain't got no question.

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Speaker 5: It's this kid you need to listen to. I have

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Speaker 5: no dog in this fight.

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Speaker 2: I don't know.

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Speaker 1: I don't know this kid. And usually I you know,

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Speaker 1: I know our goes. Some people want trying to get

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Speaker 1: their family Mamoizon.

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Speaker 5: Exactly. But he did not know the dude was from

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Speaker 5: Open Yeah.

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Speaker 1: I was thirteen at the thirteen and he sent me

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Speaker 1: the Lincol and I listened to it. I was like, man,

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Speaker 1: and I think one of the rhymes he said, somethbout

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Speaker 1: coolgie wrap, and I'm like, hold on, bro, like this

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Speaker 1: You're thirteen years old. So then I shot him an inbox.

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Speaker 1: It's on Twitter, and I said, yo is this? He's like, yeah,

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Speaker 1: how you doing?

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Speaker 2: Man?

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Speaker 1: And I was like, Hey, what's your parents like? And

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Speaker 1: so he put his mom on and I was like,

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Speaker 1: I'll be home in a couple of weeks. I got home,

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Speaker 1: they showed up with him and his mom showed up

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Speaker 1: in my studio. I wrapped him up. He's about this

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Speaker 1: tall and I said, man, you want something to eat?

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Speaker 5: What you say?

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Speaker 2: I just want some pop tarts, strawberry milk and some pizza.

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Speaker 2: Thirteen year old diet. Thirteen year old diet literally.

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Speaker 1: But it kind of went from there and that. The

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Speaker 1: first song we did was a song called Extraterrestrial and

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Speaker 1: I looked at my president Cab, my man Cash, I said,

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Speaker 1: I said, man, he ain't breathing.

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Speaker 5: He's just rapping. He's not breathing. And he did. You

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Speaker 5: did nine songs that weekend, three days.

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Speaker 2: And made it, made it on a machine that I

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Speaker 2: had never touched before that.

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Speaker 5: Yeah, it was different.

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Speaker 4: What what what got you in the tribe? Was it

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Speaker 4: that lego movie?

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Speaker 2: No beforehand?

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Speaker 4: So what put you on the tribe? And couji rap

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Speaker 4: in that era of music?

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Speaker 1: Because that's to see you playing fight in a biopicure

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Speaker 1: thought about it.

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Speaker 2: I would love to. I would love to.

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Speaker 6: So my father, you know again, both my parents are

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Speaker 6: from West Africa, Iberia, and when.

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Speaker 2: He came to the States, he lived in New York

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Speaker 2: for a little.

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Speaker 6: Bit, and he moved to North Carolina and met my mom,

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Speaker 6: who my mom so to.

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Speaker 2: Give a little bit of background, like, Nique, you're talking,

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Speaker 2: I gotta ask you. Yeah, I'm too.

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Speaker 4: I got him.

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Speaker 2: Yeah, I probably got to ask him.

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Speaker 6: But he went from my My dad experienced the Libry

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Speaker 6: and Civil War in the nineties, so he was a

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Speaker 6: refugee came to America still very young, while my mom

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Speaker 6: she got here when she was sixteen and lived in

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Speaker 6: the DMV before moving to Charlotte. But her dad fought

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Speaker 6: in the war, passed away in the war, all of that.

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Speaker 6: But when he came down a lot of he said,

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Speaker 6: in Africa, they used to listen to a lot of tupacin.

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Speaker 2: Biggie during the war.

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Speaker 6: And so when he had when they had me, granted

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Speaker 6: they had like separated when I was born. They my

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Speaker 6: dad always used to pick me up on the weekends

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Speaker 6: and he used to have a blue Cadillac and he

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Speaker 6: would drive me around playing all lives on Me, Ready

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Speaker 6: to die, Blueprint, get rich of I trying. So I

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Speaker 6: that was the way me and my dad bond when

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Speaker 6: I was four years old. So then by the time

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Speaker 6: I was able to write. I wrote my first rap

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Speaker 6: when I was five years old, and so I already

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Speaker 6: had a little bit of knowledge. And my dad gifted

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Speaker 6: me late Registration when I was six seven years old.

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Speaker 6: So when those little moments were like rabbit holes for me,

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Speaker 6: because then by the time I was like.

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Speaker 2: Ten eleven, YouTube was available.

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Speaker 6: So now I'm looking up Okay, late registration, Okay, blueprint Okay,

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Speaker 6: reasonable doubt Okay, then the recommended nas Illmatic. Then it's like, oh,

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Speaker 6: Coogi rap. Then it's like, oh Tribe call Quest Midnight Marauders.

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Speaker 6: I just started going down a rabbit hole and just

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Speaker 6: became like super like just like floored with everything, you

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Speaker 6: know what I mean. So by the time I met nine,

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Speaker 6: I was already like so knee deep into like what

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Speaker 6: I liked. And then also two around the same time

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Speaker 6: I was eleven twelve years old, Joey Badass started merging

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Speaker 6: on the scene, you know what I mean, And you

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Speaker 6: know what he was doing at the time, So you know,

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Speaker 6: I was just like it was Florida and I just

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Speaker 6: started to do my d dos.

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Speaker 5: I want to ask you.

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Speaker 1: What artists I'm glad you said, Joey, because what artists

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Speaker 1: I guess for you from your generation reminded you.

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Speaker 6: Of that obviously, Joey Kendrick, Lamar Cole, Earl Sweatshirt in

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Speaker 6: the early, in the early times, still to the still

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Speaker 6: to this time, I was.

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Speaker 2: Big on them, like super early, you know what I mean.

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Speaker 6: The wallets, like all of them, like that that era,

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Speaker 6: the blog era was like where like I really dive

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Speaker 6: deep into like who they were.

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Speaker 2: Those are like the ones who raised me outside of

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Speaker 2: like the nineties.

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Speaker 1: So how do you balance being lyrical and cultural in

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Speaker 1: a time when music rewards virality over vocabulary.

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Speaker 6: Well, I know I'm playing a different game. I know

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Speaker 6: I'm playing a long game. I know that I've seen

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Speaker 6: in the last three years people.

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Speaker 2: Get viral and get lit.

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Speaker 6: And then go on the next day, you know, So

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Speaker 6: I know that there's no foundation of that where like

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Speaker 6: you know what I'm doing. I know that ten years

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Speaker 6: from now, I'm gonna be able to stand doing and

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Speaker 6: be able to like you know, live off of still

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Speaker 6: because you know I'm taking the route. You know I've

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Speaker 6: been patient this long. I've been patient since thirteen, you

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Speaker 6: know what I mean? So why would I stop being

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Speaker 6: patient now just to go do something that's not gonna

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Speaker 6: make me fulfilled at the end of the day.

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Speaker 1: What do you think?

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Speaker 2: Like?

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00:17:16,440 --> 00:17:18,840
Speaker 1: How do you how do artists? How should artists balance

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Speaker 1: being a lyrical in a time when it's all about

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Speaker 1: going viral or actually rapping? I think, first of all,

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Speaker 1: artists shouldn't be afraid. A lot of artists are afraid

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Speaker 1: to try. They rather do what they think will work

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00:17:32,160 --> 00:17:35,200
Speaker 1: instead of running a marathon. But I also believe, and

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Speaker 1: it's come for me teaching. We cannot get lost on

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Speaker 1: the fact that there is a generation of kids with

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Speaker 1: young adults. They want to hear that what you're talking about,

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00:17:46,320 --> 00:17:49,280
Speaker 1: they want to hear it. It's out there, like I

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Speaker 1: see them all the time. I see them on my classes.

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Speaker 1: And on top of that, it's crazy to say me

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Speaker 1: and his mother are the same age. So now you're

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Speaker 1: dealing with Now you're dealing with the generation that's the

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Speaker 1: offspring of Generation X.

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Speaker 5: So now what do we like? You said, what are

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Speaker 5: we playing in our cars? Right?

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Speaker 1: We're playing all of these classic records and they're picking

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Speaker 1: it up when they're very young and taking it on,

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00:18:12,359 --> 00:18:15,040
Speaker 1: you know what I mean. So we can't assume there's

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Speaker 1: a generation of kids that don't want to hear it.

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Speaker 1: It might not be as big as this generation of

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Speaker 1: kids that want to hear this over here, but it's there.

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00:18:21,720 --> 00:18:26,840
Speaker 1: When Tribe was tribe, you had tribes fan base, but

441
00:18:26,880 --> 00:18:29,120
Speaker 1: then you had ice Q's fan base. Not to say

442
00:18:29,200 --> 00:18:32,000
Speaker 1: Q was on something way different, but Q was you know,

443
00:18:32,040 --> 00:18:35,160
Speaker 1: had a larger fan base. Doesn't mean the Native Tongues

444
00:18:35,160 --> 00:18:38,320
Speaker 1: didn't have their own fan base. And you see what

445
00:18:38,440 --> 00:18:42,520
Speaker 1: the Native Tongues fan base births rest in pcg Angelo right,

446
00:18:43,200 --> 00:18:46,320
Speaker 1: it birthed the entire Q tip has its own family

447
00:18:46,359 --> 00:18:49,679
Speaker 1: tree by itself, bro. And so that's what I'm saying, like,

448
00:18:50,359 --> 00:18:53,159
Speaker 1: you cannot deny that that it's kids out there that

449
00:18:53,359 --> 00:18:55,639
Speaker 1: want to hear and want to hear soulful and feel

450
00:18:55,680 --> 00:18:58,679
Speaker 1: good music. Not necessarily preachy all the time, because I

451
00:18:58,680 --> 00:19:03,000
Speaker 1: think we needed, we need to separate conscious and feel

452
00:19:03,000 --> 00:19:08,280
Speaker 1: good sometimes is not sometime we put conscious and a warm,

453
00:19:08,400 --> 00:19:11,479
Speaker 1: feel good beat in the same box. But then you

454
00:19:11,480 --> 00:19:13,440
Speaker 1: have slum Village that talked about a threesome. You know

455
00:19:13,480 --> 00:19:15,680
Speaker 1: what I mean, Like, you can't do you know what

456
00:19:15,680 --> 00:19:18,040
Speaker 1: I'm saying. So we have to kind of get out

457
00:19:18,080 --> 00:19:20,200
Speaker 1: of that. Man, it's it's it's younger Dulston. When they

458
00:19:20,200 --> 00:19:22,680
Speaker 1: wanted some difference, who's the q tip family tree? I

459
00:19:22,720 --> 00:19:24,239
Speaker 1: can't just you gotta teach now, I can't just let

460
00:19:24,280 --> 00:19:26,840
Speaker 1: you say that. Who break down q tip family? Oh?

461
00:19:26,920 --> 00:19:27,120
Speaker 2: Man?

462
00:19:27,200 --> 00:19:30,320
Speaker 1: So the q tip family tree. Q Tip was one

463
00:19:30,320 --> 00:19:33,760
Speaker 1: of the first ones to not sample funk and soul

464
00:19:33,920 --> 00:19:37,239
Speaker 1: only right. Q tip was one of the ones like, oh,

465
00:19:37,280 --> 00:19:39,720
Speaker 1: I'm a sample artist by name of Kyle Jader and

466
00:19:39,800 --> 00:19:42,360
Speaker 1: my man sample artist by the name of Les McCann

467
00:19:42,720 --> 00:19:44,879
Speaker 1: and Freddie Hubber because q tip grew up in the

468
00:19:44,880 --> 00:19:49,399
Speaker 1: neighborhood of jazz musicians, got the jazz exactly and so

469
00:19:50,480 --> 00:19:54,480
Speaker 1: that euphoric feel. Like I always say, Benita apple Bomb

470
00:19:54,640 --> 00:19:57,240
Speaker 1: is like the tree of life for everything after it.

471
00:19:58,160 --> 00:20:00,560
Speaker 1: So if Benita apple Bomb is not made, we're not

472
00:20:00,640 --> 00:20:04,080
Speaker 1: getting well first not first of all, with our tribe.

473
00:20:04,280 --> 00:20:07,719
Speaker 1: We're not getting out casts back right, they said it.

474
00:20:07,720 --> 00:20:09,280
Speaker 1: They said it all the you know, all the time.

475
00:20:09,440 --> 00:20:12,920
Speaker 1: We're not getting outcasts, We're not getting the roots, We're

476
00:20:12,960 --> 00:20:15,680
Speaker 1: not getting Badu. We're not getting jail, We're not getting

477
00:20:15,680 --> 00:20:18,200
Speaker 1: a little brother, We're not getting D'Angelo. We're not getting

478
00:20:18,240 --> 00:20:21,879
Speaker 1: this thing called neo. So we're not getting We're not

479
00:20:21,880 --> 00:20:24,399
Speaker 1: getting Kanye West. We're not getting anything that feels you

480
00:20:24,480 --> 00:20:26,879
Speaker 1: for it and feels good. We're not getting that because

481
00:20:27,720 --> 00:20:31,480
Speaker 1: chord changes wasn't in hip hop in eighty nine, eighty eight.

482
00:20:31,640 --> 00:20:33,800
Speaker 1: We had we used to start about Public Enemy. It

483
00:20:33,840 --> 00:20:34,200
Speaker 1: was just.

484
00:20:36,000 --> 00:20:37,720
Speaker 5: You know what I'm saying, what not living base is.

485
00:20:38,240 --> 00:20:42,399
Speaker 1: But Q Tip when he sampled those chord changes and

486
00:20:42,440 --> 00:20:44,840
Speaker 1: all of that, that's what. That's what made everybody turn

487
00:20:44,920 --> 00:20:47,440
Speaker 1: the corner. And we're still we owe a lot to

488
00:20:47,520 --> 00:20:49,600
Speaker 1: that dude for making that turn and making the music

489
00:20:49,640 --> 00:20:51,320
Speaker 1: that he did. We're making the music that tribe did.

490
00:20:51,680 --> 00:20:54,920
Speaker 1: Why so why I agree with you? But damn, where

491
00:20:54,920 --> 00:20:56,080
Speaker 1: did Daylight come into play?

492
00:20:56,520 --> 00:20:57,119
Speaker 5: So Daylight?

493
00:20:57,400 --> 00:21:00,159
Speaker 1: So Daylight was of course Daylight was before that, and

494
00:21:00,240 --> 00:21:01,280
Speaker 1: Jungle Brothers before that.

495
00:21:01,320 --> 00:21:01,679
Speaker 5: You know that.

496
00:21:01,840 --> 00:21:05,040
Speaker 1: You know Native Tongue's movie. Also, Queen Latifa was in

497
00:21:05,040 --> 00:21:07,879
Speaker 1: that box. You know what I mean, Try was more.

498
00:21:09,440 --> 00:21:12,440
Speaker 1: It was a different thing from Daylight. Daylight was way

499
00:21:12,560 --> 00:21:15,040
Speaker 1: left the center, right, you know.

500
00:21:15,640 --> 00:21:17,760
Speaker 3: I think, And it's gonna sound crazy because the Daylight

501
00:21:17,920 --> 00:21:20,719
Speaker 3: was from Long Island and more screening. Tribe was more

502
00:21:20,720 --> 00:21:24,679
Speaker 3: street street because remember tribe is really dire from farmers

503
00:21:24,840 --> 00:21:26,800
Speaker 3: from Queen. Yeah, now you go up a little bit,

504
00:21:26,880 --> 00:21:30,080
Speaker 3: that's ll Qj's area, left a little bit, that's you know, fifty.

505
00:21:30,560 --> 00:21:34,000
Speaker 4: So they were more street than Daylight.

506
00:21:33,720 --> 00:21:36,879
Speaker 1: I was, and you noticed it because when Daylight Daylight

507
00:21:37,000 --> 00:21:38,960
Speaker 1: Tribe kind of dressed the same on their first on

508
00:21:39,040 --> 00:21:41,760
Speaker 1: three feet and people's distinctive they trust the same. By

509
00:21:41,760 --> 00:21:44,720
Speaker 1: the time Tribe did Low End Theory is baseball jerseys

510
00:21:44,720 --> 00:21:47,920
Speaker 1: and hats bro like, they totally just changed everything and

511
00:21:48,760 --> 00:21:52,879
Speaker 1: even the production of like I said, Q Tip, he says,

512
00:21:53,880 --> 00:21:57,520
Speaker 1: I made Low End Theory drums sound the way they

513
00:21:57,560 --> 00:21:59,800
Speaker 1: signed it because I heard n W a second album,

514
00:21:59,800 --> 00:22:02,120
Speaker 1: so he he was listening to you know what I mean.

515
00:22:02,280 --> 00:22:05,480
Speaker 1: But you got these thunderous drums, but then you got

516
00:22:05,760 --> 00:22:08,080
Speaker 1: this weather report sample on top of it, you know

517
00:22:08,080 --> 00:22:08,520
Speaker 1: what I'm saying.

518
00:22:09,119 --> 00:22:10,680
Speaker 5: Like it was just it was just a different thing.

519
00:22:10,720 --> 00:22:14,560
Speaker 1: But that feeling has extended itself for now thirty plus

520
00:22:14,720 --> 00:22:15,480
Speaker 1: years now, they're.

521
00:22:15,320 --> 00:22:18,119
Speaker 3: Always thinking about you know, you could be a tribe

522
00:22:18,160 --> 00:22:20,760
Speaker 3: called quest fan and a coolgie rap fan. Back right,

523
00:22:20,760 --> 00:22:22,960
Speaker 3: you'd be a Tribe fan and a Mob fan. It

524
00:22:23,000 --> 00:22:25,080
Speaker 3: seems like now they put you in the box where

525
00:22:25,080 --> 00:22:27,080
Speaker 3: you can't you know what I'm saying, because back then

526
00:22:27,119 --> 00:22:27,360
Speaker 3: you could.

527
00:22:27,440 --> 00:22:27,720
Speaker 4: I could.

528
00:22:27,800 --> 00:22:30,240
Speaker 3: I listened to Tribe growing up, but then I listened

529
00:22:30,240 --> 00:22:32,400
Speaker 3: to Mob Deep, but then I listened to Coolie Rap,

530
00:22:32,480 --> 00:22:34,760
Speaker 3: but then I listened to kne Now I feel like

531
00:22:34,800 --> 00:22:36,679
Speaker 3: it's it's lanes where they try to stick you with,

532
00:22:36,720 --> 00:22:38,880
Speaker 3: Like I can only listen to Ruben because I can't

533
00:22:38,880 --> 00:22:40,359
Speaker 3: if I listen to but I can't listen to.

534
00:22:40,440 --> 00:22:43,080
Speaker 6: That's that's not even how I was raised, right, So, like,

535
00:22:43,240 --> 00:22:45,280
Speaker 6: as much as I'm giving y'all all the influences of

536
00:22:45,400 --> 00:22:48,280
Speaker 6: like the outcasts, the tribes and nases and then giving

537
00:22:48,320 --> 00:22:51,320
Speaker 6: y'all the blog air, I still went to an HBCU

538
00:22:51,440 --> 00:22:53,720
Speaker 6: where I was lit when they played no Hands in

539
00:22:53,720 --> 00:22:54,720
Speaker 6: the club, you know what I mean.

540
00:22:54,760 --> 00:22:56,800
Speaker 2: And I was listening to Chief Keith and stuff like that.

541
00:22:56,880 --> 00:22:59,959
Speaker 6: So I feel like that's why I'm able, and that's

542
00:23:00,119 --> 00:23:03,600
Speaker 6: I'm glad he said I went to a t Yeah,

543
00:23:03,600 --> 00:23:07,920
Speaker 6: so I'm a I'm And that's why even I say

544
00:23:07,960 --> 00:23:11,800
Speaker 6: I'm so much Tribe is because yes, I loved everything

545
00:23:11,880 --> 00:23:14,760
Speaker 6: not just named. I love art, I love paying Africanism.

546
00:23:14,880 --> 00:23:17,000
Speaker 6: Everything on me is designed by African designer, you know

547
00:23:17,040 --> 00:23:19,320
Speaker 6: what I mean. This is my man's, my DJs, you

548
00:23:19,400 --> 00:23:33,199
Speaker 6: know brand. But after yeah yeah so and then but

549
00:23:35,560 --> 00:23:39,119
Speaker 6: at the same time, like you know, I'm not a

550
00:23:39,359 --> 00:23:41,199
Speaker 6: I'm not street in the streets at all, but I

551
00:23:41,240 --> 00:23:42,920
Speaker 6: had cousins in the streets, you know what I mean.

552
00:23:42,960 --> 00:23:44,560
Speaker 2: Like I grew up around all of it.

553
00:23:44,720 --> 00:23:47,080
Speaker 6: So I embrace it all and you hear it in

554
00:23:47,200 --> 00:23:49,240
Speaker 6: my music the things I talk about. I'm not sitting

555
00:23:49,240 --> 00:23:52,320
Speaker 6: there like you know, conscious piece b and all of

556
00:23:52,320 --> 00:23:55,320
Speaker 6: that stuff. It's like, no, it's no, I ain't burning

557
00:23:55,320 --> 00:23:57,399
Speaker 6: no instance, you know what I mean. Like I watched

558
00:23:57,440 --> 00:23:59,359
Speaker 6: Friday just as much as I might watch the michaelm

559
00:23:59,480 --> 00:24:00,800
Speaker 6: X outo by, you know what I mean.

560
00:24:00,880 --> 00:24:03,119
Speaker 1: So you know it's crazy it coming from the Carolina

561
00:24:03,240 --> 00:24:05,800
Speaker 1: and knife No, at least growing up, we didn't have

562
00:24:05,840 --> 00:24:08,679
Speaker 1: a There was no Carolina sound. No, we weren't like

563
00:24:08,720 --> 00:24:11,159
Speaker 1: Atlanta or New York. We had hip hop that we

564
00:24:11,160 --> 00:24:14,000
Speaker 1: could gravitate towards. We listened to everything. The Killer Mike

565
00:24:14,040 --> 00:24:15,920
Speaker 1: said the same thing. We had to listen to everything,

566
00:24:16,480 --> 00:24:19,480
Speaker 1: and North Carolina is second when it comes to number

567
00:24:19,640 --> 00:24:22,760
Speaker 1: HBCUs Alabama's first, North Carolina second. So you got to

568
00:24:22,760 --> 00:24:26,600
Speaker 1: think of all the music that's coming from all these places,

569
00:24:26,880 --> 00:24:30,720
Speaker 1: that's being playing in the dorms. I remember on my

570
00:24:30,920 --> 00:24:33,760
Speaker 1: dorm room hall. I went to North Carolina Central and

571
00:24:33,800 --> 00:24:36,199
Speaker 1: I stayed in the hall called Chile Hall. It was

572
00:24:36,240 --> 00:24:42,399
Speaker 1: a dude from DC, Detroit, Baltimore. Then it was like

573
00:24:42,480 --> 00:24:44,199
Speaker 1: all in the same hall. So you walking down the

574
00:24:44,240 --> 00:24:47,080
Speaker 1: hall here in go go Baltimore House.

575
00:24:47,600 --> 00:24:50,400
Speaker 7: DC to go that go go shit down down the street.

576
00:24:50,600 --> 00:24:50,760
Speaker 2: Right.

577
00:24:51,240 --> 00:24:52,240
Speaker 1: But yeah, you know what I'm saying.

578
00:24:53,280 --> 00:24:54,440
Speaker 5: You know what I'm saying. What I'm saying.

579
00:24:54,520 --> 00:24:57,479
Speaker 1: So it's all of that, all of those things and

580
00:24:58,240 --> 00:25:02,200
Speaker 1: you hearing everything at one time. And like you said, Yo,

581
00:25:02,560 --> 00:25:04,879
Speaker 1: you can tell a lot about people. Man, when you

582
00:25:04,920 --> 00:25:07,520
Speaker 1: open they c D booking Dog, you flipped that c

583
00:25:08,040 --> 00:25:12,320
Speaker 1: flat when you see that we had I had a

584
00:25:12,400 --> 00:25:18,959
Speaker 1: two short album, a Tribe album, that Tony Braxton first album, Souls,

585
00:25:19,000 --> 00:25:22,199
Speaker 1: a Mischief album, an ice Cube of the Predator like

586
00:25:22,240 --> 00:25:25,040
Speaker 1: all at the same time. I think now, like you said,

587
00:25:25,119 --> 00:25:27,439
Speaker 1: I don't think a lot of people are fans of

588
00:25:27,480 --> 00:25:30,840
Speaker 1: the culture that just fans of a person. For us,

589
00:25:31,040 --> 00:25:32,879
Speaker 1: if we were fans of hip hop. That means we

590
00:25:33,000 --> 00:25:36,560
Speaker 1: checking out everybody, but the filter was different. Were not

591
00:25:36,640 --> 00:25:41,160
Speaker 1: facing seven hundred thousand new songs a week on streaming either.

592
00:25:41,240 --> 00:25:43,679
Speaker 1: We didn't face that. We didn't face that.

593
00:25:43,680 --> 00:25:46,199
Speaker 4: That's the sad thing because you can't hear everything.

594
00:25:46,680 --> 00:25:48,679
Speaker 3: That's the difficultart because it's like, you know, life be

595
00:25:48,760 --> 00:25:51,560
Speaker 3: life like before it was like I remember listening to

596
00:25:51,680 --> 00:25:55,480
Speaker 3: let's say Norwy's album or Fooji's album. Yeah whatever, it

597
00:25:55,560 --> 00:25:58,520
Speaker 3: lasted the summer. It was like four albums that lasted

598
00:25:58,520 --> 00:26:00,639
Speaker 3: summer and you rock through. I Drew moved the school

599
00:26:00,640 --> 00:26:02,480
Speaker 3: in it. I drove back to school in it. Now,

600
00:26:02,520 --> 00:26:05,280
Speaker 3: it's like the way music goes like even with Clips album.

601
00:26:05,280 --> 00:26:07,520
Speaker 3: Clips album is one of my favorite albums now, but

602
00:26:07,560 --> 00:26:09,199
Speaker 3: I haven't heard Clips album in about a month now

603
00:26:09,280 --> 00:26:11,600
Speaker 3: because I'm listening to the news stuff, which is crazy

604
00:26:11,600 --> 00:26:13,320
Speaker 3: because there's so many new things that much.

605
00:26:13,480 --> 00:26:15,360
Speaker 1: Yeah, students, and one of my students told me, said,

606
00:26:15,359 --> 00:26:19,200
Speaker 1: Professor Knife, you gotta understand, like I got fifteen albums

607
00:26:19,200 --> 00:26:21,280
Speaker 1: in the Q I ain't listening to last week, and

608
00:26:21,320 --> 00:26:24,440
Speaker 1: I'm like, godly, I think when one of our greatest

609
00:26:24,480 --> 00:26:27,440
Speaker 1: release dates was September twenty ninth, nineteen ninety eight.

610
00:26:27,800 --> 00:26:28,359
Speaker 5: That is.

611
00:26:29,920 --> 00:26:36,560
Speaker 1: Okay, Quemini outcasts. All the same day heard Knocked Life,

612
00:26:36,800 --> 00:26:42,440
Speaker 1: Knock Life Tribe, the Love movement, and most difficuality of

613
00:26:42,560 --> 00:26:44,720
Speaker 1: Black Start. Like all this came brand new, being foundation.

614
00:26:44,840 --> 00:26:46,800
Speaker 1: All came out on one day. So we're going to

615
00:26:46,840 --> 00:26:49,520
Speaker 1: the store, like I got about fifteen dollars? How much

616
00:26:49,560 --> 00:26:49,800
Speaker 1: you got?

617
00:26:49,880 --> 00:26:50,080
Speaker 5: Dog?

618
00:26:50,560 --> 00:26:53,520
Speaker 1: Got about fifteen? You get women, and I I'll get

619
00:26:53,680 --> 00:26:56,119
Speaker 1: and so now we got to share it. You know

620
00:26:56,160 --> 00:26:58,320
Speaker 1: what I mean, You're forgetting one thing too. Looking at

621
00:26:58,359 --> 00:27:01,760
Speaker 1: that source magazine. You got to get a criminal because they.

622
00:27:01,640 --> 00:27:02,880
Speaker 5: Got five, they got five mics.

623
00:27:02,880 --> 00:27:04,560
Speaker 1: You gotta get Jay because that's Jay and he had

624
00:27:04,600 --> 00:27:05,480
Speaker 1: just got four and a half.

625
00:27:05,480 --> 00:27:08,119
Speaker 5: That's right, got to get these two. Everybody else I

626
00:27:08,200 --> 00:27:09,399
Speaker 5: catch it's different.

627
00:27:09,440 --> 00:27:11,520
Speaker 1: But then but then you heard the most entirely from

628
00:27:11,560 --> 00:27:14,119
Speaker 1: somebody else, was like, oh, I gotta go get that right.

629
00:27:14,160 --> 00:27:16,200
Speaker 4: He was on street. We go get the bootleg, We

630
00:27:16,240 --> 00:27:18,200
Speaker 4: get all we got.

631
00:27:20,600 --> 00:27:20,920
Speaker 2: Right? Right?

632
00:27:21,080 --> 00:27:21,719
Speaker 5: Who was telling them?

633
00:27:21,720 --> 00:27:28,480
Speaker 2: I don't know? We are African, the Africans are.

634
00:27:31,520 --> 00:27:35,320
Speaker 1: How does the classroom compared to the studio when it

635
00:27:35,359 --> 00:27:36,840
Speaker 1: comes to influence.

636
00:27:36,880 --> 00:27:37,680
Speaker 5: It's the same thing.

637
00:27:37,720 --> 00:27:41,080
Speaker 1: For me, the classroom has taught me how to communicate,

638
00:27:41,160 --> 00:27:43,919
Speaker 1: dog like it is really taught me how to communicate

639
00:27:44,320 --> 00:27:48,680
Speaker 1: and communicate you can't. I can't talk to every artist

640
00:27:48,760 --> 00:27:51,399
Speaker 1: the same way. They don't learn the same way. So

641
00:27:51,400 --> 00:27:53,600
Speaker 1: in the classroom, I'm standing in front of my my

642
00:27:53,680 --> 00:27:56,080
Speaker 1: hip hop class on Wednesday is a Duke Man in

643
00:27:56,080 --> 00:27:58,360
Speaker 1: the spring as one hundred and forty kids. So I'm

644
00:27:58,400 --> 00:28:00,760
Speaker 1: sitting there looking at one hundred and forty kids, and

645
00:28:00,800 --> 00:28:03,760
Speaker 1: I have to get through every kid, whether it be

646
00:28:03,800 --> 00:28:07,800
Speaker 1: the black kid, whether it be the white kid. You know,

647
00:28:07,840 --> 00:28:10,200
Speaker 1: you can't assume every kid. It takes my class and

648
00:28:10,320 --> 00:28:12,359
Speaker 1: want to do this, especially Man and Duke Man. I

649
00:28:14,080 --> 00:28:18,000
Speaker 1: got girls. My class is like neurosurgeon whatever. I'm going

650
00:28:18,040 --> 00:28:20,040
Speaker 1: to be a neurosurgeon. But I wanted to take your class,

651
00:28:20,040 --> 00:28:22,000
Speaker 1: you know what I mean that knows nothing about the

652
00:28:22,040 --> 00:28:25,040
Speaker 1: culture at all, and except the one person they listen to.

653
00:28:25,119 --> 00:28:26,880
Speaker 4: And you teach hip hop history for people that don't

654
00:28:26,880 --> 00:28:27,960
Speaker 4: know right, right, I.

655
00:28:27,880 --> 00:28:30,359
Speaker 1: Teach three classes that Duke. I teach hip hop history.

656
00:28:30,680 --> 00:28:32,760
Speaker 1: I teach Black Cinema of the nineties, where we watched

657
00:28:32,760 --> 00:28:35,080
Speaker 1: all the black cinema of the nineties like Love, Jones, Juice,

658
00:28:35,119 --> 00:28:37,920
Speaker 1: all that, and the hardest class for to get into

659
00:28:38,120 --> 00:28:40,120
Speaker 1: is my hip hop production class. We just straight make

660
00:28:40,160 --> 00:28:42,520
Speaker 1: beats and talk about the art of production for a semester,

661
00:28:43,160 --> 00:28:46,560
Speaker 1: but it is taught me how to not only communicate

662
00:28:46,600 --> 00:28:49,400
Speaker 1: by how the next generation thinks when it comes to

663
00:28:49,480 --> 00:28:53,320
Speaker 1: consuming music. What do they think? Our qualifiers ain't the same.

664
00:28:53,880 --> 00:28:56,200
Speaker 1: Who we think are great rappers and why? And who

665
00:28:56,240 --> 00:28:59,000
Speaker 1: they think are great rappers and why is two different reasons,

666
00:28:59,440 --> 00:29:01,959
Speaker 1: and we try to force our reasons on them and

667
00:29:02,040 --> 00:29:04,400
Speaker 1: it don't work, like you know what I mean. So

668
00:29:05,040 --> 00:29:07,760
Speaker 1: that's truly helped me out a lot. When you work

669
00:29:07,800 --> 00:29:10,960
Speaker 1: with people like jay Z on Thread or Eric Abadu

670
00:29:11,000 --> 00:29:14,360
Speaker 1: on Honey, how do you stay true? So like that artist?

671
00:29:14,560 --> 00:29:17,560
Speaker 1: Is that artist iconic sound, but still staying true to

672
00:29:17,600 --> 00:29:20,080
Speaker 1: you as a producer. You know what the turning point

673
00:29:20,080 --> 00:29:25,800
Speaker 1: for me, man was when I did Girl by Destiny Child.

674
00:29:26,680 --> 00:29:28,920
Speaker 1: That was the one. What I did Girl in the

675
00:29:28,960 --> 00:29:32,360
Speaker 1: Sheet the reason. And when I got in the studio

676
00:29:32,400 --> 00:29:33,920
Speaker 1: with B, B looked at me and was like, B

677
00:29:34,160 --> 00:29:36,120
Speaker 1: was there the night when I played Beats for J

678
00:29:37,400 --> 00:29:38,320
Speaker 1: in two thousand and three.

679
00:29:38,480 --> 00:29:39,960
Speaker 5: Wow, she was there.

680
00:29:40,320 --> 00:29:42,560
Speaker 1: And when we got in the studio in two thousand

681
00:29:42,600 --> 00:29:44,240
Speaker 1: and four, I was like, what do you want for

682
00:29:44,440 --> 00:29:46,080
Speaker 1: I'm thinking, what do you want for me? Cause again

683
00:29:46,120 --> 00:29:48,680
Speaker 1: we talked about labels. I looked at us, the backpack

684
00:29:49,920 --> 00:29:52,680
Speaker 1: nigga that make stuff excuse me, make stuff on computer?

685
00:29:53,120 --> 00:29:53,680
Speaker 5: You know what I mean.

686
00:29:54,400 --> 00:29:56,320
Speaker 1: That's why I'm looking at looked at and I'm like,

687
00:29:56,360 --> 00:29:58,280
Speaker 1: what do you want from me? Because they had Survivor

688
00:29:58,360 --> 00:30:00,400
Speaker 1: out and can you pay my bill? I'm like, what

689
00:30:00,400 --> 00:30:04,120
Speaker 1: do I fit into this? And she said, I want

690
00:30:04,160 --> 00:30:07,480
Speaker 1: you to do you, but I also want you to

691
00:30:07,520 --> 00:30:10,600
Speaker 1: think about us as the emotions, the seventies group, the

692
00:30:10,680 --> 00:30:12,760
Speaker 1: R and B group, And I was like wow. So

693
00:30:12,800 --> 00:30:14,360
Speaker 1: I'm like, well, how can I bring that up to you?

694
00:30:14,480 --> 00:30:17,720
Speaker 1: And so if she the reason and girl, I made

695
00:30:17,720 --> 00:30:21,520
Speaker 1: them though, I made them records thinking about s wv M.

696
00:30:23,440 --> 00:30:25,280
Speaker 1: And so I do that with every artist, and I

697
00:30:25,320 --> 00:30:27,680
Speaker 1: did it with him. His album is a combination of

698
00:30:28,080 --> 00:30:30,680
Speaker 1: three or four albums in my head together.

699
00:30:30,960 --> 00:30:33,080
Speaker 5: And I can't tell you that.

700
00:30:33,720 --> 00:30:35,239
Speaker 6: We'll tell you off air. We'll tell you off air

701
00:30:36,000 --> 00:30:37,600
Speaker 6: stealing the sauce, I can't tell you that.

702
00:30:37,640 --> 00:30:39,600
Speaker 3: And what's the most difficult artist to work with? And

703
00:30:39,640 --> 00:30:42,400
Speaker 3: not and when I mean difficult, not as in wild

704
00:30:42,440 --> 00:30:46,400
Speaker 3: out and crazy, but just that that artist was two

705
00:30:46,480 --> 00:30:49,120
Speaker 3: for now, wanted it done it a particular way.

706
00:30:49,280 --> 00:30:49,720
Speaker 5: You know what.

707
00:30:50,120 --> 00:30:52,720
Speaker 1: Somebody's asked me this question the other day. I've been lucky, man,

708
00:30:53,400 --> 00:30:56,960
Speaker 1: I've been very lucky to be in the studio with Jay.

709
00:30:57,080 --> 00:31:00,440
Speaker 1: Wasn't tough at all. Jay was the pressure. Cuse man,

710
00:31:00,680 --> 00:31:02,800
Speaker 1: I have twenty five I have twenty five minutes to

711
00:31:02,800 --> 00:31:08,120
Speaker 1: make that beat. Same thing with Destiny's Child that was

712
00:31:08,120 --> 00:31:10,840
Speaker 1: the number one girl group in the world at one point.

713
00:31:11,040 --> 00:31:11,400
Speaker 5: Mary J.

714
00:31:11,520 --> 00:31:17,600
Speaker 1: Blige, same deal, Eric Abaudu, same deal, Kendrick Anderson Pack.

715
00:31:18,120 --> 00:31:20,280
Speaker 1: I've been lucky when you're making like great music and

716
00:31:20,280 --> 00:31:23,760
Speaker 1: soul music man, and you're working with professionals. But once

717
00:31:23,800 --> 00:31:26,560
Speaker 1: I got to like Anderson Pack and Kendrick, now I'm

718
00:31:26,600 --> 00:31:30,040
Speaker 1: not the young one in the studio just waiting for

719
00:31:30,080 --> 00:31:33,360
Speaker 1: the chance. Now I'm controlling the session. So it's it's been.

720
00:31:33,680 --> 00:31:36,360
Speaker 1: It's I've been lucky, man. I've been very, very lucky

721
00:31:36,880 --> 00:31:39,400
Speaker 1: when it comes to work with artists. I want to

722
00:31:39,440 --> 00:31:42,840
Speaker 1: ask you, Rubn, like in twenty twenty five, what truth

723
00:31:43,440 --> 00:31:44,760
Speaker 1: does your music need to tell?

724
00:31:44,840 --> 00:31:45,200
Speaker 2: Right now?

725
00:31:45,320 --> 00:31:46,600
Speaker 5: That's about other issue.

726
00:31:46,280 --> 00:31:49,280
Speaker 1: With a lot of this generation, with everything going on

727
00:31:49,360 --> 00:31:54,160
Speaker 1: in the world, I feel like nobody's reflecting that with art.

728
00:31:54,800 --> 00:31:58,120
Speaker 6: I mean, I think the biggest truth is telling the

729
00:31:58,160 --> 00:32:01,080
Speaker 6: young black black experience to me, just trying to figure

730
00:32:01,120 --> 00:32:02,040
Speaker 6: it out, you know what I mean.

731
00:32:02,040 --> 00:32:04,800
Speaker 2: I'm not sitting on an album like I'm gonna shoot.

732
00:32:04,520 --> 00:32:07,440
Speaker 6: You, or I'm lying like I got a million dollars

733
00:32:07,480 --> 00:32:09,280
Speaker 6: in the bank, you know what I mean, Like I'm

734
00:32:09,280 --> 00:32:11,360
Speaker 6: telling you exactly what it is. I'm telling you my

735
00:32:11,480 --> 00:32:14,960
Speaker 6: real human experience, my real story. And I think that's

736
00:32:14,960 --> 00:32:17,080
Speaker 6: why I make so excited for this album to come out,

737
00:32:17,120 --> 00:32:20,160
Speaker 6: because I think it's gonna shift music in that way

738
00:32:20,320 --> 00:32:23,960
Speaker 6: because I feel like we haven't and excuse me if

739
00:32:23,960 --> 00:32:26,840
Speaker 6: I'm wrong, we haven't had somebody from my age group

740
00:32:27,320 --> 00:32:28,320
Speaker 6: just talk about their.

741
00:32:28,240 --> 00:32:30,000
Speaker 2: Human experience, you know what I mean.

742
00:32:30,040 --> 00:32:32,640
Speaker 6: And everybody's trying to be a facade and you know,

743
00:32:32,720 --> 00:32:34,920
Speaker 6: hold up a mask and you know, try to be

744
00:32:35,000 --> 00:32:37,320
Speaker 6: something that they're really not, and everybody's really searching, you

745
00:32:37,320 --> 00:32:39,720
Speaker 6: know what I mean. And I feel like with this album,

746
00:32:40,160 --> 00:32:43,040
Speaker 6: you know, I talk about, you know, my my upbringing,

747
00:32:43,200 --> 00:32:45,320
Speaker 6: you know, with my heritage, you know, talking about being

748
00:32:45,360 --> 00:32:47,960
Speaker 6: from West Africa's hearing you know, my uncles talk about

749
00:32:48,000 --> 00:32:50,400
Speaker 6: the war. I talk about, you know, my desires and

750
00:32:50,440 --> 00:32:54,080
Speaker 6: aspirations me coming from an HBCU. I talk about, you know,

751
00:32:54,200 --> 00:32:56,760
Speaker 6: embracing the black women. I talk about my mother, you

752
00:32:56,840 --> 00:32:59,400
Speaker 6: know what I mean. I talk about my family heritage,

753
00:32:59,400 --> 00:33:01,280
Speaker 6: and I just talk about you know. I have a

754
00:33:01,320 --> 00:33:03,840
Speaker 6: song called I'm Good where it's like, you know, when

755
00:33:03,840 --> 00:33:05,479
Speaker 6: you people ask you how you doing, you just all

756
00:33:05,560 --> 00:33:05,960
Speaker 6: I'm good.

757
00:33:06,160 --> 00:33:07,360
Speaker 2: But in the verses, I'm.

758
00:33:07,200 --> 00:33:09,960
Speaker 6: Like giving details like no, there's stuff wrong, but every

759
00:33:09,960 --> 00:33:11,040
Speaker 6: time you ask, I'm good.

760
00:33:11,160 --> 00:33:11,760
Speaker 2: You know what I mean.

761
00:33:11,800 --> 00:33:14,080
Speaker 6: But I feel like that's needed, you know what I mean?

762
00:33:14,120 --> 00:33:16,479
Speaker 6: And I feel like that's that's what I want to do.

763
00:33:16,680 --> 00:33:19,840
Speaker 6: Just tell like true human experiences, be honest, you know

764
00:33:19,880 --> 00:33:21,440
Speaker 6: what I mean, Because I feel like honesty is gonna

765
00:33:21,440 --> 00:33:23,000
Speaker 6: take me further than being something I'm not. That's why

766
00:33:23,000 --> 00:33:25,280
Speaker 6: I went with my real name for my artist's.

767
00:33:25,000 --> 00:33:30,200
Speaker 5: Name, and it doesn't. And also too, we need everybody's story.

768
00:33:30,480 --> 00:33:33,600
Speaker 5: We need his like you know what I'm saying.

769
00:33:33,640 --> 00:33:36,440
Speaker 1: We need your story like NBA young boys story that's

770
00:33:36,480 --> 00:33:39,160
Speaker 1: his human experience. In fact, we need that like we

771
00:33:39,240 --> 00:33:42,280
Speaker 1: need you know, I don't like when you know, when

772
00:33:42,320 --> 00:33:43,959
Speaker 1: people say, oh, we gotta have this and not this

773
00:33:44,000 --> 00:33:46,160
Speaker 1: and this and that. We need a balance man like

774
00:33:46,680 --> 00:33:49,080
Speaker 1: I can't. I cannot stop a kid from telling that

775
00:33:49,160 --> 00:33:51,280
Speaker 1: story or whatever that story is, you know what I mean.

776
00:33:51,320 --> 00:33:53,880
Speaker 1: So we need it all. I need his I need

777
00:33:53,920 --> 00:33:57,200
Speaker 1: young boys, I need I need it, man, I need it.

778
00:33:57,240 --> 00:33:59,440
Speaker 5: We had it. What's the difference? You know what I'm saying?

779
00:34:00,000 --> 00:34:02,160
Speaker 1: What does black genius look like hip hop today?

780
00:34:02,240 --> 00:34:02,400
Speaker 2: For you?

781
00:34:02,920 --> 00:34:03,560
Speaker 5: Oh God?

782
00:34:04,960 --> 00:34:08,480
Speaker 1: And who's carrying the torture a black genius?

783
00:34:08,880 --> 00:34:09,200
Speaker 8: Shoot?

784
00:34:09,920 --> 00:34:14,560
Speaker 1: I mean, he's one. I think it goes without saying that.

785
00:34:14,640 --> 00:34:19,879
Speaker 1: Kendrick is another one, absolutely right. There's a few out there, man,

786
00:34:21,480 --> 00:34:22,839
Speaker 1: And I'm trying to get out of the hip hop

787
00:34:22,880 --> 00:34:25,600
Speaker 1: boss man. I like black music, y'all.

788
00:34:26,200 --> 00:34:28,560
Speaker 5: You know what I mean. I really like black music.

789
00:34:28,880 --> 00:34:30,880
Speaker 1: I was talking knowledge about we was having a conversation

790
00:34:30,960 --> 00:34:33,440
Speaker 1: about this album and that's album. This is it's all

791
00:34:33,480 --> 00:34:36,960
Speaker 1: about black music. I think we lost an incredible genius

792
00:34:37,920 --> 00:34:42,600
Speaker 1: the other day, man, or last or Tuesday, last Tuesday, Yes, man,

793
00:34:43,080 --> 00:34:48,279
Speaker 1: And you know, for me and what he's done, it's him,

794
00:34:48,320 --> 00:34:51,960
Speaker 1: Stevie and Prince Like. I don't think anybody could have

795
00:34:52,000 --> 00:34:54,080
Speaker 1: seen this man the last thirty years of music. Man,

796
00:34:54,120 --> 00:34:56,120
Speaker 1: when it comes to black music's him at the top.

797
00:34:56,800 --> 00:34:58,600
Speaker 1: But I mean that that's what it is, man. I

798
00:34:58,719 --> 00:35:00,200
Speaker 1: just I just like black.

799
00:35:00,160 --> 00:35:00,839
Speaker 5: Music, man.

800
00:35:01,000 --> 00:35:02,759
Speaker 1: And it's a lot of black geniuses out there that

801
00:35:02,920 --> 00:35:06,120
Speaker 1: goes across genre, you know, not just hip hop.

802
00:35:06,239 --> 00:35:06,719
Speaker 5: You know what I mean.

803
00:35:06,960 --> 00:35:10,680
Speaker 1: I want to see more producers speaking of black you

804
00:35:10,719 --> 00:35:13,520
Speaker 1: know music. I mean, correct me if I'm wrong. I

805
00:35:13,520 --> 00:35:15,560
Speaker 1: want to see more people inspired by what ROBERTA. Flack

806
00:35:15,600 --> 00:35:20,040
Speaker 1: and Donnie have the way with talking about. It's the feel.

807
00:35:20,040 --> 00:35:24,000
Speaker 1: It's called the feeling, y'all. It's called the feeling. And

808
00:35:24,040 --> 00:35:27,279
Speaker 1: that's where we try to do on this album. It's

809
00:35:27,320 --> 00:35:29,919
Speaker 1: create a feeling. It's like a lot of a lot

810
00:35:29,960 --> 00:35:33,960
Speaker 1: of music lacks that particular euphoric. The thing about D'Angelo

811
00:35:34,120 --> 00:35:36,320
Speaker 1: man which a lot of us was raising the church,

812
00:35:37,080 --> 00:35:40,840
Speaker 1: that feeling is not in music now, and it doesn't

813
00:35:40,920 --> 00:35:43,880
Speaker 1: mean it can't be there. That feeling has been there,

814
00:35:43,920 --> 00:35:47,440
Speaker 1: Sis James brown Man, It's been there as temptations, and

815
00:35:47,480 --> 00:35:50,160
Speaker 1: it showed up in so many different ways, whether it

816
00:35:50,160 --> 00:35:52,520
Speaker 1: be through Ruben, whether it be through a Scissor, whether

817
00:35:52,560 --> 00:35:56,280
Speaker 1: it be through Solange, whether it be through Cleosul who

818
00:35:56,280 --> 00:35:58,799
Speaker 1: I love, whether you know what I'm saying, like, it's

819
00:35:58,880 --> 00:36:01,799
Speaker 1: that feeling is there, and I think hip hop and

820
00:36:01,880 --> 00:36:05,000
Speaker 1: the feeling has got separated over time, which it used

821
00:36:05,000 --> 00:36:08,279
Speaker 1: to be like this because in the nineties hip hop

822
00:36:08,360 --> 00:36:11,959
Speaker 1: has samples in them that was the feeling, no matter

823
00:36:11,960 --> 00:36:14,240
Speaker 1: what the subject matter was on the top in fact,

824
00:36:14,400 --> 00:36:16,600
Speaker 1: so I think this just has to.

825
00:36:16,800 --> 00:36:19,200
Speaker 5: You know, that's got that feel good, man, Nothing wrong

826
00:36:19,239 --> 00:36:19,480
Speaker 5: with that.

827
00:36:19,640 --> 00:36:22,040
Speaker 1: And then it's also how do you keep people's legacies alive?

828
00:36:22,080 --> 00:36:22,160
Speaker 2: Right?

829
00:36:22,200 --> 00:36:25,480
Speaker 1: Because I swear since the Angelo died, you can just

830
00:36:25,520 --> 00:36:27,960
Speaker 1: be out and you'll hear somebody humming of the angels.

831
00:36:28,280 --> 00:36:30,080
Speaker 1: Like I'm talking about humming. I'm not talking about this,

832
00:36:30,120 --> 00:36:32,439
Speaker 1: you're hearing I've been around people and they just.

833
00:36:34,080 --> 00:36:34,239
Speaker 2: Yo.

834
00:36:34,360 --> 00:36:36,080
Speaker 6: Last night, I was at the Odell Show and as

835
00:36:36,080 --> 00:36:40,560
Speaker 6: soon as he got off, they played brown shots.

836
00:36:39,480 --> 00:36:41,640
Speaker 5: Said the old deals and yeah, for sure another one.

837
00:36:41,719 --> 00:36:43,880
Speaker 5: But my thing is, where is that when these people

838
00:36:43,880 --> 00:36:47,040
Speaker 5: are here? Like, how do you keep that alive?

839
00:36:47,120 --> 00:36:48,320
Speaker 1: Is it urban ac radio?

840
00:36:48,800 --> 00:36:48,880
Speaker 2: Like?

841
00:36:49,080 --> 00:36:52,000
Speaker 5: What is it? Yeah, twelve o'clock throwback mixed on you

842
00:36:52,000 --> 00:36:53,480
Speaker 5: know what I mean? I mean, you know that's a

843
00:36:53,560 --> 00:36:54,840
Speaker 5: that's a corporate conversation.

844
00:36:54,920 --> 00:36:55,040
Speaker 2: Man.

845
00:36:55,080 --> 00:36:55,960
Speaker 5: We can hand out them, but.

846
00:36:57,640 --> 00:37:00,640
Speaker 1: Talk no, I mean I'm saying, man, like we got

847
00:37:00,640 --> 00:37:05,920
Speaker 1: to bring oh, DJ Envy, we have to bring DJ's

848
00:37:06,080 --> 00:37:08,960
Speaker 1: were the spokesman for the hood man or for black

849
00:37:09,000 --> 00:37:13,239
Speaker 1: people on what was good and what was not. Everybody

850
00:37:13,280 --> 00:37:18,560
Speaker 1: ain't good, no right, just because you made it, it

851
00:37:18,600 --> 00:37:22,920
Speaker 1: ain't good. Everybody's no music is subjective a cool everybody's

852
00:37:23,280 --> 00:37:27,120
Speaker 1: DJ's was supposed to be the ones that told us

853
00:37:27,400 --> 00:37:28,719
Speaker 1: what was good and what was not.

854
00:37:28,800 --> 00:37:29,880
Speaker 5: We trusted the DJ.

855
00:37:30,000 --> 00:37:31,959
Speaker 1: It's been like that since the beginning of hip hop,

856
00:37:32,560 --> 00:37:35,600
Speaker 1: and so that's what we need, man, And we can't.

857
00:37:35,840 --> 00:37:39,120
Speaker 1: We can't abandon. We can't get a certain age and

858
00:37:39,160 --> 00:37:40,680
Speaker 1: just say, man, I don't want to hear that old

859
00:37:40,719 --> 00:37:45,160
Speaker 1: stuff anymore. Other cultures don't do that, bro. No, they

860
00:37:45,200 --> 00:37:48,839
Speaker 1: don't take a special ed and throw them to the

861
00:37:48,960 --> 00:37:52,319
Speaker 1: back burner. Whoever the country version of Special Led is,

862
00:37:52,640 --> 00:37:54,759
Speaker 1: whoever the country version of Big Daddy Cane is, they

863
00:37:54,800 --> 00:37:57,560
Speaker 1: don't throw them to the back burner. We need to

864
00:37:57,600 --> 00:38:01,319
Speaker 1: make sure our legends are great and revere, just like

865
00:38:01,360 --> 00:38:04,759
Speaker 1: they do in the Grand Old Opera in Nashville. On

866
00:38:04,920 --> 00:38:08,440
Speaker 1: any other genre, the Rolling Stone still rocking because people

867
00:38:08,440 --> 00:38:11,359
Speaker 1: are still going for us. It's out with the old

868
00:38:11,400 --> 00:38:13,480
Speaker 1: and with the new. That's a gene. That's the thing

869
00:38:13,520 --> 00:38:17,360
Speaker 1: about Black people, because we're so creative. We just we

870
00:38:17,520 --> 00:38:21,879
Speaker 1: just onto the next so fast. We cannot abandon who

871
00:38:21,920 --> 00:38:24,560
Speaker 1: got us here and who contems to still do music.

872
00:38:24,960 --> 00:38:27,359
Speaker 1: It's up to us. We cannot wait on anybody else

873
00:38:27,400 --> 00:38:29,399
Speaker 1: to do it but us BRO And they're starting.

874
00:38:29,440 --> 00:38:32,120
Speaker 3: They're starting with the stations because growing up, no matter

875
00:38:33,200 --> 00:38:34,080
Speaker 3: what market.

876
00:38:33,840 --> 00:38:35,399
Speaker 4: You and it was always a classic rock station.

877
00:38:35,920 --> 00:38:37,200
Speaker 2: I was always going to have that.

878
00:38:37,239 --> 00:38:39,040
Speaker 3: And we're starting to get that now we are with

879
00:38:40,080 --> 00:38:42,520
Speaker 3: you know, eighties and nineties or you know, hip hop

880
00:38:42,560 --> 00:38:43,480
Speaker 3: stations and things like that.

881
00:38:43,520 --> 00:38:45,920
Speaker 1: What the reality is all urban adult contemporary stations have

882
00:38:45,960 --> 00:38:48,240
Speaker 1: to do is just update the playlist like old school

883
00:38:48,280 --> 00:38:50,920
Speaker 1: now is what we came up on in the nineties

884
00:38:50,960 --> 00:38:52,840
Speaker 1: and the early two thousands. But they still playing and

885
00:38:53,120 --> 00:38:55,239
Speaker 1: they should. But they're playing earth Wind and Fire and

886
00:38:55,440 --> 00:38:56,360
Speaker 1: Yeah still.

887
00:38:57,640 --> 00:38:58,960
Speaker 7: That we do on Fridays.

888
00:38:58,960 --> 00:39:00,000
Speaker 4: We do have past to us.

889
00:39:00,040 --> 00:39:02,319
Speaker 7: But because Naola Simona has put me on to you

890
00:39:02,400 --> 00:39:04,640
Speaker 7: like that, She's how I found you in O'Dell and

891
00:39:04,920 --> 00:39:07,600
Speaker 7: a lot of other artists that she has put me

892
00:39:07,640 --> 00:39:10,680
Speaker 7: on with. So DJs definitely, you know you got DJs

893
00:39:10,680 --> 00:39:13,359
Speaker 7: with good hears man. That's like, look, you put your

894
00:39:13,360 --> 00:39:15,200
Speaker 7: into the music and these are the things that you

895
00:39:15,320 --> 00:39:18,960
Speaker 7: feel are like kind of rare. She putting them out

896
00:39:18,960 --> 00:39:21,279
Speaker 7: there every Friday. Like I said, she put me on

897
00:39:21,400 --> 00:39:22,759
Speaker 7: you and a lot of other people that I listen

898
00:39:22,800 --> 00:39:24,360
Speaker 7: to you now, So it's important.

899
00:39:24,360 --> 00:39:24,920
Speaker 2: It's important.

900
00:39:25,000 --> 00:39:27,680
Speaker 6: I even think, like like you just said, I think

901
00:39:28,080 --> 00:39:29,759
Speaker 6: you know, y'all do a great job of that just

902
00:39:29,800 --> 00:39:32,200
Speaker 6: having her on Friday doing the pasts, and I think

903
00:39:32,200 --> 00:39:34,400
Speaker 6: it needs to be more because even like Envy, I

904
00:39:34,680 --> 00:39:36,279
Speaker 6: just saw a video where you you were the first

905
00:39:36,280 --> 00:39:38,200
Speaker 6: person to play hit them up, you know what I mean,

906
00:39:38,280 --> 00:39:43,319
Speaker 6: And I feel like, don't get.

907
00:39:48,000 --> 00:39:55,440
Speaker 9: That nobody else against accepted it to heard And I

908
00:39:55,480 --> 00:39:57,880
Speaker 9: tell you I got it from shot money Excel I

909
00:39:57,920 --> 00:39:59,720
Speaker 9: used to put you, gave it to me, left to Studyo,

910
00:39:59,719 --> 00:40:00,319
Speaker 9: gave it to first.

911
00:40:00,360 --> 00:40:03,280
Speaker 1: Did you get to play on Dirty Harriot?

912
00:40:05,000 --> 00:40:09,560
Speaker 8: That definitely was dirty dirty, but not like real talk

913
00:40:09,640 --> 00:40:12,680
Speaker 8: Like I just feel like, you know, you like again,

914
00:40:12,840 --> 00:40:15,600
Speaker 8: she doesn't incredibly with past the ox, but I feel like,

915
00:40:15,640 --> 00:40:18,680
Speaker 8: you know, we need to honor the young DJs and

916
00:40:18,840 --> 00:40:21,880
Speaker 8: you know, allowed them to have that space because you

917
00:40:21,920 --> 00:40:23,680
Speaker 8: know they're going to be the ones putting us on

918
00:40:23,760 --> 00:40:25,040
Speaker 8: the music now, you know what I mean?

919
00:40:25,160 --> 00:40:27,520
Speaker 6: Just like you were a who kid, you know, clue,

920
00:40:27,760 --> 00:40:31,239
Speaker 6: like you know, it's it needs to continue again, each

921
00:40:31,239 --> 00:40:32,120
Speaker 6: one teach one.

922
00:40:31,960 --> 00:40:32,480
Speaker 2: You know what I mean.

923
00:40:32,520 --> 00:40:35,600
Speaker 1: So, yeah, it's wild because now when you watch NF

924
00:40:35,680 --> 00:40:38,640
Speaker 1: you know NFL games, you watch NBA games, when they

925
00:40:38,800 --> 00:40:41,279
Speaker 1: go to commercial, they playing like nothing but a g

926
00:40:41,440 --> 00:40:45,000
Speaker 1: thing and award tour. And I remember when Jalen Rose was,

927
00:40:45,160 --> 00:40:48,200
Speaker 1: you know, the NBA a commentator.

928
00:40:47,680 --> 00:40:48,080
Speaker 2: Like I was.

929
00:40:48,480 --> 00:40:50,439
Speaker 1: I wonder if Jalen Rose got influence of what they're

930
00:40:50,440 --> 00:40:52,080
Speaker 1: playing when they go to commercial, because they played Who

931
00:40:52,120 --> 00:40:52,600
Speaker 1: Got the Props?

932
00:40:52,640 --> 00:40:54,120
Speaker 5: One day and I was like, wait a minute, bro,

933
00:40:54,440 --> 00:40:55,680
Speaker 5: But it's that's we are.

934
00:40:56,560 --> 00:41:00,919
Speaker 1: I think Jimmy Fallon is a prime example of where

935
00:41:00,920 --> 00:41:03,920
Speaker 1: we are in the time continuing because to have the

936
00:41:04,040 --> 00:41:06,319
Speaker 1: be the Tonight Show hosts and your band be the

937
00:41:06,440 --> 00:41:10,400
Speaker 1: Roots tells you everything. And he always says black Thought's

938
00:41:10,440 --> 00:41:12,960
Speaker 1: my favorite rapper, Tyler Qualley is my second favorite rapper,

939
00:41:13,360 --> 00:41:15,839
Speaker 1: and these were fifty years old. So I mean, I

940
00:41:15,840 --> 00:41:17,319
Speaker 1: think we just need to do more of that.

941
00:41:17,360 --> 00:41:19,560
Speaker 5: Man. We just cannot abandon our classics like that.

942
00:41:19,920 --> 00:41:22,080
Speaker 1: Yeah, I agree. A couple of questions for you, Rubh.

943
00:41:22,160 --> 00:41:24,759
Speaker 1: You said knife taught you a lot of discipline. What's

944
00:41:24,760 --> 00:41:26,680
Speaker 1: the hardest lesson he gave you that you didn't want

945
00:41:26,719 --> 00:41:29,120
Speaker 1: to hear ooh mmm.

946
00:41:30,920 --> 00:41:33,719
Speaker 6: Honestly, man, don't listen to people who ain't never did it,

947
00:41:34,400 --> 00:41:36,880
Speaker 6: you know what I mean. And granted, you know I

948
00:41:36,920 --> 00:41:42,920
Speaker 6: always took his counsel, gurus, counsel.

949
00:41:41,280 --> 00:41:43,240
Speaker 2: Yeah, our label, president, cash council.

950
00:41:43,760 --> 00:41:46,880
Speaker 6: But I think you know, I had a unique situation

951
00:41:46,920 --> 00:41:49,520
Speaker 6: because I met them super early, so I didn't really

952
00:41:49,560 --> 00:41:51,480
Speaker 6: put other people's.

953
00:41:52,120 --> 00:41:53,560
Speaker 2: Like opinions and stuff over there.

954
00:41:53,640 --> 00:41:54,880
Speaker 6: Is like I will always go back to them and

955
00:41:54,880 --> 00:41:56,360
Speaker 6: be like, yo, such and such said under me what

956
00:41:56,400 --> 00:41:58,319
Speaker 6: you think you know what I mean, and they'll be like, man,

957
00:41:58,480 --> 00:42:01,440
Speaker 6: But there were certain times where people will try to

958
00:42:01,480 --> 00:42:03,040
Speaker 6: get in my ear, you know what I mean, and

959
00:42:03,120 --> 00:42:05,400
Speaker 6: be like, oh, don't do this, and don't do that

960
00:42:05,560 --> 00:42:07,800
Speaker 6: or move this way, and oh, you don't need to

961
00:42:07,840 --> 00:42:09,440
Speaker 6: be making them type of records, you know what I mean.

962
00:42:09,480 --> 00:42:11,520
Speaker 6: It's not gonna get you nowhere and stuff like that,

963
00:42:11,760 --> 00:42:13,799
Speaker 6: or just trying to tell me stuff. And they ain't

964
00:42:13,840 --> 00:42:15,879
Speaker 6: never did it, you know what I mean. You ain't

965
00:42:15,920 --> 00:42:17,799
Speaker 6: never been in that position. You ain't never did it

966
00:42:17,840 --> 00:42:19,640
Speaker 6: for you to be trying to. And I think you

967
00:42:19,680 --> 00:42:21,920
Speaker 6: know that came with age and like you know, growing up,

968
00:42:22,120 --> 00:42:23,680
Speaker 6: but you know when you're young, and you know, you

969
00:42:23,760 --> 00:42:26,200
Speaker 6: around your friends and you know they trying to you,

970
00:42:26,560 --> 00:42:28,480
Speaker 6: trying to feel accepted, you know what I mean, And

971
00:42:28,520 --> 00:42:31,239
Speaker 6: then you realize, like I'm sitting in this dorm room

972
00:42:31,239 --> 00:42:33,520
Speaker 6: with y'all, y'all trying to tell me when I'm about

973
00:42:33,520 --> 00:42:36,520
Speaker 6: to go on the weekend to LA and possibly.

974
00:42:36,040 --> 00:42:37,640
Speaker 2: Be in the studio with Terrence Martin and all of them.

975
00:42:37,680 --> 00:42:38,560
Speaker 2: And y'all ain't never been.

976
00:42:38,480 --> 00:42:39,879
Speaker 6: In the studio these folks, you know what I mean.

977
00:42:39,920 --> 00:42:42,040
Speaker 6: So I just had to navigate that. But as I

978
00:42:42,080 --> 00:42:44,600
Speaker 6: got older, you know, it was off to the races

979
00:42:44,640 --> 00:42:47,399
Speaker 6: with that. And then also too, I think another thing

980
00:42:47,640 --> 00:42:51,920
Speaker 6: is discipline wise, is you know, just staying true to

981
00:42:51,960 --> 00:42:56,280
Speaker 6: who you are. And you know it's gonna take longer,

982
00:42:57,000 --> 00:43:00,520
Speaker 6: but if you continue to be yourself and just follow

983
00:43:00,560 --> 00:43:02,520
Speaker 6: the course. He said that since the day he's met me,

984
00:43:02,760 --> 00:43:05,400
Speaker 6: stay the course. You stayed the course is going to

985
00:43:05,480 --> 00:43:07,720
Speaker 6: pay off, you know what I mean. There's been times

986
00:43:07,719 --> 00:43:10,000
Speaker 6: where you know, I'm like, man, it's not working out,

987
00:43:10,040 --> 00:43:11,640
Speaker 6: you know what I mean, Maybe I just need to quit,

988
00:43:11,800 --> 00:43:15,279
Speaker 6: you know, give up. And you know a week later,

989
00:43:15,320 --> 00:43:17,239
Speaker 6: Swizz beats hits my phone and stuff like that. You know,

990
00:43:17,280 --> 00:43:19,600
Speaker 6: just stuff like that. So I think he's always told

991
00:43:19,640 --> 00:43:21,320
Speaker 6: me to stay the course, and it was hard because

992
00:43:21,320 --> 00:43:23,279
Speaker 6: you know, you're young and you want it, you see,

993
00:43:23,440 --> 00:43:24,080
Speaker 6: and then you see in.

994
00:43:24,040 --> 00:43:26,640
Speaker 2: Your peers like shoot up, you know what I mean.

995
00:43:26,719 --> 00:43:28,640
Speaker 6: And I've seen that a lot, so I think, you know,

996
00:43:28,680 --> 00:43:30,520
Speaker 6: staying the course is one of another hard things.

997
00:43:30,560 --> 00:43:34,080
Speaker 1: Swizzbeats at your phone when you were sixteen, Yeah, yeah, yeah.

998
00:43:34,200 --> 00:43:34,520
Speaker 2: Facts.

999
00:43:34,600 --> 00:43:36,800
Speaker 1: And you know, people describe you Ruben as a bridge

1000
00:43:36,840 --> 00:43:39,640
Speaker 1: between eras. Do you ever feel pressure to carry that

1001
00:43:39,719 --> 00:43:42,040
Speaker 1: responsibility or do you want to redefine it?

1002
00:43:42,600 --> 00:43:43,640
Speaker 2: I want to redefine it.

1003
00:43:44,760 --> 00:43:47,640
Speaker 6: I think I think I am a bridge because again,

1004
00:43:47,719 --> 00:43:51,200
Speaker 6: like you know, I've taken counsel, and I'm not a

1005
00:43:51,239 --> 00:43:54,080
Speaker 6: person who's stuck up and stubborn and have an ego

1006
00:43:54,160 --> 00:43:56,560
Speaker 6: where I can't listen to any of y'all in the

1007
00:43:56,640 --> 00:43:58,279
Speaker 6: room trying to give me some game. You know, I'm

1008
00:43:58,320 --> 00:43:59,960
Speaker 6: always trying to soak up the game because I know,

1009
00:44:00,000 --> 00:44:03,440
Speaker 6: so I got years to you know, fulfil still you know,

1010
00:44:03,480 --> 00:44:06,040
Speaker 6: I know I'm still super young, and i'd rather listen

1011
00:44:06,080 --> 00:44:07,920
Speaker 6: to somebody who's been around the block and know a

1012
00:44:07,960 --> 00:44:10,800
Speaker 6: few things, then me go make some mistakes that probably

1013
00:44:10,840 --> 00:44:12,920
Speaker 6: won't help me in the long run. But I think

1014
00:44:12,960 --> 00:44:15,759
Speaker 6: I want to redefine it because you know, they have

1015
00:44:15,800 --> 00:44:19,200
Speaker 6: a stigma on lyrical rappers. You know what I mean,

1016
00:44:19,239 --> 00:44:21,600
Speaker 6: how we dress, how we move, and stuff like that.

1017
00:44:21,640 --> 00:44:25,880
Speaker 6: And I think me being young, you know, knowing what's in,

1018
00:44:26,440 --> 00:44:29,160
Speaker 6: but also still being true to myself. You know, it

1019
00:44:29,239 --> 00:44:31,239
Speaker 6: shows in my style, It shows in how I dress,

1020
00:44:31,239 --> 00:44:33,160
Speaker 6: It shows in how I appear. You know what I'm

1021
00:44:33,160 --> 00:44:34,880
Speaker 6: saying when I come off, And I think, you know,

1022
00:44:34,960 --> 00:44:37,279
Speaker 6: redefining it for twenty twenty five. I'm not trying to

1023
00:44:37,280 --> 00:44:39,320
Speaker 6: do what folks did in the nineties, you know what

1024
00:44:39,320 --> 00:44:41,880
Speaker 6: I mean. I'm trying to give y'all the same feeling

1025
00:44:41,920 --> 00:44:45,880
Speaker 6: y'all felt when y'all heard at Aliens and an Equimini.

1026
00:44:45,960 --> 00:44:47,920
Speaker 6: But I'm not trying to recreate that. I'm trying to

1027
00:44:47,960 --> 00:44:49,839
Speaker 6: make a Ruben Vincent twenty twenty five.

1028
00:44:49,880 --> 00:44:55,080
Speaker 2: You know what I mean. Who is considered Marco plus?

1029
00:44:55,280 --> 00:45:02,240
Speaker 6: You know, yes, Chris Patrick, cack Cash, Nico brim Soave, Mavi,

1030
00:45:02,400 --> 00:45:04,880
Speaker 6: he was another one from Charlotte. It's those are a

1031
00:45:04,880 --> 00:45:07,120
Speaker 6: few people that's my peers, that's up and coming right now,

1032
00:45:07,360 --> 00:45:08,200
Speaker 6: that's in my class.

1033
00:45:08,320 --> 00:45:10,719
Speaker 1: Knife. What lane do you think Reuben owns that none

1034
00:45:10,719 --> 00:45:14,799
Speaker 1: of them can duplicate. I think it's the way he

1035
00:45:14,840 --> 00:45:19,520
Speaker 1: talks about black women. I think that's that was a

1036
00:45:21,440 --> 00:45:23,759
Speaker 1: and no, it's not about recreating the nineties, but I

1037
00:45:23,760 --> 00:45:26,200
Speaker 1: think that's something that has left you know what I mean,

1038
00:45:27,160 --> 00:45:31,319
Speaker 1: like just the banter and conversation. Honey, check it out.

1039
00:45:31,320 --> 00:45:33,200
Speaker 1: You got me made. I want to girl with extensions

1040
00:45:33,200 --> 00:45:38,640
Speaker 1: in the hair life that like, it's the way he does.

1041
00:45:38,440 --> 00:45:40,760
Speaker 2: It, you know what I mean, trying to milk it spoiled.

1042
00:45:40,840 --> 00:45:44,960
Speaker 1: Yeah, right, exactly exactly, because we've we've had that conversation

1043
00:45:45,080 --> 00:45:47,880
Speaker 1: a lot. Man, there's there's this narrative that's going around

1044
00:45:48,520 --> 00:45:53,440
Speaker 1: that young black not all, not all young brothers. Some

1045
00:45:53,440 --> 00:45:56,759
Speaker 1: some young brothers only want to be around women when

1046
00:45:56,800 --> 00:46:00,400
Speaker 1: it's time to get intimate and that's it. They let

1047
00:46:00,760 --> 00:46:05,520
Speaker 1: you behave women facts, no conversation, no nothing, no none

1048
00:46:05,560 --> 00:46:08,240
Speaker 1: of that, you know what I mean. In HBCU culture,

1049
00:46:08,280 --> 00:46:10,360
Speaker 1: we didn't grow up like that. We're trying to go chill,

1050
00:46:10,480 --> 00:46:12,319
Speaker 1: you know what I mean, and have conversation and blah

1051
00:46:12,360 --> 00:46:13,040
Speaker 1: blah blah blah.

1052
00:46:13,040 --> 00:46:15,279
Speaker 6: I got five sisters, you know, so I feel like

1053
00:46:15,280 --> 00:46:16,319
Speaker 6: that that influences me.

1054
00:46:16,600 --> 00:46:20,920
Speaker 1: Right, So for him it's the way he's to me.

1055
00:46:21,040 --> 00:46:25,080
Speaker 1: I think he's a if ten Crack Commandments was a thing,

1056
00:46:25,600 --> 00:46:28,200
Speaker 1: you know for dope dealers that bigger put out. He's

1057
00:46:28,239 --> 00:46:30,680
Speaker 1: given that his version in like three or four songs

1058
00:46:30,719 --> 00:46:32,799
Speaker 1: on this album. This is what you need to do,

1059
00:46:33,000 --> 00:46:34,560
Speaker 1: this is what you need to say. But he's not

1060
00:46:34,640 --> 00:46:37,600
Speaker 1: telling you. This is what I'm doing. So if I'm

1061
00:46:37,600 --> 00:46:40,160
Speaker 1: doing it, hopefully it can influence not only a twenty

1062
00:46:40,160 --> 00:46:42,080
Speaker 1: four year old, but it may be a fifteen year

1063
00:46:42,080 --> 00:46:43,359
Speaker 1: old to picks up his.

1064
00:46:43,320 --> 00:46:44,319
Speaker 5: Album, you know what I mean.

1065
00:46:44,360 --> 00:46:47,040
Speaker 1: So I think that the way he approaches it in

1066
00:46:47,080 --> 00:46:49,680
Speaker 1: a fun, light hearted kount of way and just being

1067
00:46:50,160 --> 00:46:54,799
Speaker 1: unapologetic about feeling for somebody in a positive light, what's

1068
00:46:54,800 --> 00:46:55,440
Speaker 1: wrong with that?

1069
00:46:55,560 --> 00:46:58,239
Speaker 5: Man like? And that's I think he does that better

1070
00:46:58,280 --> 00:46:59,239
Speaker 5: than anybody right now.

1071
00:46:59,680 --> 00:47:04,720
Speaker 6: Age, what's your favorite dry record the album or just record?

1072
00:47:06,160 --> 00:47:09,919
Speaker 6: Oh my god, lyrics to go? Yeah, those are too

1073
00:47:10,120 --> 00:47:13,560
Speaker 6: like the top ones honestly, Midnight even rods from top

1074
00:47:13,600 --> 00:47:16,879
Speaker 6: to bottom. It's just crazy. But grat record mm hmm,

1075
00:47:17,760 --> 00:47:21,359
Speaker 6: fast laing with Nas. That's that's my just because I'm

1076
00:47:21,400 --> 00:47:22,359
Speaker 6: a big NAS fan.

1077
00:47:22,719 --> 00:47:22,839
Speaker 2: Yo.

1078
00:47:22,920 --> 00:47:25,200
Speaker 6: I got guns, specifically smoke trees, you know what. I

1079
00:47:25,200 --> 00:47:26,799
Speaker 6: mean like the way he came on there like and

1080
00:47:26,840 --> 00:47:28,799
Speaker 6: it's just the beat. So those are two are like

1081
00:47:28,880 --> 00:47:29,920
Speaker 6: my favorite records from them.

1082
00:47:30,320 --> 00:47:30,680
Speaker 4: Perform a.

1083
00:47:32,280 --> 00:47:38,399
Speaker 5: M no, man, that's the first.

1084
00:47:38,440 --> 00:47:41,040
Speaker 4: And I'm gonna come to you knife Okay, now what

1085
00:47:41,160 --> 00:47:41,959
Speaker 4: you want to see?

1086
00:47:42,120 --> 00:47:44,600
Speaker 3: Yeah, yeah, I was about to say, I'm like, you

1087
00:47:44,600 --> 00:47:46,480
Speaker 3: think about some of them the white people perform, you

1088
00:47:46,840 --> 00:47:47,560
Speaker 3: have this song.

1089
00:47:47,480 --> 00:47:47,879
Speaker 2: That's why?

1090
00:47:48,000 --> 00:47:55,560
Speaker 6: Yeah, okay, So this is my this is my opinion listening.

1091
00:47:59,480 --> 00:47:59,840
Speaker 5: Nas.

1092
00:48:00,920 --> 00:48:03,960
Speaker 2: I think Nas it just depends on his song selection.

1093
00:48:04,200 --> 00:48:04,879
Speaker 4: Could he do it?

1094
00:48:04,960 --> 00:48:08,399
Speaker 2: Yes and no? Yes, yes, song selection though it got

1095
00:48:08,400 --> 00:48:09,000
Speaker 2: to be song.

1096
00:48:08,800 --> 00:48:11,760
Speaker 1: Selections for me. A song selection. It's a song selection

1097
00:48:11,840 --> 00:48:15,840
Speaker 1: with any artist, man, that's what it is. If it

1098
00:48:15,960 --> 00:48:19,800
Speaker 1: was perfect the way Dre did it and had different

1099
00:48:20,880 --> 00:48:24,640
Speaker 1: if Nas does it in a way, it's songs. But

1100
00:48:24,680 --> 00:48:28,000
Speaker 1: we're also dealing we have to be realistic. We're dealing

1101
00:48:28,000 --> 00:48:33,200
Speaker 1: with the Super Bowl, man, and it is a majority

1102
00:48:33,200 --> 00:48:35,080
Speaker 1: of people that watch it and majority of people that

1103
00:48:35,160 --> 00:48:37,600
Speaker 1: can even go. Because I think this is what we're

1104
00:48:37,600 --> 00:48:40,200
Speaker 1: getting lost on this too. I know we're at home

1105
00:48:40,280 --> 00:48:42,160
Speaker 1: watching it, but you also got to think about the

1106
00:48:42,200 --> 00:48:45,000
Speaker 1: people that's at the game. He paid that ticket to

1107
00:48:45,080 --> 00:48:48,120
Speaker 1: get in, so that's what it's going to be. I

1108
00:48:48,239 --> 00:48:51,399
Speaker 1: think it needs to be not only one halftime show.

1109
00:48:51,440 --> 00:48:53,239
Speaker 1: I think it needs to be several shows around the

1110
00:48:53,280 --> 00:48:56,359
Speaker 1: Super Bowl period, maybe before the show, maybe after the show.

1111
00:48:57,000 --> 00:49:00,520
Speaker 2: But I think if he places it, he got a

1112
00:49:00,560 --> 00:49:01,319
Speaker 2: place in the right way.

1113
00:49:01,440 --> 00:49:03,800
Speaker 1: It has to be places right shots to Adam Blackstone

1114
00:49:03,800 --> 00:49:08,160
Speaker 1: because Adam Blackstone's music, the fantastic musical director that did

1115
00:49:08,200 --> 00:49:10,480
Speaker 1: the Dre show, that did the like, he knows what

1116
00:49:10,560 --> 00:49:12,680
Speaker 1: he's doing, So if he got with Adam Blackstone, I

1117
00:49:12,719 --> 00:49:14,640
Speaker 1: think he could also. I love now now that one

1118
00:49:14,640 --> 00:49:16,360
Speaker 1: of my top five favorite rabbits of all time. But

1119
00:49:16,640 --> 00:49:18,600
Speaker 1: when I see people say things like if Dre and

1120
00:49:18,640 --> 00:49:20,879
Speaker 1: Snooke can do it, Like, do y'all realize how big

1121
00:49:20,960 --> 00:49:23,560
Speaker 1: drians Snoop? Yeah, that's a different conversation talking about that's

1122
00:49:23,560 --> 00:49:26,400
Speaker 1: a different that's a different that, it's a different kind.

1123
00:49:26,440 --> 00:49:29,520
Speaker 4: I do feel like different guys can do one mic.

1124
00:49:29,640 --> 00:49:31,600
Speaker 2: I know why I can. In the world is ru

1125
00:49:31,640 --> 00:49:32,080
Speaker 2: in the world?

1126
00:49:32,520 --> 00:49:33,400
Speaker 4: Bring out Lauren Hill?

1127
00:49:33,440 --> 00:49:34,839
Speaker 5: This was what I mean?

1128
00:49:35,840 --> 00:49:38,480
Speaker 2: Selection what you what you think?

1129
00:49:38,560 --> 00:49:40,880
Speaker 1: I think that's a future? I kill him?

1130
00:49:40,920 --> 00:49:42,279
Speaker 5: You know what I mean? Are we doing.

1131
00:49:45,840 --> 00:49:46,120
Speaker 2: All right?

1132
00:49:46,160 --> 00:49:46,239
Speaker 5: Now?

1133
00:49:46,360 --> 00:49:48,840
Speaker 2: Let me are y'all letting him. Do you owe me?

1134
00:49:52,480 --> 00:49:53,160
Speaker 1: No? No, no.

1135
00:49:57,760 --> 00:49:58,960
Speaker 5: Super Bowl one mic.

1136
00:50:01,960 --> 00:50:02,080
Speaker 1: Much?

1137
00:50:02,719 --> 00:50:07,000
Speaker 2: You don't think how much people.

1138
00:50:06,760 --> 00:50:07,360
Speaker 5: Hated you on me.

1139
00:50:08,360 --> 00:50:11,440
Speaker 2: I know That's why I'm like, that's terrible.

1140
00:50:11,520 --> 00:50:12,759
Speaker 5: Not for it.

1141
00:50:14,600 --> 00:50:16,200
Speaker 2: When it came out, y'all don't think they will be

1142
00:50:16,560 --> 00:50:19,920
Speaker 2: the old white tho being that shot. And then you

1143
00:50:19,960 --> 00:50:20,799
Speaker 2: bring out one.

1144
00:50:23,840 --> 00:50:25,520
Speaker 1: You got a couple more questions if you don't have

1145
00:50:25,600 --> 00:50:28,160
Speaker 1: to answer this, if you don't want to made the

1146
00:50:28,200 --> 00:50:32,120
Speaker 1: lord watch. Everybody wanted to know why Knife One didn't

1147
00:50:32,120 --> 00:50:34,439
Speaker 1: participate in the Little Brother document That's a long story.

1148
00:50:34,440 --> 00:50:35,960
Speaker 1: I don't think we got that kind of time. But

1149
00:50:36,080 --> 00:50:39,600
Speaker 1: I will say this, man, you talking about the documentary. Yeah,

1150
00:50:39,680 --> 00:50:42,239
Speaker 1: that's a long story. But I will say this, and

1151
00:50:42,360 --> 00:50:43,400
Speaker 1: you do have as much time.

1152
00:50:43,239 --> 00:50:45,480
Speaker 5: As you you're not doing that.

1153
00:50:46,360 --> 00:50:47,719
Speaker 4: It was up there, we had that conversation that was

1154
00:50:48,360 --> 00:50:48,560
Speaker 4: doing it.

1155
00:50:50,280 --> 00:50:52,400
Speaker 1: I'm gonna say this, And and sometimes people think I

1156
00:50:52,480 --> 00:50:53,760
Speaker 1: say something for political reasons.

1157
00:50:55,120 --> 00:50:57,719
Speaker 5: Y'all watched me for years. Both of y'all have watched

1158
00:50:57,760 --> 00:50:58,319
Speaker 5: me for years.

1159
00:50:59,640 --> 00:51:05,320
Speaker 1: I have never been a person to go online and

1160
00:51:05,480 --> 00:51:08,600
Speaker 1: in public to try not to say that they did

1161
00:51:08,680 --> 00:51:13,160
Speaker 1: that to me, but to deface and talk negative about

1162
00:51:13,239 --> 00:51:18,560
Speaker 1: another man or woman. That's never been my thing, and

1163
00:51:20,000 --> 00:51:21,920
Speaker 1: that's their feeling. That's how they respect, and you have

1164
00:51:22,000 --> 00:51:25,360
Speaker 1: to respect how they feel about everything or whatever. But

1165
00:51:25,800 --> 00:51:28,239
Speaker 1: as far as their success, as far as that we

1166
00:51:28,400 --> 00:51:31,200
Speaker 1: being a part of each other's history, I cannot change

1167
00:51:31,280 --> 00:51:34,359
Speaker 1: that at all. We have our own little brother has

1168
00:51:34,400 --> 00:51:41,560
Speaker 1: our own children, Kendrick Drake, Fact Cole Big Sean, Wilt, Ruben, Vincent.

1169
00:51:41,840 --> 00:51:46,480
Speaker 1: We got our own children, right. So again it's a

1170
00:51:46,520 --> 00:51:50,600
Speaker 1: story behind it. But that's I believe in family business, Bro,

1171
00:51:51,400 --> 00:51:53,359
Speaker 1: That's how this is how I was raised, That's how

1172
00:51:53,400 --> 00:51:56,520
Speaker 1: I am. And you know we're at the age now

1173
00:51:56,560 --> 00:51:59,680
Speaker 1: I'm fifty years old. Bro, y'all know how this goes. Man,

1174
00:52:00,000 --> 00:52:03,319
Speaker 1: those people every day, Bro, we're losing family members. Listen,

1175
00:52:03,920 --> 00:52:04,920
Speaker 1: God bless them brothers.

1176
00:52:05,000 --> 00:52:05,160
Speaker 5: Man.

1177
00:52:05,440 --> 00:52:07,640
Speaker 1: Let them keep doing what they're doing. I think they

1178
00:52:07,719 --> 00:52:09,640
Speaker 1: are on tour right now. They got shows, They're still

1179
00:52:09,680 --> 00:52:13,960
Speaker 1: doing shows. Fonte is incredibly talented, although we may have

1180
00:52:14,480 --> 00:52:18,880
Speaker 1: disagreements or whatever, incredibly talented exactly.

1181
00:52:19,040 --> 00:52:19,600
Speaker 5: You know what I mean.

1182
00:52:19,719 --> 00:52:23,040
Speaker 1: I've seen Poogo from being one artist, one rapper to

1183
00:52:23,160 --> 00:52:26,040
Speaker 1: another rapper to the level that he is. We've made

1184
00:52:26,160 --> 00:52:28,919
Speaker 1: magic and without me, they made magic. And I'm leaving

1185
00:52:28,960 --> 00:52:31,960
Speaker 1: it at that, man, I believe it. Look, bro, I'm

1186
00:52:32,040 --> 00:52:34,839
Speaker 1: serving something else now. Bro, this is how I am.

1187
00:52:35,320 --> 00:52:37,839
Speaker 1: What would a little brother mean to you? A little

1188
00:52:37,840 --> 00:52:38,440
Speaker 1: brother reunion?

1189
00:52:38,960 --> 00:52:41,279
Speaker 6: I mean I've seen it. I've seen it. I've seen

1190
00:52:41,320 --> 00:52:44,719
Speaker 6: it happen. How old was our seventeen? Yeah, when they

1191
00:52:44,760 --> 00:52:48,919
Speaker 6: came to Durham, I was backstage, you know what I mean? Yeah,

1192
00:52:49,200 --> 00:52:51,840
Speaker 6: And you know, I think it was dope because it

1193
00:52:51,960 --> 00:52:54,480
Speaker 6: was something for North Carolina, you know what I mean.

1194
00:52:54,920 --> 00:52:58,719
Speaker 6: They also raised me just as much as tribe did

1195
00:52:58,920 --> 00:53:02,080
Speaker 6: Slum Village, Kanye, you know what I mean, like they

1196
00:53:02,239 --> 00:53:03,040
Speaker 6: they were a part of that.

1197
00:53:04,480 --> 00:53:04,680
Speaker 2: You know.

1198
00:53:04,880 --> 00:53:06,920
Speaker 6: Again, like he said, I think you know the biggest

1199
00:53:06,960 --> 00:53:10,400
Speaker 6: thing is, you know, one thing I can say about

1200
00:53:10,440 --> 00:53:12,239
Speaker 6: Knife and this is not even just because he's sitting

1201
00:53:12,320 --> 00:53:13,520
Speaker 6: right here. I would have said this if I would

1202
00:53:13,520 --> 00:53:14,600
Speaker 6: have did this interview alone.

1203
00:53:15,160 --> 00:53:16,840
Speaker 2: It's just how.

1204
00:53:18,239 --> 00:53:21,880
Speaker 6: Spiritually and how you know he's handled you know, the

1205
00:53:21,960 --> 00:53:24,720
Speaker 6: situation with Grace, and I think, you know, that's another

1206
00:53:24,760 --> 00:53:27,520
Speaker 6: thing that I've learned from him. Even with people around me,

1207
00:53:27,640 --> 00:53:30,080
Speaker 6: you know, you gotta move with Grace. And you know

1208
00:53:30,880 --> 00:53:34,120
Speaker 6: I would love you know, I'm just me being a fan. Obviously,

1209
00:53:34,160 --> 00:53:35,480
Speaker 6: I would have loved for you know what I mean.

1210
00:53:35,600 --> 00:53:37,880
Speaker 6: But we're definitely in a different time now, you know

1211
00:53:37,880 --> 00:53:40,000
Speaker 6: what I mean. And it's a new time, it's a

1212
00:53:40,040 --> 00:53:41,759
Speaker 6: new regime, it's a new place, you know what I mean.

1213
00:53:41,800 --> 00:53:45,000
Speaker 6: And it's just you gotta sometimes the history is supposed

1214
00:53:45,000 --> 00:53:46,960
Speaker 6: to be where it is and people supposed to move on.

1215
00:53:47,080 --> 00:53:47,680
Speaker 2: And that's what it is.

1216
00:53:48,120 --> 00:53:51,000
Speaker 1: Without without know without no Fonte Cole made, would not

1217
00:53:51,080 --> 00:53:56,440
Speaker 1: be a Drake fact Drake Drake completely one thousand percent.

1218
00:53:56,640 --> 00:54:01,799
Speaker 1: He says it a million times, studied him, revered him,

1219
00:54:02,480 --> 00:54:05,759
Speaker 1: imitating him. Everything we know about Drake rapping and singing

1220
00:54:05,840 --> 00:54:13,480
Speaker 1: is Fonte Copin, Buddenden Fonte Copan. But as my man y.

1221
00:54:13,680 --> 00:54:17,279
Speaker 1: But that again, going back and listen, man like, that's

1222
00:54:17,320 --> 00:54:20,040
Speaker 1: how it is with me. I got to keep moving, man.

1223
00:54:20,239 --> 00:54:22,719
Speaker 1: I didn't see the documentary at all. I never watched it.

1224
00:54:22,800 --> 00:54:26,360
Speaker 1: I've heard about it from everybody. But I got to

1225
00:54:26,440 --> 00:54:28,920
Speaker 1: keep them moving, man. I cannot stay in that space.

1226
00:54:29,719 --> 00:54:33,120
Speaker 1: We don't have the time on this earth to stay

1227
00:54:33,160 --> 00:54:35,640
Speaker 1: in that space. I got work to do. This is

1228
00:54:35,719 --> 00:54:38,319
Speaker 1: my work now. I got other work to do as

1229
00:54:38,360 --> 00:54:39,760
Speaker 1: well as my label Jammler.

1230
00:54:40,320 --> 00:54:41,000
Speaker 5: That's what it is.

1231
00:54:41,239 --> 00:54:44,680
Speaker 1: But again, saluting brothers, man, God, bless them brothers, man.

1232
00:54:44,680 --> 00:54:46,480
Speaker 1: That's how they feel to have had the right to

1233
00:54:46,560 --> 00:54:49,239
Speaker 1: express it. I didn't go online and say anything about it.

1234
00:54:49,320 --> 00:54:51,359
Speaker 1: When it came out, I heard everything about it. Blah

1235
00:54:51,360 --> 00:54:51,799
Speaker 1: blah blah.

1236
00:54:52,280 --> 00:54:55,040
Speaker 5: Difference of opinion, and we move on. My last question.

1237
00:54:55,960 --> 00:54:59,160
Speaker 1: If hip hop is a conversation across generations, right, what

1238
00:54:59,400 --> 00:55:01,719
Speaker 1: message are you you too, trying to send back to

1239
00:55:01,800 --> 00:55:08,600
Speaker 1: the culture with welcome home? If Papa is a conversation

1240
00:55:09,760 --> 00:55:12,520
Speaker 1: that the feeling is not lost, you can continue to

1241
00:55:12,600 --> 00:55:16,800
Speaker 1: give the feeling and there's not a division between the generation.

1242
00:55:17,840 --> 00:55:18,880
Speaker 5: There's not a division.

1243
00:55:18,960 --> 00:55:19,120
Speaker 6: Man.

1244
00:55:19,360 --> 00:55:22,400
Speaker 1: We have more in common than you think, especially if

1245
00:55:22,400 --> 00:55:25,359
Speaker 1: you're on the same wavelengths. And I really, I really

1246
00:55:25,520 --> 00:55:26,400
Speaker 1: really want.

1247
00:55:29,000 --> 00:55:33,480
Speaker 5: The elders, not old old lands and elders are two

1248
00:55:33,480 --> 00:55:34,040
Speaker 5: different things.

1249
00:55:35,120 --> 00:55:41,279
Speaker 1: Everybody, Yeah, every everybody. Ain't everybody in an elder and

1250
00:55:41,320 --> 00:55:46,279
Speaker 1: the o g man and sometimes sometimes old niggas want

1251
00:55:46,320 --> 00:55:49,480
Speaker 1: to talk down to the young ones and try to

1252
00:55:49,480 --> 00:55:51,799
Speaker 1: give him advice and young they ain't about to take

1253
00:55:51,840 --> 00:55:54,440
Speaker 1: that from everybody, you know what I mean? Leave them alone,

1254
00:55:54,560 --> 00:55:57,359
Speaker 1: Leave them alone, bro, Look the young The NBA Young

1255
00:55:57,440 --> 00:56:01,960
Speaker 1: Boy Concert is coming to Raleigh, North Carolina. Man Old

1256
00:56:02,000 --> 00:56:04,960
Speaker 1: Niggas stay home where you go out there and get

1257
00:56:05,040 --> 00:56:09,239
Speaker 1: hurt and get hurt like you know, it's not for

1258
00:56:09,560 --> 00:56:12,759
Speaker 1: that's not for us, Broun. We don't do a good

1259
00:56:12,880 --> 00:56:17,160
Speaker 1: job of giving the young ones their space. The VIP

1260
00:56:17,360 --> 00:56:22,120
Speaker 1: belongs to them now, the streets belong to them. Now

1261
00:56:22,920 --> 00:56:26,279
Speaker 1: we are on the sidewalk. So I think what I

1262
00:56:26,360 --> 00:56:28,360
Speaker 1: want to album to do is that you can have

1263
00:56:28,440 --> 00:56:29,160
Speaker 1: a relationship.

1264
00:56:29,280 --> 00:56:29,960
Speaker 5: This can work.

1265
00:56:30,600 --> 00:56:34,440
Speaker 1: Whatever this is. We are twenty five years apart. This

1266
00:56:34,680 --> 00:56:38,279
Speaker 1: can work and music can be made with this. That's

1267
00:56:38,320 --> 00:56:40,040
Speaker 1: the biggest thing I want to get across, man.

1268
00:56:40,360 --> 00:56:44,200
Speaker 6: And I think for me, whether you are a NBA

1269
00:56:44,280 --> 00:56:47,040
Speaker 6: young boy, whether you are a Ruben Vincent, whether you

1270
00:56:47,280 --> 00:56:51,120
Speaker 6: are a any other name that I can name right now,

1271
00:56:52,360 --> 00:56:55,800
Speaker 6: show up as yourself, show up as yourself and perform

1272
00:56:55,880 --> 00:56:58,360
Speaker 6: at a high level, regardless of who you are, you

1273
00:56:58,400 --> 00:56:59,920
Speaker 6: know what I mean, regardless of the background, you can

1274
00:57:00,360 --> 00:57:02,920
Speaker 6: but show up as yourself, and I think we'll welcome home.

1275
00:57:03,080 --> 00:57:04,840
Speaker 2: I showed up one hundred percent Ruben.

1276
00:57:06,800 --> 00:57:08,600
Speaker 6: Everybody always say, you know Ruben and you have an

1277
00:57:08,600 --> 00:57:10,200
Speaker 6: old soul and stuff like that, And this is stuff

1278
00:57:10,200 --> 00:57:12,040
Speaker 6: I've been dealing with since I was a kid.

1279
00:57:12,120 --> 00:57:12,560
Speaker 2: You know what I mean.

1280
00:57:12,600 --> 00:57:15,080
Speaker 6: I remember being made fun of, you know what I mean,

1281
00:57:15,200 --> 00:57:17,840
Speaker 6: for like going to my bus stop and I'm like, yo,

1282
00:57:17,960 --> 00:57:20,120
Speaker 6: have y'all heard Illmatic? And they're like, Bro, we on this,

1283
00:57:20,240 --> 00:57:21,720
Speaker 6: Chief Keef. I don't know that you're talking about it.

1284
00:57:21,720 --> 00:57:23,919
Speaker 6: And I embraced Chief Keith too. I still rock listen

1285
00:57:23,920 --> 00:57:25,920
Speaker 6: to cheek Key to this day. But they you know,

1286
00:57:26,080 --> 00:57:27,720
Speaker 6: I would get looked at a certain way if I came.

1287
00:57:27,800 --> 00:57:29,400
Speaker 6: And I'm like, Yo, y'all gotta listen to ill Matic,

1288
00:57:29,480 --> 00:57:31,480
Speaker 6: y'all gotta listen to reasonable doubt, y'all gotta listen to

1289
00:57:31,880 --> 00:57:34,920
Speaker 6: not even just those, y'all gotta listen to to Pimple Butterfly.

1290
00:57:35,120 --> 00:57:36,960
Speaker 6: And they like, I ain't nobody trying to hear that,

1291
00:57:37,080 --> 00:57:39,240
Speaker 6: but show up as yourself, you know what I mean.

1292
00:57:39,400 --> 00:57:42,280
Speaker 6: And it's like, Yo, I want to perform at a

1293
00:57:42,400 --> 00:57:45,560
Speaker 6: high level in rap. I'm not sitting here. I ain't

1294
00:57:46,000 --> 00:57:48,280
Speaker 6: rapping to just drive a Honda a Cord bro, you

1295
00:57:48,360 --> 00:57:49,920
Speaker 6: know what I mean. Like, but I'm gonna do it

1296
00:57:50,000 --> 00:57:53,200
Speaker 6: as myself. I ain't here to compromise none of that.

1297
00:57:53,480 --> 00:57:55,600
Speaker 6: But I am gonna be one of the greatest of

1298
00:57:55,640 --> 00:57:57,960
Speaker 6: my generation. I'm gonna say that that's just a favorite,

1299
00:57:58,200 --> 00:58:00,360
Speaker 6: you know what I mean? And I'm a would be

1300
00:58:00,400 --> 00:58:03,280
Speaker 6: in one hundred percent, Ruben Vincent. I'm always Rep Africa,

1301
00:58:03,560 --> 00:58:06,680
Speaker 6: I'm always Rap Charlotte, and I'm always REP showing up

1302
00:58:06,760 --> 00:58:08,720
Speaker 6: as yourself And that's exactly what this album is about.

1303
00:58:08,920 --> 00:58:09,960
Speaker 2: He get it?

1304
00:58:10,240 --> 00:58:11,680
Speaker 5: You want to hear right now? Man, we're gonna play.

1305
00:58:11,680 --> 00:58:12,360
Speaker 1: Were gonna paydrants?

1306
00:58:12,360 --> 00:58:14,400
Speaker 5: Sidney? What's the joint? What's the joint with the what's that?

1307
00:58:14,520 --> 00:58:15,160
Speaker 1: That's not the album?

1308
00:58:15,200 --> 00:58:16,480
Speaker 2: Sure saying gotta get it?

1309
00:58:16,680 --> 00:58:18,360
Speaker 5: Got which one y'all want?

1310
00:58:20,440 --> 00:58:20,800
Speaker 4: You pack it?

1311
00:58:21,120 --> 00:58:25,280
Speaker 1: Let's do both of them? Yeah, let's get Dreams sent

1312
00:58:25,360 --> 00:58:27,400
Speaker 1: you fire, but gotta get it ass.

1313
00:58:26,920 --> 00:58:30,640
Speaker 4: Ruben Vincent. Ninth Wonder We Appreciate You Brothers album comes

1314
00:58:30,680 --> 00:58:32,760
Speaker 4: out this Friday. It's The Breakfast Club. Good morning, Yeah,

1315
00:58:34,520 --> 00:58:35,080
Speaker 4: every day.

1316
00:58:35,080 --> 00:58:37,840
Speaker 5: Up Wake click yours up, The Breakfast Club.

1317
00:58:38,400 --> 00:58:39,320
Speaker 2: Finish, y'all done