1 00:00:01,960 --> 00:00:04,960 Speaker 1: R and B money. 2 00:00:05,559 --> 00:00:06,120 Speaker 2: We are. 3 00:00:07,680 --> 00:00:16,040 Speaker 1: Take Malachi. We are the authority on R and B 4 00:00:18,120 --> 00:00:22,800 Speaker 1: Ladies and gentlemen. My name is Tank Valentine. This the 5 00:00:22,960 --> 00:00:25,279 Speaker 1: all N B money buck eyes Yeah, real R and B. 6 00:00:25,600 --> 00:00:32,720 Speaker 1: The authority told them the ship. Well all things R 7 00:00:32,800 --> 00:00:36,120 Speaker 1: and B fighties and gentlemen. Today we have a guy 8 00:00:36,280 --> 00:00:42,800 Speaker 1: my friends. Uh, it's in his blood, in his blood, 9 00:00:42,840 --> 00:00:47,839 Speaker 1: that sen his blood. Every every birthday, every birthday. 10 00:00:48,040 --> 00:00:50,960 Speaker 3: I fight time when you can we wind the time 11 00:00:51,760 --> 00:00:58,280 Speaker 3: because hello, Sally's that's. 12 00:00:58,080 --> 00:01:01,000 Speaker 1: Why fight the time when you you can readwind? 13 00:01:01,640 --> 00:01:04,080 Speaker 3: Why look brand new? 14 00:01:04,400 --> 00:01:09,399 Speaker 1: Bro? Let me say something every every time I've before, now, 15 00:01:09,400 --> 00:01:12,319 Speaker 1: before we've gotten into business together, every time I've ever 16 00:01:12,360 --> 00:01:15,960 Speaker 1: seen you and met you, it's always been about inclusion. 17 00:01:16,920 --> 00:01:21,080 Speaker 1: It's always been about putting your arms around and making 18 00:01:21,120 --> 00:01:24,600 Speaker 1: sure that everybody feels welcome, that you are giving the 19 00:01:24,680 --> 00:01:29,640 Speaker 1: greetings and giving the love. And I've never seen anything different. 20 00:01:30,120 --> 00:01:32,000 Speaker 3: That's just who I am, you know what I'm saying. 21 00:01:32,040 --> 00:01:34,920 Speaker 3: So I'm I'm I like being happy and I want 22 00:01:34,920 --> 00:01:37,440 Speaker 3: to make sure my people happy. Yeah, And so that's 23 00:01:37,480 --> 00:01:41,240 Speaker 3: what it's all about. And so the days of you know, 24 00:01:41,680 --> 00:01:43,520 Speaker 3: we can talk about a lot of shit. We going 25 00:01:43,560 --> 00:01:49,360 Speaker 3: there now off rip. I never liked the major label 26 00:01:49,400 --> 00:01:53,200 Speaker 3: record companies. I never liked how they did our artists 27 00:01:53,200 --> 00:01:57,600 Speaker 3: from the past. I remember they used to they used 28 00:01:57,640 --> 00:02:00,320 Speaker 3: to put Old School at Noon tours together and they 29 00:02:00,320 --> 00:02:03,600 Speaker 3: have guys twenty two, twenty one, twenty three on tour 30 00:02:04,040 --> 00:02:06,480 Speaker 3: calling them old School at Noon. So if you get 31 00:02:06,600 --> 00:02:09,519 Speaker 3: dropped off a major label, they automatically call you old 32 00:02:09,560 --> 00:02:13,080 Speaker 3: School at Noon. But you're only twenty three. Yeah, you know, 33 00:02:13,160 --> 00:02:14,840 Speaker 3: you got these guys and I don't want to say 34 00:02:14,880 --> 00:02:18,520 Speaker 3: their names because really they're really legendary to me, but 35 00:02:18,600 --> 00:02:21,040 Speaker 3: they would have them on Old School at Noon tours 36 00:02:21,080 --> 00:02:23,600 Speaker 3: and shit like that. So I made a note of it. 37 00:02:23,720 --> 00:02:26,000 Speaker 3: I say, yo, listen, they gonna do me the same way. 38 00:02:26,680 --> 00:02:29,000 Speaker 3: So I got to make sure to diversify and make 39 00:02:29,000 --> 00:02:33,560 Speaker 3: sure I get to it. And I love seeing my 40 00:02:33,680 --> 00:02:36,160 Speaker 3: fellow artists look good like you look good. 41 00:02:36,200 --> 00:02:36,400 Speaker 1: You know. 42 00:02:36,440 --> 00:02:38,880 Speaker 3: I was in Beverly Hill's and you know, I'm good 43 00:02:38,919 --> 00:02:40,960 Speaker 3: friends with Johnny Gill and he pulled up in the 44 00:02:42,000 --> 00:02:46,640 Speaker 3: boys boy yard back. I was like, you know, I 45 00:02:46,720 --> 00:02:50,320 Speaker 3: want all my guys looking good, making money getting there. 46 00:02:50,520 --> 00:02:52,400 Speaker 3: That's what it's all about for me. It's never been 47 00:02:52,440 --> 00:02:55,280 Speaker 3: about just me. You know when the kid plays, he'd 48 00:02:55,320 --> 00:02:57,400 Speaker 3: be like, my boy, my boy never been like that 49 00:02:57,440 --> 00:03:01,480 Speaker 3: with me. Had been about everybody eating. Inclusion is all 50 00:03:01,720 --> 00:03:02,520 Speaker 3: all I'm about. 51 00:03:02,840 --> 00:03:07,880 Speaker 1: Bro, You've navigated thirty plus successful. 52 00:03:07,320 --> 00:03:10,840 Speaker 3: Years in this shit pretty crazy. 53 00:03:11,080 --> 00:03:16,160 Speaker 1: Really crazy. It doesn't happen right, and like it's not. 54 00:03:16,639 --> 00:03:21,079 Speaker 1: It's not. You're at the thirtieth year and we're we're 55 00:03:21,120 --> 00:03:24,960 Speaker 1: seeing some fall off. No, you know, you're you're you're 56 00:03:24,960 --> 00:03:27,360 Speaker 1: in a thirtieth year looking like Lebron as I would 57 00:03:27,400 --> 00:03:30,000 Speaker 1: like to say, yeah, Lebron and it's twenty first. 58 00:03:30,280 --> 00:03:33,320 Speaker 3: You know that's Lebron amazes me. You know, to be 59 00:03:33,360 --> 00:03:37,200 Speaker 3: in that shape, still be competitive, but you're in that shape. Yeah, 60 00:03:37,200 --> 00:03:39,160 Speaker 3: I don't want a better shape. Well, you know, God 61 00:03:39,240 --> 00:03:41,680 Speaker 3: is pushing me through it. And so what people got 62 00:03:41,680 --> 00:03:43,680 Speaker 3: to know is that I put my hands in God. 63 00:03:43,760 --> 00:03:47,720 Speaker 3: You know, when people try to, you know, say cancel 64 00:03:47,840 --> 00:03:51,800 Speaker 3: me or or start some shit, I don't even worry. 65 00:03:52,320 --> 00:03:54,200 Speaker 3: I just know God is going to push me through 66 00:03:54,240 --> 00:03:58,840 Speaker 3: because you know where my heart is. Everything, everything's the journey. 67 00:03:59,400 --> 00:04:02,480 Speaker 3: You know, it can't faster for certain people, came slower 68 00:04:02,560 --> 00:04:05,520 Speaker 3: for certain people. But it really is, like Nipsey said, 69 00:04:05,560 --> 00:04:09,320 Speaker 3: this this career thing is really a marathon. And so 70 00:04:09,480 --> 00:04:12,080 Speaker 3: it just keep going and keep going, and who knows, 71 00:04:12,160 --> 00:04:15,840 Speaker 3: something leads to something, something leads to something, you know, 72 00:04:16,120 --> 00:04:20,320 Speaker 3: and then you know it used to be when we started, 73 00:04:20,360 --> 00:04:21,840 Speaker 3: it was about, you know, I used to be with 74 00:04:21,880 --> 00:04:26,000 Speaker 3: Biggie Smalls every day recipes b ig twenty seven years 75 00:04:26,080 --> 00:04:29,279 Speaker 3: and we never took pictures because that was considered sucker 76 00:04:29,320 --> 00:04:33,400 Speaker 3: shit at that time, right, And now I take pictures 77 00:04:33,560 --> 00:04:36,200 Speaker 3: of anything, like I'll be sitting parking the car, like, yo, 78 00:04:36,400 --> 00:04:38,960 Speaker 3: take a pic because we got to capture the moment. 79 00:04:39,680 --> 00:04:43,880 Speaker 3: But when I came up, it was all about if 80 00:04:43,920 --> 00:04:45,680 Speaker 3: you win the club. You would see Fat Joe. You 81 00:04:45,720 --> 00:04:48,320 Speaker 3: would think, yo, I can't talk to this guy. Yeah, 82 00:04:48,560 --> 00:04:50,799 Speaker 3: you know, I got the gangsters around me. I'm standing 83 00:04:50,880 --> 00:04:54,120 Speaker 3: there like, don't look. Because that's what the wave was 84 00:04:54,320 --> 00:05:01,280 Speaker 3: at the time. And so during COVID, everybody stuck home. 85 00:05:01,360 --> 00:05:04,200 Speaker 3: They allowed me to turn on the IG Live and 86 00:05:04,320 --> 00:05:08,200 Speaker 3: show people my real person nine because they knew lean back, 87 00:05:08,279 --> 00:05:11,080 Speaker 3: they knew the songs, they didn't really know Fat Joe 88 00:05:11,160 --> 00:05:14,240 Speaker 3: the personality. And even at that time when we would 89 00:05:14,279 --> 00:05:17,160 Speaker 3: go do interviews, it was like we had to be 90 00:05:17,320 --> 00:05:20,680 Speaker 3: real guarded. You know, you got the the Wendy Williams, 91 00:05:20,800 --> 00:05:24,359 Speaker 3: the Miss Jones ebro at one time where they're all 92 00:05:24,440 --> 00:05:27,640 Speaker 3: trying to jam you up. You know, no disrespect y'all, 93 00:05:27,720 --> 00:05:30,800 Speaker 3: but you know that's where that's where our interviews was. 94 00:05:31,320 --> 00:05:33,200 Speaker 3: So all of us had to put up those little 95 00:05:34,080 --> 00:05:38,560 Speaker 3: invisible bars. So during the COVID it was like, all right, 96 00:05:38,800 --> 00:05:44,040 Speaker 3: everybody the fuck out anyway, laugh Joe, Joe jokes, play 97 00:05:44,080 --> 00:05:46,520 Speaker 3: the Jones girls, you know what I'm saying. You know, 98 00:05:46,560 --> 00:05:49,200 Speaker 3: I'm starting to ship with the Jones girls every every 99 00:05:49,279 --> 00:05:53,920 Speaker 3: day and to try to on to check it to 100 00:05:54,040 --> 00:05:56,240 Speaker 3: everybody like oh shit, I ain't No. Fat Joe was 101 00:05:56,320 --> 00:06:02,120 Speaker 3: like this. But and so you never know where this 102 00:06:02,279 --> 00:06:04,800 Speaker 3: journey gonna take you because it just opened so many 103 00:06:04,880 --> 00:06:07,640 Speaker 3: different doors, you know what I'm saying. Like I never 104 00:06:07,720 --> 00:06:09,840 Speaker 3: thought when I was hustling on the block, I'd be 105 00:06:09,960 --> 00:06:14,080 Speaker 3: selling men's hair grooming products all over the world. But 106 00:06:14,200 --> 00:06:15,520 Speaker 3: we're doing it with trapping. 107 00:06:16,560 --> 00:06:16,920 Speaker 1: Trapped. 108 00:06:16,960 --> 00:06:24,000 Speaker 3: It's scary out here. 109 00:06:24,320 --> 00:06:27,760 Speaker 1: Let's go back there, uh, Fat Joe to the to 110 00:06:27,839 --> 00:06:34,880 Speaker 1: the Bronx sho did Little Joe desire to be a 111 00:06:35,080 --> 00:06:38,159 Speaker 1: rapper a mobile in that sense and entertained? 112 00:06:38,240 --> 00:06:40,400 Speaker 3: Let me tell you a story I told a million times, 113 00:06:40,440 --> 00:06:42,520 Speaker 3: but I'm gonna tell you I remember being taught. First 114 00:06:42,520 --> 00:06:46,800 Speaker 3: of all, it wasn't for young people. There was no Instagram, 115 00:06:47,760 --> 00:06:50,640 Speaker 3: the biggest we could think of with Sanford and Son 116 00:06:51,680 --> 00:06:55,920 Speaker 3: and George Jefferson. We ain't see nobody else that look 117 00:06:56,120 --> 00:07:00,560 Speaker 3: like us. And I'm in the Bronx and I hate 118 00:07:00,600 --> 00:07:02,440 Speaker 3: to tell y'all, but it was like a war zone. 119 00:07:02,480 --> 00:07:06,400 Speaker 3: It was like Ukraine. Pronce was fucked up. It wasn't 120 00:07:06,440 --> 00:07:09,279 Speaker 3: no real buildings or nothing, no playgrounds. And I remember 121 00:07:09,320 --> 00:07:11,559 Speaker 3: sitting out there with my boy Louis one day, twelve 122 00:07:11,640 --> 00:07:13,520 Speaker 3: years old, and I was like, Yo, this broke shit. 123 00:07:14,360 --> 00:07:16,440 Speaker 3: This ain't for me. He was looking at me like 124 00:07:16,560 --> 00:07:19,800 Speaker 3: what I was like, Yo, bro I'm not gonna be broke, 125 00:07:20,960 --> 00:07:24,360 Speaker 3: you know. And so I always remember that moment where 126 00:07:24,440 --> 00:07:27,280 Speaker 3: it was in my DNA that I knew there was 127 00:07:27,400 --> 00:07:29,600 Speaker 3: more for me out there. I didn't know what it was. 128 00:07:30,240 --> 00:07:32,240 Speaker 3: So I was out in the street getting a bunch 129 00:07:32,280 --> 00:07:34,560 Speaker 3: of money, you know. He tried to kill me maybe 130 00:07:34,600 --> 00:07:37,440 Speaker 3: thirty forty times, literally, like the bullet had my name 131 00:07:37,480 --> 00:07:42,600 Speaker 3: on it, shooting at Fat Joey. And so my man 132 00:07:42,720 --> 00:07:47,040 Speaker 3: Diamond D from d TC stepped to me and said yo, Joe, man, 133 00:07:47,120 --> 00:07:48,960 Speaker 3: you gotta you gotta change your life and they're gonna 134 00:07:49,000 --> 00:07:49,440 Speaker 3: kill you out. 135 00:07:49,520 --> 00:07:51,320 Speaker 1: Are you rapping at this point? You're not right? But 136 00:07:52,200 --> 00:07:52,920 Speaker 1: this is your guys. 137 00:07:54,160 --> 00:07:57,000 Speaker 3: You really have to understand. Fat Joe was born. So 138 00:07:57,160 --> 00:07:59,400 Speaker 3: you know the Muslims they go to Saudi Arabia to 139 00:07:59,480 --> 00:08:03,120 Speaker 3: go to mech Yeah. I literally there's just just no 140 00:08:03,280 --> 00:08:05,280 Speaker 3: way a line, there's no way to doing it. I 141 00:08:05,440 --> 00:08:09,400 Speaker 3: literally was born in the birth place of hip hop. No, 142 00:08:10,120 --> 00:08:12,320 Speaker 3: not on the West Side, not on the East Side, 143 00:08:12,440 --> 00:08:16,480 Speaker 3: not on this Grandmaster Flash was out my window DJ 144 00:08:16,680 --> 00:08:20,840 Speaker 3: and every day Melle Mail was playing pickup games of basketball. 145 00:08:20,960 --> 00:08:23,760 Speaker 3: Ruby d the first Latino I MC, Shot Rock the 146 00:08:23,800 --> 00:08:26,880 Speaker 3: first female MC. They af from a hood, my hood, 147 00:08:27,680 --> 00:08:30,880 Speaker 3: like the inception of hip hop. You know, first time 148 00:08:31,000 --> 00:08:35,439 Speaker 3: somebody probably broke dance or this. That's my hood, right, 149 00:08:35,559 --> 00:08:37,280 Speaker 3: so I'm watching it. So I've been to hip hop 150 00:08:37,320 --> 00:08:40,439 Speaker 3: since I was born. I did everything from MC to 151 00:08:41,040 --> 00:08:43,960 Speaker 3: break dance to graffiti, right, I did the whole culture. 152 00:08:44,000 --> 00:08:46,440 Speaker 3: Thing only thing I could never do good was DJ. 153 00:08:46,920 --> 00:08:49,880 Speaker 3: It's the only thing I could never DJ. Wright and 154 00:08:50,000 --> 00:08:53,280 Speaker 3: I used to try, but and so it was either 155 00:08:53,400 --> 00:08:57,120 Speaker 3: hustle or hip hop. So my man Diamond d was 156 00:08:57,160 --> 00:09:00,160 Speaker 3: on already Lort and That's was on and Diamond was like, Yo, 157 00:09:00,280 --> 00:09:01,839 Speaker 3: let's go to the studio. I'll pay Joe. 158 00:09:02,040 --> 00:09:02,720 Speaker 1: So we went in there. 159 00:09:02,760 --> 00:09:05,840 Speaker 3: We made a demo that became my first single, flow Joe, 160 00:09:05,880 --> 00:09:09,600 Speaker 3: that went number one in America, single song. 161 00:09:09,480 --> 00:09:10,480 Speaker 1: Recorded first, So. 162 00:09:13,120 --> 00:09:14,640 Speaker 3: Yeah, it went out the park. 163 00:09:14,720 --> 00:09:15,280 Speaker 1: That's crazy. 164 00:09:15,600 --> 00:09:19,360 Speaker 3: It went out the park number one in America. Our cio. 165 00:09:22,280 --> 00:09:25,800 Speaker 1: Out the project, not even first out in the project. 166 00:09:25,880 --> 00:09:28,520 Speaker 3: I'm still in the project, you know. I moved out 167 00:09:28,559 --> 00:09:31,000 Speaker 3: the projects because I was getting money before I rapped. 168 00:09:31,000 --> 00:09:36,280 Speaker 3: But I was in the project to about my second album, 169 00:09:36,720 --> 00:09:40,240 Speaker 3: and when it's when I realized, all righty, you you're 170 00:09:40,360 --> 00:09:43,880 Speaker 3: rap star now and they starting to view you a 171 00:09:43,960 --> 00:09:46,840 Speaker 3: little different. So for me, I would have still been 172 00:09:46,880 --> 00:09:50,559 Speaker 3: in the projects right now, you know. But it got 173 00:09:50,600 --> 00:09:52,360 Speaker 3: to where it was a lot of jealousy. It was, 174 00:09:52,600 --> 00:09:56,320 Speaker 3: you know, I got up in the project showing them 175 00:09:56,360 --> 00:09:58,880 Speaker 3: I ain't changed. I'm still fat Joe. And then it 176 00:09:59,040 --> 00:10:01,439 Speaker 3: just got to the point where I realized, I was like, damn, 177 00:10:02,280 --> 00:10:04,120 Speaker 3: you know, we one day we had a riot in 178 00:10:04,200 --> 00:10:07,439 Speaker 3: the project because of me, right, So I basically I 179 00:10:07,559 --> 00:10:11,559 Speaker 3: used to run the projects like you know, King of Zamonga, 180 00:10:11,720 --> 00:10:14,200 Speaker 3: you know what I'm saying. And then I became a rapper, 181 00:10:14,760 --> 00:10:16,480 Speaker 3: so now they're seeing me on TV and all that, 182 00:10:16,559 --> 00:10:18,960 Speaker 3: so they started to looking at me like I changed. 183 00:10:19,000 --> 00:10:21,760 Speaker 3: I went soft. I'm a rapper. I can't punch you 184 00:10:21,840 --> 00:10:23,280 Speaker 3: in your face. I can't. 185 00:10:23,400 --> 00:10:25,360 Speaker 1: You know, you know I'm aper. 186 00:10:26,400 --> 00:10:28,880 Speaker 3: No, no, no, I'm a rapper. Of course I can't 187 00:10:28,920 --> 00:10:32,840 Speaker 3: punch you in like you know, you know what I'm saying. 188 00:10:32,920 --> 00:10:36,880 Speaker 3: So it's like it got to that point. And then 189 00:10:37,000 --> 00:10:39,640 Speaker 3: one day we had like half the projects fight half 190 00:10:39,679 --> 00:10:42,839 Speaker 3: the projects because some dude told me, like, Yo, the 191 00:10:42,960 --> 00:10:45,120 Speaker 3: fuck you think you're doing that? I smacked his cheek 192 00:10:45,200 --> 00:10:45,960 Speaker 3: off real quick. 193 00:10:46,640 --> 00:10:46,960 Speaker 1: Bomb. 194 00:10:47,760 --> 00:10:50,199 Speaker 3: I didn't even think about it. I left, you know it. 195 00:10:50,520 --> 00:10:53,360 Speaker 3: It was just a normal currence to me. I left, 196 00:10:53,440 --> 00:10:55,199 Speaker 3: I came back. Then there was a dude there that 197 00:10:55,320 --> 00:10:58,280 Speaker 3: I grew up with his kindergarten and he was angry 198 00:10:59,200 --> 00:11:01,400 Speaker 3: and I don't even say his name. I said, Yo, Pito, 199 00:11:01,440 --> 00:11:03,959 Speaker 3: what's up? PTOs that he was the name fat Pito, 200 00:11:04,120 --> 00:11:07,560 Speaker 3: Fat Joe, Fatito. We grew up since kindergarten. What you mean, 201 00:11:07,640 --> 00:11:08,360 Speaker 3: what's up, nigga? 202 00:11:09,880 --> 00:11:10,320 Speaker 1: What's up? 203 00:11:11,200 --> 00:11:13,280 Speaker 3: You snapped? That was my brother in law. You slap, 204 00:11:13,440 --> 00:11:18,839 Speaker 3: and he swung on me and that's not suggested right, 205 00:11:19,679 --> 00:11:25,880 Speaker 3: and so swung on me. Miss I almost let him 206 00:11:25,920 --> 00:11:28,080 Speaker 3: get away with it. I almost let him get away 207 00:11:28,120 --> 00:11:29,880 Speaker 3: with it. I backed up. I went in the car. 208 00:11:30,400 --> 00:11:32,559 Speaker 3: I never forget I tell you this story, Rich, I 209 00:11:32,720 --> 00:11:35,640 Speaker 3: never forget. My brother full Flex stopped me and said, Yo, Joe, 210 00:11:35,760 --> 00:11:38,000 Speaker 3: I know it's speed though, but you know if you 211 00:11:38,120 --> 00:11:40,920 Speaker 3: walk away right now, they ain't gonna respect you like 212 00:11:41,000 --> 00:11:43,319 Speaker 3: that in the hood no more. I said, damn, but 213 00:11:43,440 --> 00:11:47,160 Speaker 3: it's Peto. He said, Yo, bro, it's up to you. 214 00:11:47,520 --> 00:11:49,400 Speaker 3: I know it's feet though. He was telling me, like, 215 00:11:49,480 --> 00:11:51,760 Speaker 3: I know you don't want to do nothing to Beto. 216 00:11:52,240 --> 00:11:54,520 Speaker 3: You know what I'm saying. Someone in the trunk. I 217 00:11:54,640 --> 00:11:56,520 Speaker 3: pulled out the shots. You remember they used to add 218 00:11:56,760 --> 00:11:59,080 Speaker 3: the yellow shots, the big Michellan shit. 219 00:11:59,200 --> 00:12:00,719 Speaker 1: Yeah, I know, exact household it. 220 00:12:00,920 --> 00:12:03,360 Speaker 3: I started beating beat though up with the Michelan shit, 221 00:12:04,120 --> 00:12:08,000 Speaker 3: and then the whole whoever was jealous of Fat Joe 222 00:12:08,760 --> 00:12:12,080 Speaker 3: Fort Fat Joe that day, whoever was my real brothers 223 00:12:12,160 --> 00:12:15,160 Speaker 3: in the projects Fort dumb So it was half of 224 00:12:15,200 --> 00:12:18,360 Speaker 3: the projects again, I mean, fifty guys a getting like 225 00:12:18,520 --> 00:12:22,000 Speaker 3: everybody going up. Brothers was fighting brothers and my brother 226 00:12:22,160 --> 00:12:25,800 Speaker 3: Hard Power. Oh he was fighting my brother Gizmo, who 227 00:12:25,880 --> 00:12:29,760 Speaker 3: started TS. TS went with Gizmo went with the other side. 228 00:12:29,920 --> 00:12:32,640 Speaker 3: So it was like all our life we knew each other. 229 00:12:32,720 --> 00:12:35,280 Speaker 3: We all had like a big riot because they was 230 00:12:35,360 --> 00:12:37,880 Speaker 3: defending me. They was like, fuck that, Joey, Joey'll brother, 231 00:12:38,679 --> 00:12:40,240 Speaker 3: you know what I'm saying. Then the other half it 232 00:12:40,400 --> 00:12:41,280 Speaker 3: was a little bit jealous. 233 00:12:41,320 --> 00:12:43,240 Speaker 1: We had to we did. 234 00:12:43,360 --> 00:12:46,160 Speaker 3: We won for sure, you know what I'm saying. And 235 00:12:46,280 --> 00:12:49,760 Speaker 3: then and then you know, but that taught me like, man, 236 00:12:49,800 --> 00:12:52,000 Speaker 3: you can't really get out of here like that. On Man, 237 00:12:52,040 --> 00:12:54,640 Speaker 3: these guys are seeing you on TV, and so it's 238 00:12:54,800 --> 00:12:58,840 Speaker 3: not your perception of dumb changes a lot of times, 239 00:12:58,920 --> 00:13:02,320 Speaker 3: you know, as an artist, people's perception if you change, 240 00:13:03,160 --> 00:13:05,199 Speaker 3: and so you can still be the same person. You 241 00:13:05,320 --> 00:13:07,959 Speaker 3: the same you know, we all kids at heart, but 242 00:13:08,160 --> 00:13:11,040 Speaker 3: they start looking at you different, and so you know, 243 00:13:12,000 --> 00:13:13,440 Speaker 3: you know, that's that's what happens. 244 00:13:13,920 --> 00:13:18,160 Speaker 1: Wow, is I'm sure there's a moment. I'm sure there's 245 00:13:18,240 --> 00:13:21,200 Speaker 1: that moment in other moments where it's like you are 246 00:13:21,400 --> 00:13:25,880 Speaker 1: graduating to a place of success on a different side, 247 00:13:26,600 --> 00:13:31,640 Speaker 1: but there's this urge to maintain the street credibility, the 248 00:13:31,679 --> 00:13:32,600 Speaker 1: street credibility. 249 00:13:32,679 --> 00:13:34,760 Speaker 3: Did that we put it down in this game, like 250 00:13:34,880 --> 00:13:37,280 Speaker 3: in this in this rap game without saying no names, 251 00:13:37,280 --> 00:13:39,840 Speaker 3: because I'm cool with a lot of people, not even 252 00:13:39,920 --> 00:13:43,079 Speaker 3: cool brothers, but we we smashed anybody who tried to 253 00:13:43,120 --> 00:13:46,360 Speaker 3: fuck with us, like literally everybody who try to fuck 254 00:13:46,400 --> 00:13:46,679 Speaker 3: with us. 255 00:13:47,920 --> 00:13:53,000 Speaker 1: And this is all yeah, yeah, none of this can 256 00:13:53,040 --> 00:13:56,520 Speaker 1: be used none of all what I'm saying, none of 257 00:13:56,559 --> 00:13:58,840 Speaker 1: this can use against. 258 00:14:04,080 --> 00:14:08,000 Speaker 3: It's been so it was like, you gotta understand hip hop. 259 00:14:08,120 --> 00:14:12,320 Speaker 3: They ain't no PhD, they ain't no bachelorists degree. It's 260 00:14:12,440 --> 00:14:15,440 Speaker 3: like you got a bunch of guys that could rap. 261 00:14:16,920 --> 00:14:19,160 Speaker 3: They probably normally wouldn't even have a career on a 262 00:14:19,320 --> 00:14:22,360 Speaker 3: job if they didn't know how to rap. They aunt 263 00:14:22,400 --> 00:14:25,880 Speaker 3: to Rogers, everybody who just came home from jail. Everybody 264 00:14:26,000 --> 00:14:29,080 Speaker 3: think they tough. Everybody did so every now and then 265 00:14:29,160 --> 00:14:33,520 Speaker 3: you gotta like reassure them that this is what happens. 266 00:14:34,600 --> 00:14:36,760 Speaker 2: It's interesting for me because me growing up in the 267 00:14:36,800 --> 00:14:40,640 Speaker 2: Bay Area, I always I watched I watched you as 268 00:14:40,680 --> 00:14:43,520 Speaker 2: a kid, and I watched your career and it was 269 00:14:44,560 --> 00:14:48,960 Speaker 2: very parallel to e forties for me. I think on 270 00:14:49,080 --> 00:14:52,320 Speaker 2: the East Coast forty because I know him so well, 271 00:14:52,360 --> 00:14:54,560 Speaker 2: that's my guy, and I'm watching you on the whole 272 00:14:54,600 --> 00:14:55,520 Speaker 2: other side of the country. 273 00:14:55,560 --> 00:14:58,960 Speaker 1: I'm like, this is very familiar to me. Yeah, it 274 00:14:59,080 --> 00:15:00,320 Speaker 1: is very familiar to me. 275 00:15:00,840 --> 00:15:03,400 Speaker 2: Like and it was funny because and even and even 276 00:15:03,520 --> 00:15:07,600 Speaker 2: how it's how it's uh come to life now later 277 00:15:07,680 --> 00:15:10,800 Speaker 2: in your career, businessman, business life. But you guys were 278 00:15:10,880 --> 00:15:14,560 Speaker 2: always independent. You guys always had your wife with you. 279 00:15:15,000 --> 00:15:18,160 Speaker 2: It was also it was it was watching a man 280 00:15:18,280 --> 00:15:21,600 Speaker 2: do business right, because we have a lot of little 281 00:15:21,640 --> 00:15:25,440 Speaker 2: boys in this industry. It's very few men who are 282 00:15:25,480 --> 00:15:29,880 Speaker 2: handling their business and who are approaching everything as a man. 283 00:15:30,080 --> 00:15:34,160 Speaker 1: First, all we asked is men is respect. We're not 284 00:15:34,200 --> 00:15:36,680 Speaker 1: trying to say nobody, We're not trying to disrespect nobody. 285 00:15:36,760 --> 00:15:39,160 Speaker 3: This is what this is about. Yeah, So the only 286 00:15:39,240 --> 00:15:41,440 Speaker 3: reason I come to do a podcast, so I do 287 00:15:41,640 --> 00:15:43,800 Speaker 3: my own talk show or whatever the case may be, 288 00:15:44,400 --> 00:15:47,320 Speaker 3: is transparency. Yes, you know, we got people who look 289 00:15:47,400 --> 00:15:49,920 Speaker 3: up to us, whether they're R and B, whether they're rappers, 290 00:15:50,600 --> 00:15:53,760 Speaker 3: and they got to hear these type of stories. They 291 00:15:53,840 --> 00:15:57,400 Speaker 3: gotta hear these business moves, they gotta hear how fat 292 00:15:57,440 --> 00:16:00,520 Speaker 3: you'oin fifty are friends now brothers when they was trying 293 00:16:00,520 --> 00:16:01,120 Speaker 3: to kill each other. 294 00:16:01,280 --> 00:16:01,840 Speaker 1: They got here. 295 00:16:04,560 --> 00:16:07,880 Speaker 3: I was there, I was going, but not they even 296 00:16:08,000 --> 00:16:10,680 Speaker 3: dwell on that. But I'm just saying they got to 297 00:16:10,720 --> 00:16:13,200 Speaker 3: see the growth so they can know, you know, like 298 00:16:13,520 --> 00:16:17,480 Speaker 3: even Fat Joe, I'm a dreamer, I'm a believer. But 299 00:16:18,720 --> 00:16:20,440 Speaker 3: if somebody does it. You know, I used to go 300 00:16:20,520 --> 00:16:22,920 Speaker 3: to puff Daddy's house and just stare at the walls, 301 00:16:23,400 --> 00:16:26,240 Speaker 3: to the ceilings and the marble and be like, yo, 302 00:16:26,320 --> 00:16:29,200 Speaker 3: we could get ship like this, you know, or someone 303 00:16:29,280 --> 00:16:32,160 Speaker 3: I hear a deal. You know, fifty cent just closed 304 00:16:32,200 --> 00:16:35,760 Speaker 3: this TV show man. We could do that. And so 305 00:16:35,960 --> 00:16:38,240 Speaker 3: I've always looked at everything like I got to see 306 00:16:38,280 --> 00:16:41,520 Speaker 3: it to believe it, and from a lens of not jealousy, 307 00:16:42,000 --> 00:16:46,360 Speaker 3: but inspiration. And so that's what's so important about outlets 308 00:16:46,520 --> 00:16:49,440 Speaker 3: like this. It's like we got to share that information 309 00:16:49,600 --> 00:16:52,920 Speaker 3: with the youth. Has somebody broke down to me when 310 00:16:53,000 --> 00:16:56,320 Speaker 3: I was a young kid wilding in the industry and 311 00:16:56,440 --> 00:16:59,200 Speaker 3: all like, yo, bro, this ain't good for business. Somebody, 312 00:16:59,320 --> 00:17:01,880 Speaker 3: I really rest of the known out of switch right there. 313 00:17:02,520 --> 00:17:04,320 Speaker 3: I would it would have saved me a bunch of 314 00:17:04,840 --> 00:17:08,760 Speaker 3: paying bells, paying rents, you know, you know, I was 315 00:17:08,800 --> 00:17:11,719 Speaker 3: going MTV Awards that that year, not even that all 316 00:17:11,760 --> 00:17:14,119 Speaker 3: them year awards. I had bet for fifty, so I 317 00:17:14,200 --> 00:17:16,800 Speaker 3: have to fly in with fifty guys. I had to 318 00:17:16,880 --> 00:17:20,520 Speaker 3: put fifty guys in fifty old towels. You know, we 319 00:17:20,680 --> 00:17:24,800 Speaker 3: popped in fifty bottles, hundred bottles. You know that's that's 320 00:17:24,840 --> 00:17:30,040 Speaker 3: a big purse. You the boss, sit down there. The 321 00:17:30,160 --> 00:17:33,040 Speaker 3: wars real because the last thing you want is to 322 00:17:33,800 --> 00:17:37,040 Speaker 3: get caught off point. So you got to be right 323 00:17:37,640 --> 00:17:40,600 Speaker 3: so that all that ship costs. So it's for the 324 00:17:41,200 --> 00:17:43,960 Speaker 3: the youth to understand. Don't get involved in that. 325 00:17:44,200 --> 00:17:44,840 Speaker 1: You know what I'm saying. 326 00:17:44,880 --> 00:17:48,080 Speaker 3: We get we we we pray to God right. First 327 00:17:48,160 --> 00:17:51,679 Speaker 3: of all, God is everything to meet. God is everything right, 328 00:17:52,359 --> 00:17:54,919 Speaker 3: and so we pray to God to get us out 329 00:17:54,960 --> 00:17:59,880 Speaker 3: of these terrible situations. And then once you're there, everybody 330 00:18:00,160 --> 00:18:03,719 Speaker 3: race to see how they how they asshole? You ever 331 00:18:03,840 --> 00:18:07,240 Speaker 3: watched them? How many you want a ward? Shows? You watch? 332 00:18:07,560 --> 00:18:10,800 Speaker 3: And whoever's hot at the time, it's their chance to 333 00:18:10,920 --> 00:18:14,240 Speaker 3: act like an asshole while they getting their ward. It's 334 00:18:14,320 --> 00:18:17,040 Speaker 3: like yeah, yah, yeah, I'm like, yo, bro, just be humble, 335 00:18:17,760 --> 00:18:21,240 Speaker 3: be happy, you know. And with R and B, you 336 00:18:21,359 --> 00:18:24,239 Speaker 3: got a lot of complicated, Like you met a lot 337 00:18:24,280 --> 00:18:28,399 Speaker 3: of R and B singers that're like mentally complicated, right, Like. 338 00:18:28,920 --> 00:18:31,960 Speaker 1: Well, it's just that like with R and B. You know, 339 00:18:32,160 --> 00:18:34,840 Speaker 1: for the most part, R and B is a very 340 00:18:34,920 --> 00:18:39,480 Speaker 1: much solo venture, right, and so it's not like it's 341 00:18:39,520 --> 00:18:42,359 Speaker 1: not like cruise or where you like, where there's an 342 00:18:42,359 --> 00:18:45,280 Speaker 1: accountability system in a sense, right, you always have your 343 00:18:45,320 --> 00:18:47,119 Speaker 1: one guy that's like, hey man, we shouldn't like I 344 00:18:47,200 --> 00:18:49,240 Speaker 1: have my guy right here. It's like that, ain't it. 345 00:18:49,640 --> 00:18:51,440 Speaker 1: We need to be on that or we shouldn't do this. 346 00:18:51,560 --> 00:18:54,560 Speaker 1: There's a crew, there's a sense of brotherhood, sense of family, 347 00:18:54,680 --> 00:18:57,520 Speaker 1: camaraderie as R and B artists is just. 348 00:18:58,400 --> 00:18:59,920 Speaker 3: Used like everybody for themselves. 349 00:19:00,040 --> 00:19:04,440 Speaker 2: It is is I equate it to it being we're 350 00:19:04,480 --> 00:19:07,520 Speaker 2: all in high school. It's the one girl that everybody 351 00:19:07,640 --> 00:19:10,000 Speaker 2: likes and everybody's their friend. As soon as one guy 352 00:19:10,080 --> 00:19:12,560 Speaker 2: gets her, he tucks her and says, you better not 353 00:19:12,640 --> 00:19:14,080 Speaker 2: talk to none of these motherfuckers again. 354 00:19:14,200 --> 00:19:15,640 Speaker 1: That's what it is. That's what R and B music 355 00:19:15,800 --> 00:19:18,160 Speaker 1: is exactly. I got the girl. So whoever is whoever 356 00:19:18,240 --> 00:19:21,040 Speaker 1: is the top R and B guy? I got the girl? 357 00:19:21,200 --> 00:19:24,120 Speaker 3: Well you talk to you talking in the sense of executives. 358 00:19:24,359 --> 00:19:25,240 Speaker 1: No, I'm talking in the. 359 00:19:25,320 --> 00:19:28,160 Speaker 2: Sense of artists. I'm talking about the artists. You gotta 360 00:19:28,160 --> 00:19:30,159 Speaker 2: think about it like this. We can go back to 361 00:19:30,240 --> 00:19:33,400 Speaker 2: the history of R and B music and point out 362 00:19:33,960 --> 00:19:36,800 Speaker 2: that probably and you know a lot of niggas gonna 363 00:19:36,800 --> 00:19:39,960 Speaker 2: get mad at me about this. Keith Sweat is one 364 00:19:40,000 --> 00:19:43,000 Speaker 2: of the last artists to actually put other R and 365 00:19:43,080 --> 00:19:47,320 Speaker 2: B artists on silk and too many raptors that do 366 00:19:47,480 --> 00:19:50,520 Speaker 2: that too, Keith Sweat, But it's more, it's more round. 367 00:19:50,800 --> 00:19:53,720 Speaker 3: You're not selfish like baby Face wrote all of Bobby 368 00:19:53,760 --> 00:19:56,600 Speaker 3: Brown's all that ship. You wrote a bunch of shit, yo, Bro. 369 00:19:56,800 --> 00:20:00,920 Speaker 3: That's very giving, absolutely, because everybody's like, you know, like, 370 00:20:01,160 --> 00:20:03,200 Speaker 3: oh I got to hit. I'm not giving this to nobody. 371 00:20:03,520 --> 00:20:08,280 Speaker 3: Give somebody a hit. It's crazy. But so in a sense, 372 00:20:08,480 --> 00:20:11,000 Speaker 3: Keith Sweat definitely put a bunch of them on. 373 00:20:11,160 --> 00:20:13,159 Speaker 1: A bunch of people on You want talk. 374 00:20:13,040 --> 00:20:15,359 Speaker 3: About Keith Sweat, you know what I'm saying. Keith Sweat. 375 00:20:15,400 --> 00:20:19,119 Speaker 3: All right, Let's go back to fat yo, when all 376 00:20:19,200 --> 00:20:22,320 Speaker 3: the gangsters was getting money. And it's weird because they 377 00:20:22,400 --> 00:20:24,920 Speaker 3: put them all in jail. They all died. But I 378 00:20:25,000 --> 00:20:27,080 Speaker 3: grew up at a time where you turn the corner, 379 00:20:27,640 --> 00:20:29,480 Speaker 3: it looked like it was bombed up, and then you 380 00:20:29,600 --> 00:20:33,040 Speaker 3: bump into ten benzes and beamers and little kids are 381 00:20:33,119 --> 00:20:37,000 Speaker 3: playing basketball with big rope chains with plates like you know, 382 00:20:37,200 --> 00:20:40,000 Speaker 3: the dudes is sitting in the corner dapping dan doubt 383 00:20:40,119 --> 00:20:42,879 Speaker 3: like I grew up in a fly time where guys 384 00:20:43,040 --> 00:20:46,600 Speaker 3: was out there stunting crazy like that. That's that's the 385 00:20:46,720 --> 00:20:50,840 Speaker 3: time I come from, right and so. But even though 386 00:20:50,920 --> 00:20:55,000 Speaker 3: these guys were selling massive drugs, shooting people every day, 387 00:20:55,920 --> 00:20:59,440 Speaker 3: every time you went into the most notorious guy's car, 388 00:21:00,320 --> 00:21:14,680 Speaker 3: when he pressed plate, it was Keith Sweat. It's just 389 00:21:14,840 --> 00:21:23,600 Speaker 3: nowhere around. There was nowhere around playing laying drives in 390 00:21:23,680 --> 00:21:28,120 Speaker 3: the ship. No, it's a fat ye. That's why you say. 391 00:21:28,560 --> 00:21:30,800 Speaker 3: You say, Yo, Joe man, you always get Keith Sweat 392 00:21:30,840 --> 00:21:35,360 Speaker 3: at your birthday, fucking right, because my guys somemi ever, 393 00:21:35,760 --> 00:21:39,080 Speaker 3: they know what the is. When he did singing, they're like, yo, 394 00:21:39,200 --> 00:21:42,159 Speaker 3: he got Keith Sweat up in this motherfucker. Like you know, 395 00:21:42,800 --> 00:21:45,280 Speaker 3: Keith Sweat man, I don't. I try to tell him 396 00:21:45,320 --> 00:21:48,280 Speaker 3: all the time. I don't think he knows what he 397 00:21:48,440 --> 00:21:51,439 Speaker 3: meant to the gangsters in the hallm in the Bronx 398 00:21:51,520 --> 00:21:54,040 Speaker 3: and around America. You know Keith Sweat, I don't know 399 00:21:54,640 --> 00:21:57,359 Speaker 3: he was singing love ballance, but that was some they 400 00:21:57,440 --> 00:21:57,679 Speaker 3: had that. 401 00:21:57,760 --> 00:22:00,879 Speaker 2: Base under the ship. It was just it was a 402 00:22:01,520 --> 00:22:04,920 Speaker 2: different it was a different vibe to his music. It 403 00:22:05,040 --> 00:22:08,480 Speaker 2: was a different vibe to his music, like he sang. Really, 404 00:22:08,720 --> 00:22:12,000 Speaker 2: Keith Sweat might have been the first trap so, I 405 00:22:12,080 --> 00:22:14,560 Speaker 2: mean he might have hit so hard like the music 406 00:22:14,720 --> 00:22:17,159 Speaker 2: hits so hard, like it was low rider music on 407 00:22:17,200 --> 00:22:17,800 Speaker 2: the West Coast. 408 00:22:18,359 --> 00:22:20,919 Speaker 1: You know what I'm saying today, Man, I ain't want 409 00:22:20,960 --> 00:22:22,680 Speaker 1: to no soft ship. Man, wan't sing on top of those. 410 00:22:24,119 --> 00:22:25,399 Speaker 1: You got to give me some hot ship that she 411 00:22:25,440 --> 00:22:27,600 Speaker 1: gotta be jumping pumping to speaker his baby and and 412 00:22:28,040 --> 00:22:31,440 Speaker 1: to to parallel that. That's really what Keith Sweat is. Yeah, 413 00:22:32,000 --> 00:22:35,200 Speaker 1: it's really being played by the cases key Sweat. This 414 00:22:35,320 --> 00:22:35,680 Speaker 1: is a game. 415 00:22:35,920 --> 00:22:39,359 Speaker 3: Absolutely absolutely Keth Sweat man, he's something else. 416 00:22:39,520 --> 00:22:39,639 Speaker 1: Man. 417 00:22:39,720 --> 00:22:41,639 Speaker 3: One year I did my birthday party. I had to 418 00:22:41,760 --> 00:22:44,680 Speaker 3: move the whole party around for his day. So we 419 00:22:44,800 --> 00:22:47,840 Speaker 3: did it on Sunday because he was booked Monday, Tuesday, Wednesday, 420 00:22:47,880 --> 00:22:50,600 Speaker 3: Thursday for he was love playboy. I see you on 421 00:22:50,680 --> 00:22:52,840 Speaker 3: my birthday to night he said, Yo, Man, the twenty 422 00:22:52,920 --> 00:22:57,560 Speaker 3: six is open. I said the parties on Keith Sweat. 423 00:22:58,200 --> 00:23:00,200 Speaker 3: We don't hem about last year he was gonna I 424 00:23:00,200 --> 00:23:02,200 Speaker 3: don't know if people know, but you know it's house 425 00:23:02,280 --> 00:23:02,960 Speaker 3: caught a fire. 426 00:23:03,720 --> 00:23:04,200 Speaker 1: Do you know that? 427 00:23:04,400 --> 00:23:06,720 Speaker 3: Yes, that was the day of my birthday. He was 428 00:23:06,720 --> 00:23:09,440 Speaker 3: supposed to fly in last year and last year. We 429 00:23:09,560 --> 00:23:12,120 Speaker 3: try to get you like two years tank we got 430 00:23:12,520 --> 00:23:17,040 Speaker 3: last last year, Babyface came, Stephanie Mills came. You know, 431 00:23:17,160 --> 00:23:18,400 Speaker 3: Mary Jay come all the time. 432 00:23:18,520 --> 00:23:19,960 Speaker 1: She early. 433 00:23:20,480 --> 00:23:22,320 Speaker 3: I'm gonna tell you early because I tried. 434 00:23:22,119 --> 00:23:27,520 Speaker 1: To No, no, no, we're gonna stop this trying to 435 00:23:27,520 --> 00:23:27,880 Speaker 1: get call. 436 00:23:28,400 --> 00:23:35,080 Speaker 3: You have to tell me okay, okay earlier Joe when 437 00:23:35,800 --> 00:23:37,919 Speaker 3: we're doing that that Joe party. I got a new thing. 438 00:23:38,040 --> 00:23:40,480 Speaker 3: You know they say, don't talk to dudes wives. I 439 00:23:40,600 --> 00:23:42,199 Speaker 3: think that's the only way to get it done now 440 00:23:42,280 --> 00:23:43,480 Speaker 3: was talking to dudes wives. 441 00:23:43,600 --> 00:23:44,040 Speaker 1: I swear to. 442 00:23:46,560 --> 00:23:47,760 Speaker 3: No, No, that's how I get shit done. 443 00:23:48,440 --> 00:23:49,720 Speaker 1: To come, no, I need it. 444 00:23:49,800 --> 00:23:51,639 Speaker 3: I needed baby Face to pet me something. I have 445 00:23:51,720 --> 00:23:55,080 Speaker 3: to hit this girl up, like yo, yay, Joe, we love. 446 00:23:55,040 --> 00:23:55,199 Speaker 1: It y. 447 00:23:57,880 --> 00:24:00,320 Speaker 3: You know what I'm saying. That's what's doing this ship lately, 448 00:24:02,400 --> 00:24:05,760 Speaker 3: pushing the shutout. That's who I gotta find your wife 449 00:24:05,760 --> 00:24:08,280 Speaker 3: would be like, Yo, check this out. I need him there. 450 00:24:08,600 --> 00:24:16,239 Speaker 1: She messed up when she's gonna calls at you right 451 00:24:16,280 --> 00:24:17,320 Speaker 1: now so I can talk to him. 452 00:24:18,600 --> 00:24:21,240 Speaker 3: People know, you know, I'm more of an R and 453 00:24:21,400 --> 00:24:26,920 Speaker 3: B guy, absolutely hip hop Richie, Like, Yo, why you 454 00:24:26,960 --> 00:24:29,040 Speaker 3: wan't to always want to play that on b ship 455 00:24:29,240 --> 00:24:29,720 Speaker 3: man all that. 456 00:24:38,680 --> 00:24:40,000 Speaker 1: It's a little too intimate for you. 457 00:24:40,680 --> 00:24:43,560 Speaker 2: You're playing blue Magic and deal Phonics. 458 00:24:43,640 --> 00:24:48,320 Speaker 3: I play that, Yeah, that's I play. I got the 459 00:24:48,640 --> 00:24:51,240 Speaker 3: super old school mix for on the plane. I'm scared 460 00:24:51,280 --> 00:24:55,800 Speaker 3: to fly, so I listen to all that delphonic stylistics, 461 00:24:55,920 --> 00:25:00,200 Speaker 3: the blue notes, everything, Man, I listen to all that 462 00:25:00,320 --> 00:25:01,280 Speaker 3: calms me down. 463 00:25:01,800 --> 00:25:04,879 Speaker 1: I gotta ask a question, yes, Switch or the barge? 464 00:25:05,880 --> 00:25:11,120 Speaker 3: The Barge's incredible? Yeah, oh Bobby, Yeah, because they're big man. 465 00:25:12,359 --> 00:25:16,840 Speaker 3: You know Bobby's Bobby. But you know Switch. Most people 466 00:25:16,920 --> 00:25:18,959 Speaker 3: you could have tried to jam me up right now 467 00:25:18,960 --> 00:25:22,040 Speaker 3: because most people don't even know Switch unless you really 468 00:25:22,119 --> 00:25:24,560 Speaker 3: know arm that barge is. 469 00:25:25,160 --> 00:25:27,159 Speaker 1: That's like saying that's the Little Brother and Little Sisters. 470 00:25:27,240 --> 00:25:32,040 Speaker 3: Yeah, that's like saying, you know Michael Jackson, LaToya or 471 00:25:32,080 --> 00:25:34,240 Speaker 3: some ship like that, even though don't get it fucked up. 472 00:25:34,320 --> 00:25:37,840 Speaker 3: Switch was the ship. Switch is the ship but the 473 00:25:37,960 --> 00:25:39,800 Speaker 3: barge that's superstardom. 474 00:25:40,680 --> 00:25:45,359 Speaker 1: Yeah, that's fair. That's it. Let's let's talk music. What 475 00:25:45,480 --> 00:25:49,479 Speaker 1: do you think if if we're giving a secret, if 476 00:25:49,480 --> 00:25:54,320 Speaker 1: we're giving a blueprint in terms of sting, relevant sting, 477 00:25:54,480 --> 00:25:59,240 Speaker 1: active sting on the charts, being able to do high 478 00:25:59,320 --> 00:26:04,760 Speaker 1: level collaborate rations. You started that a long time ago. 479 00:26:05,760 --> 00:26:10,680 Speaker 3: Well, you know what happened to me was after Pun 480 00:26:10,840 --> 00:26:15,440 Speaker 3: died Rest in peace, Big Pun. I went to All 481 00:26:15,520 --> 00:26:21,760 Speaker 3: Star Weekend in d C. And it was even Philly 482 00:26:21,800 --> 00:26:24,960 Speaker 3: of DC. I want to say DC. That's crazy because 483 00:26:25,000 --> 00:26:30,359 Speaker 3: I remember so I think it was DC, and I 484 00:26:30,520 --> 00:26:34,719 Speaker 3: was walking into the game and R Kelly was standing 485 00:26:34,800 --> 00:26:38,600 Speaker 3: up on the wall and I've seen him, and so 486 00:26:38,880 --> 00:26:41,600 Speaker 3: at this time R Kelly had only collaborated with like 487 00:26:41,760 --> 00:26:45,439 Speaker 3: Biggie or not even jay Z. Yet it was Biggie 488 00:26:45,480 --> 00:26:48,760 Speaker 3: and nas right, and so he was number one in 489 00:26:48,840 --> 00:26:51,320 Speaker 3: the universe. And so when he sees me, say, your 490 00:26:51,359 --> 00:26:54,040 Speaker 3: fat Joe was up and like you said, every man 491 00:26:54,119 --> 00:26:58,479 Speaker 3: for himself, Like that's the only reason why Ward chosen 492 00:26:58,600 --> 00:27:00,399 Speaker 3: All that is dope because you go to parties and 493 00:27:00,440 --> 00:27:02,359 Speaker 3: you get to see people in this love. But we 494 00:27:02,480 --> 00:27:04,359 Speaker 3: never see these people unless we see him at a 495 00:27:04,440 --> 00:27:06,639 Speaker 3: concert or something. She was like, Yo, man, I'm a 496 00:27:06,720 --> 00:27:10,800 Speaker 3: fat yo fan bro. I'm like Kelly, like serious, this 497 00:27:10,920 --> 00:27:15,239 Speaker 3: guy was God at the top and he was like, Yo, man, yo, 498 00:27:15,320 --> 00:27:17,159 Speaker 3: rest in peace. Big pun I grew up with the 499 00:27:17,200 --> 00:27:20,320 Speaker 3: Puerto Ricans, which shoe in Chicago. He was like, Yo, man, 500 00:27:20,359 --> 00:27:22,800 Speaker 3: I want to do a song with you. Now at 501 00:27:22,840 --> 00:27:28,399 Speaker 3: this point, I'm still really street like, really really street like, 502 00:27:29,000 --> 00:27:30,920 Speaker 3: like I didn't know no better, right, so I to 503 00:27:31,040 --> 00:27:32,920 Speaker 3: grab all Kelly by the chart said Yo, I'm not 504 00:27:33,040 --> 00:27:36,000 Speaker 3: the guy you say you want to do it somewhere 505 00:27:36,320 --> 00:27:39,760 Speaker 3: and then you can just zero nah for. 506 00:27:42,000 --> 00:27:46,120 Speaker 4: Yo yo no, no, Thank god, I said it myself 507 00:27:46,800 --> 00:27:51,840 Speaker 4: because I said, Yo, listen, yo, take I'm that ghetto 508 00:27:52,560 --> 00:27:55,200 Speaker 4: that's still street now that Joe be like, oh wow, 509 00:27:55,280 --> 00:27:57,680 Speaker 4: that'd be a you know, an honor what you know. 510 00:27:57,880 --> 00:28:00,159 Speaker 3: Then I was like, yo, my man, no, be like, 511 00:28:00,240 --> 00:28:02,120 Speaker 3: I ain't the one. I ain't the guy you want 512 00:28:02,200 --> 00:28:04,760 Speaker 3: to talk to like that. She's like, nah, I'm gonna 513 00:28:04,760 --> 00:28:07,800 Speaker 3: be in Orlando, come down there. We do a song 514 00:28:07,920 --> 00:28:13,119 Speaker 3: this this that Magically DJ bron G hits me up. 515 00:28:13,160 --> 00:28:15,720 Speaker 3: I never even knew he made beats he was like, yo, Joe, man, 516 00:28:15,760 --> 00:28:18,200 Speaker 3: I want I made a beat for you. So I 517 00:28:18,280 --> 00:28:21,800 Speaker 3: knew all these producers that made hits, but every time 518 00:28:21,840 --> 00:28:24,080 Speaker 3: I asked him for beats, say track Masters or whatever, 519 00:28:24,160 --> 00:28:26,600 Speaker 3: they had all the hits, but they would send me 520 00:28:26,680 --> 00:28:29,240 Speaker 3: they hard ship. So like, if I would go to Tank, 521 00:28:29,320 --> 00:28:30,920 Speaker 3: it writs hits, and I'd be like, yo, Tank, I 522 00:28:30,960 --> 00:28:33,880 Speaker 3: want to joint. I was so street. Tank would think 523 00:28:33,920 --> 00:28:36,920 Speaker 3: of his one hardcourt joined be like, yo Joe, I 524 00:28:37,000 --> 00:28:39,600 Speaker 3: got one for you. No, I want to fucking hit. 525 00:28:40,240 --> 00:28:43,720 Speaker 3: I want the barge, not Switch. You understand what I'm saying. 526 00:28:43,760 --> 00:28:48,840 Speaker 3: So I'm just saying I'm trying to tell you I 527 00:28:48,920 --> 00:28:51,280 Speaker 3: want no yo switch. I love you. You know I 528 00:28:51,320 --> 00:28:53,680 Speaker 3: held the barge, one of my favorite ever. But you 529 00:28:53,760 --> 00:28:56,320 Speaker 3: know I held the barges. That's my guy. But listen, 530 00:28:56,640 --> 00:29:01,719 Speaker 3: so he go like this, So Bron, we go by him. 531 00:29:01,760 --> 00:29:04,080 Speaker 3: It gives us the beat. We play the ship. We 532 00:29:04,160 --> 00:29:06,760 Speaker 3: start running around the fucking truck because it's the beat. 533 00:29:06,840 --> 00:29:09,800 Speaker 3: Till we dug it, We're like, oh, somebody gave us 534 00:29:09,840 --> 00:29:13,640 Speaker 3: a hit something at least it sounded like a hit, 535 00:29:14,160 --> 00:29:16,520 Speaker 3: like because everybody else was just giving us shoot him up. 536 00:29:16,880 --> 00:29:19,120 Speaker 3: They ain't that shit to marb deeper rap to or 537 00:29:19,440 --> 00:29:22,320 Speaker 3: mop or you know. So I'm like, because that's what 538 00:29:22,480 --> 00:29:25,480 Speaker 3: I was coming out the gate. So we dancing. So 539 00:29:25,600 --> 00:29:29,440 Speaker 3: I do my verses. We drive down to Orlando. Right 540 00:29:30,520 --> 00:29:34,000 Speaker 3: ll Kelly's laying on the couch. I walk up in there. 541 00:29:34,560 --> 00:29:37,320 Speaker 3: Funny shit is the track masters was there too. They 542 00:29:37,480 --> 00:29:40,160 Speaker 3: was doing his music and so when I walked in, 543 00:29:40,320 --> 00:29:42,200 Speaker 3: I'm like, Yo, what's up, cows? Yo's up? 544 00:29:42,280 --> 00:29:42,600 Speaker 1: Yo this. 545 00:29:43,480 --> 00:29:45,280 Speaker 3: He was just sitting on the couch and he said, 546 00:29:45,320 --> 00:29:47,160 Speaker 3: he said, Yo, you got the song. I said, yeah, 547 00:29:47,200 --> 00:29:50,120 Speaker 3: I got the song. And it's funny because he tried 548 00:29:50,160 --> 00:29:53,280 Speaker 3: to talk. He talked to you like real light and 549 00:29:53,400 --> 00:29:56,240 Speaker 3: shit like yo's cows. You know what I'm saying that, 550 00:29:56,760 --> 00:29:59,400 Speaker 3: you know, I actually I never heard him talk with bass. 551 00:30:00,200 --> 00:30:02,959 Speaker 3: He always talked like smooth and shit. Right. So I'll 552 00:30:03,000 --> 00:30:06,040 Speaker 3: give him the CD and he plays it and immediately 553 00:30:06,120 --> 00:30:10,600 Speaker 3: he rolls off the couch and he grabs this recorder 554 00:30:11,000 --> 00:30:16,640 Speaker 3: like a like a caller and goes, ooh he does 555 00:30:16,760 --> 00:30:19,200 Speaker 3: like the inch. I don't know what he doing, but 556 00:30:19,360 --> 00:30:21,479 Speaker 3: he thinking of the hook. But he's singing the ship right. 557 00:30:21,520 --> 00:30:23,400 Speaker 3: He was like, Yo, this ship is ha Yo, you 558 00:30:23,480 --> 00:30:26,320 Speaker 3: the fire whatever it was then he started mumbling some 559 00:30:26,400 --> 00:30:28,960 Speaker 3: shit in the hook. Then he turned the ship off 560 00:30:29,000 --> 00:30:30,680 Speaker 3: and he was like, and the track masters looking at 561 00:30:30,720 --> 00:30:32,360 Speaker 3: me like, yo, Joe, I ain't know you can rhyme 562 00:30:32,520 --> 00:30:34,800 Speaker 3: like that. I ain't know you can make hits like that. 563 00:30:34,880 --> 00:30:36,400 Speaker 3: I was like, y'all, I've been telling you to give 564 00:30:36,440 --> 00:30:39,360 Speaker 3: me the ship. Ba y'all, y'all keep thinking I'm fat 565 00:30:39,480 --> 00:30:43,640 Speaker 3: Joe against it, right, So funny shit is he does that. 566 00:30:43,800 --> 00:30:46,320 Speaker 3: So I'm thinking, you know, all, Kelly's gonna sing the hook, 567 00:30:46,880 --> 00:30:50,800 Speaker 3: We're gonna do it. And he goes, yeah, yeah, you 568 00:30:50,920 --> 00:30:54,480 Speaker 3: know him, I got a two fake. I'm like, huh. 569 00:30:54,600 --> 00:30:56,120 Speaker 3: He's like it was like two in the morning. He 570 00:30:56,240 --> 00:30:58,360 Speaker 3: was like, y'all, I got a two fake. You know 571 00:30:58,400 --> 00:31:01,200 Speaker 3: what I'm saying. So you gotta, you know, go chill, 572 00:31:01,800 --> 00:31:02,680 Speaker 3: We'll figure it out. 573 00:31:02,800 --> 00:31:03,200 Speaker 1: This this that. 574 00:31:03,320 --> 00:31:05,520 Speaker 3: I'm like, I drove twenty hours at the time. 575 00:31:05,600 --> 00:31:06,280 Speaker 1: I was kidding you. 576 00:31:07,280 --> 00:31:09,560 Speaker 3: I drove down there too, So I'm like, yo, caws. 577 00:31:09,920 --> 00:31:12,000 Speaker 3: He was like a two fake, this this that, so 578 00:31:12,120 --> 00:31:14,600 Speaker 3: out of nowhere, he disappears and walks out the room 579 00:31:15,000 --> 00:31:17,720 Speaker 3: to a door through a door. So it's like ten 580 00:31:17,800 --> 00:31:20,000 Speaker 3: minutes twenty thirty forty minutes. Like, I'm telling you I'm 581 00:31:20,160 --> 00:31:24,280 Speaker 3: really impulsive. I'm like, really really street. At this point, 582 00:31:24,600 --> 00:31:26,520 Speaker 3: I don't know how to explained, so I said, man, 583 00:31:26,600 --> 00:31:28,920 Speaker 3: fuck that, man, I go to the door. I opened 584 00:31:28,920 --> 00:31:30,920 Speaker 3: the door. I opened the door. He dad ass got 585 00:31:31,000 --> 00:31:35,080 Speaker 3: a dentist giving him novercan on a chair in real life, 586 00:31:35,400 --> 00:31:38,640 Speaker 3: in the fucking studio, like two in the morning. I 587 00:31:38,720 --> 00:31:43,560 Speaker 3: felt so yo. Yeah yeah, heck yo, tex. I felt 588 00:31:43,680 --> 00:31:46,360 Speaker 3: so bad. I'm sitting there like this. I'm like, oh shit, 589 00:31:46,440 --> 00:31:50,360 Speaker 3: he really got a tooth. Fake. I go because I 590 00:31:50,520 --> 00:31:53,360 Speaker 3: noticed one record gonna change my life. Yeah, this is 591 00:31:53,440 --> 00:31:55,800 Speaker 3: a hit. Hit you know you got to hit with 592 00:31:55,920 --> 00:31:57,920 Speaker 3: al Kelly at that time. It's just. 593 00:32:00,200 --> 00:32:00,320 Speaker 1: Right. 594 00:32:01,200 --> 00:32:03,800 Speaker 3: So long story short, the man don't call me for 595 00:32:03,920 --> 00:32:07,480 Speaker 3: like two days, and I'm staying in like a motel 596 00:32:07,640 --> 00:32:11,800 Speaker 3: and you know, Orlando, I'm writing, I'm working on my album, 597 00:32:12,440 --> 00:32:15,200 Speaker 3: and then we're about to be I'm like, man, fuck him, man, 598 00:32:15,280 --> 00:32:17,640 Speaker 3: we're going back up to the boss man. So we 599 00:32:17,840 --> 00:32:19,480 Speaker 3: in the truck ready and out of no way. The 600 00:32:19,560 --> 00:32:25,000 Speaker 3: phone ring. He's like, yo, what's Upclscals said, what's up? Kels, 601 00:32:25,040 --> 00:32:28,560 Speaker 3: You're too good? Everything good. He's liked, hold up and 602 00:32:28,640 --> 00:32:31,080 Speaker 3: he pressed playing you here, we eat Doug and roll 603 00:32:31,200 --> 00:32:42,440 Speaker 3: and yeah and so off and then and that's what happened, man, 604 00:32:42,600 --> 00:32:44,960 Speaker 3: and uh and so that ship. 605 00:32:44,840 --> 00:32:47,160 Speaker 1: And that's your first R and B collaboration, my first hit, 606 00:32:47,520 --> 00:32:50,560 Speaker 1: like my first R and B hit, you know what 607 00:32:50,600 --> 00:32:51,000 Speaker 1: I'm saying. 608 00:32:51,040 --> 00:32:52,920 Speaker 3: I never forget. We used to throw parties out here 609 00:32:52,920 --> 00:32:55,440 Speaker 3: in Miami. We used to every Memorial Weekend. I used 610 00:32:55,440 --> 00:32:57,720 Speaker 3: to throw all the parties in all the clubs. And 611 00:32:57,800 --> 00:33:00,720 Speaker 3: we had a Terror squad Pool party. I never forget. 612 00:33:00,800 --> 00:33:02,920 Speaker 3: That was the biggest shit out here. So you had 613 00:33:03,080 --> 00:33:06,920 Speaker 3: cam on every fab, every you know, all the usual suspects, 614 00:33:06,960 --> 00:33:09,640 Speaker 3: everybody in the building. AI's in there. 615 00:33:09,800 --> 00:33:10,000 Speaker 1: Yeah. 616 00:33:10,680 --> 00:33:12,920 Speaker 3: And I go to DJ and I say, yo, press player, 617 00:33:13,000 --> 00:33:16,520 Speaker 3: niggas like yo, brand new Fat Joe Nigga play that ship. 618 00:33:16,600 --> 00:33:19,160 Speaker 3: When they heard that, all Kelly go we Doug and y'o. 619 00:33:19,240 --> 00:33:22,440 Speaker 3: I seen. I actually got to see every rapper's face. 620 00:33:22,520 --> 00:33:23,240 Speaker 3: They all was like. 621 00:33:24,960 --> 00:33:26,480 Speaker 1: Because they had never heard a record like that from 622 00:33:26,520 --> 00:33:26,840 Speaker 1: you either. 623 00:33:26,880 --> 00:33:29,360 Speaker 3: Who gives a fuck? He got a smash with all 624 00:33:29,520 --> 00:33:33,800 Speaker 3: Kelly at that time, they looking around like, oh shit, 625 00:33:34,040 --> 00:33:39,400 Speaker 3: this motherfucker lit like this was like the ultimate collaboration 626 00:33:39,640 --> 00:33:41,200 Speaker 3: at the time. You know what I'm saying, and the 627 00:33:41,280 --> 00:33:44,280 Speaker 3: ship was a hit, and so we followed that up 628 00:33:44,360 --> 00:33:48,280 Speaker 3: with Wes Love with a shan Tee Earth gott He 629 00:33:48,360 --> 00:33:51,320 Speaker 3: that was another ill story too. You know, I didn't 630 00:33:51,360 --> 00:33:54,640 Speaker 3: really know IRV Gotti. I met him like two three 631 00:33:54,720 --> 00:33:57,760 Speaker 3: days before Pun died and we talked for like hours, 632 00:33:58,440 --> 00:34:01,640 Speaker 3: and then Pun died and and then you know, that's 633 00:34:01,640 --> 00:34:04,080 Speaker 3: where I met a Jarul. I was sitting in the 634 00:34:04,120 --> 00:34:07,480 Speaker 3: funeral crying and then I look up and it was 635 00:34:07,560 --> 00:34:09,439 Speaker 3: Ja Ru. He was like, Yo, sorry about your brother, 636 00:34:09,960 --> 00:34:12,799 Speaker 3: and like I said, I let God push me through. 637 00:34:13,360 --> 00:34:15,480 Speaker 3: At that moment, I said to myself, oh, this is 638 00:34:15,560 --> 00:34:19,719 Speaker 3: my God, you know, because I don't cry. So when 639 00:34:19,760 --> 00:34:21,960 Speaker 3: I finally broke down and cried out of nowhere, it 640 00:34:22,080 --> 00:34:24,120 Speaker 3: was Ja Ru standing over me. I said, oh, God, 641 00:34:24,239 --> 00:34:26,399 Speaker 3: let me know. This is my God. So I told 642 00:34:26,440 --> 00:34:28,480 Speaker 3: him thank you, and then out of no way. I 643 00:34:28,600 --> 00:34:31,480 Speaker 3: was sleeping in the crib with my wife and phone 644 00:34:31,600 --> 00:34:34,680 Speaker 3: ring when you still had the house phone. Shit, like 645 00:34:34,760 --> 00:34:36,960 Speaker 3: three in the morning, is Irve Gody, Yojoe, we made 646 00:34:37,000 --> 00:34:38,800 Speaker 3: a joint for you. Come down. I'm like, who's this? 647 00:34:39,440 --> 00:34:42,600 Speaker 3: Deserve Gotti? So I go down there, they press plays 648 00:34:42,680 --> 00:34:44,200 Speaker 3: What's Love what's not. 649 00:34:45,760 --> 00:34:46,320 Speaker 1: God to do? 650 00:34:46,800 --> 00:34:49,120 Speaker 3: They gave me a smash when the niggas was rocket. 651 00:34:49,800 --> 00:34:52,040 Speaker 3: I'm saying, that's why I always stayed loyal to them. 652 00:34:52,120 --> 00:34:56,200 Speaker 1: You ask a question about that, the aggression that you 653 00:34:56,320 --> 00:34:57,080 Speaker 1: start the record with. 654 00:34:58,200 --> 00:35:00,360 Speaker 3: Put that fucking I was still in this. Please. 655 00:35:01,600 --> 00:35:03,439 Speaker 1: The song is called What's Love. 656 00:35:05,520 --> 00:35:08,880 Speaker 3: Put the fucking beat on, put the fucking mic on. 657 00:35:08,960 --> 00:35:09,440 Speaker 1: It was like. 658 00:35:12,600 --> 00:35:14,320 Speaker 3: I was supreme, beaan ghetto. 659 00:35:14,960 --> 00:35:15,280 Speaker 1: Still. 660 00:35:15,560 --> 00:35:17,279 Speaker 3: I don't know how to explain this shit to you. 661 00:35:17,400 --> 00:35:20,840 Speaker 3: Fu you. Nobody told me it was gonna be like 662 00:35:21,040 --> 00:35:23,880 Speaker 3: you know, yo, you You're gonna be doing stadiums after that. 663 00:35:24,040 --> 00:35:26,960 Speaker 3: It was like white people discover Fat Joe. After What's Love, 664 00:35:27,840 --> 00:35:30,360 Speaker 3: I couldn't perform for black people or Spanish people for 665 00:35:30,480 --> 00:35:33,200 Speaker 3: like two years straight. I was doing all them jingle balls, 666 00:35:33,760 --> 00:35:38,839 Speaker 3: every white Katie Perry, whoever, the white guys. Vegas at 667 00:35:38,840 --> 00:35:42,000 Speaker 3: that point, fuck Vegas, like it was the whole place 668 00:35:42,160 --> 00:35:45,359 Speaker 3: was white. It was it was like, who's the white 669 00:35:45,440 --> 00:35:47,960 Speaker 3: Like if so say it was right now? What's Love 670 00:35:48,080 --> 00:35:50,720 Speaker 3: was right now. I'd be on tour with Billie Eilish 671 00:35:51,440 --> 00:35:55,040 Speaker 3: ship like yes, it's just nowhere around so they hear. 672 00:35:55,680 --> 00:35:58,239 Speaker 3: Because you know, you can't do one song. So when 673 00:35:58,280 --> 00:36:00,800 Speaker 3: they hit the other five songs, him and fuck you 674 00:36:01,000 --> 00:36:03,920 Speaker 3: suck my big Bitch, this, that, that, that and then 675 00:36:04,000 --> 00:36:06,799 Speaker 3: one stuff, they like confused, like, yo, I thought, he's 676 00:36:06,880 --> 00:36:11,080 Speaker 3: like a fucking commercial god right, So I was doing 677 00:36:11,120 --> 00:36:12,880 Speaker 3: the hardcore ship theyn't doing it now. 678 00:36:13,000 --> 00:36:15,719 Speaker 1: It was crazy, man, now that I know what I know, 679 00:36:16,280 --> 00:36:19,440 Speaker 1: you know for being this a little different way different, 680 00:36:20,120 --> 00:36:23,520 Speaker 1: So you hadn't settled into that being a formula. You 681 00:36:23,640 --> 00:36:26,719 Speaker 1: were just like he had two of them great records 682 00:36:26,800 --> 00:36:27,799 Speaker 1: that are what they are. 683 00:36:28,520 --> 00:36:31,160 Speaker 3: Fun started with the he's still not a player, still 684 00:36:31,239 --> 00:36:33,879 Speaker 3: not a player. So when I met when I met Pun, 685 00:36:35,360 --> 00:36:37,600 Speaker 3: I told him I wanted him to be the Spanish Biggie. 686 00:36:38,239 --> 00:36:41,239 Speaker 3: And you know he's into lyrics, hardcore beats this that 687 00:36:41,360 --> 00:36:41,879 Speaker 3: he love. 688 00:36:43,320 --> 00:36:43,600 Speaker 1: R and B. 689 00:36:44,520 --> 00:36:47,560 Speaker 3: Janet Jackson was his favorite. But his favorite record of 690 00:36:47,640 --> 00:36:50,480 Speaker 3: all time was Fire and Desire. So he be driving 691 00:36:50,520 --> 00:36:55,320 Speaker 3: through the Bronx Fire and Esi like he was a 692 00:36:55,400 --> 00:36:58,200 Speaker 3: big R and B had two but he preferred to 693 00:36:58,360 --> 00:37:01,799 Speaker 3: rap hardcore and so I was like, yo, we gotta 694 00:37:01,840 --> 00:37:03,680 Speaker 3: do something for the girls. We got it, did and 695 00:37:03,760 --> 00:37:06,400 Speaker 3: that he did the joint with Joe the singer. You know, 696 00:37:06,640 --> 00:37:11,279 Speaker 3: thank God for Joe and key Dark Massenberg because you know, 697 00:37:11,480 --> 00:37:16,040 Speaker 3: Joe had just sold five hundred thousand records his first week. 698 00:37:16,440 --> 00:37:20,960 Speaker 3: Joe was the biggest he's he was doing trake numbers. Yeah, 699 00:37:21,680 --> 00:37:26,520 Speaker 3: literally half a million first week Trake ship. And we 700 00:37:26,600 --> 00:37:28,919 Speaker 3: stepped to him and Keydall was like, you know, yo, Joe, 701 00:37:29,239 --> 00:37:31,680 Speaker 3: I sent him to the studio. He shows up, he 702 00:37:31,760 --> 00:37:34,359 Speaker 3: does the song with us. Like, think about the artist 703 00:37:34,440 --> 00:37:36,640 Speaker 3: you never met before, you never heard of? You just 704 00:37:36,719 --> 00:37:41,239 Speaker 3: so FI hundred thousand and you to get on it. Yeah, Joe, 705 00:37:41,400 --> 00:37:44,200 Speaker 3: that ship took off. So shout out to Joe for 706 00:37:44,320 --> 00:37:45,120 Speaker 3: being the real one. 707 00:37:45,200 --> 00:37:47,560 Speaker 1: For Evan Keid, do you also feel like that the 708 00:37:47,719 --> 00:37:52,600 Speaker 1: legend of fat Joe also played a part in people 709 00:37:53,239 --> 00:37:57,960 Speaker 1: understanding how serious you were as a person. Yes, and 710 00:37:58,040 --> 00:37:59,839 Speaker 1: you make a request, It's like, oh, fat Joe. 711 00:38:01,800 --> 00:38:03,680 Speaker 3: You want to know what's crazy is the first time 712 00:38:03,719 --> 00:38:07,200 Speaker 3: I worked with Kanye. Right, we throw the beat up 713 00:38:07,520 --> 00:38:09,239 Speaker 3: and I pulled out the pending in the pad and 714 00:38:09,320 --> 00:38:13,279 Speaker 3: he said, he said, what's that. I was like, no, 715 00:38:13,320 --> 00:38:17,160 Speaker 3: I'm about to write. He was like, you're right. I 716 00:38:17,200 --> 00:38:19,759 Speaker 3: thought you was the Don Colion. They just come bring 717 00:38:19,840 --> 00:38:24,480 Speaker 3: the ship to you. I said, no, motherfuck, I'm a 718 00:38:24,640 --> 00:38:32,320 Speaker 3: rapper MC swear to God. Kanye said he thought I 719 00:38:32,480 --> 00:38:35,160 Speaker 3: was the John. They just bring the ship to me. 720 00:38:35,280 --> 00:38:38,319 Speaker 3: I was like, are you fucking crazy? I write my ship. 721 00:38:39,320 --> 00:38:42,560 Speaker 3: That was the craziest ship. He really dead ass thought 722 00:38:42,560 --> 00:38:43,160 Speaker 3: it was like. 723 00:38:45,160 --> 00:38:46,360 Speaker 1: Somebody right done? 724 00:38:48,560 --> 00:38:52,120 Speaker 3: It wraps up here. I was like, na, man, I write. 725 00:38:52,520 --> 00:38:55,719 Speaker 3: And then we did the joint on Pride and Joy, 726 00:38:56,440 --> 00:38:59,880 Speaker 3: which very underrated song I did with Kanye. We had that. 727 00:39:00,000 --> 00:39:03,200 Speaker 3: Everybody on there who was on that jade the bus 728 00:39:03,320 --> 00:39:05,960 Speaker 3: the most depth this everybody. Even if you all about 729 00:39:05,960 --> 00:39:08,560 Speaker 3: the money, I don't really care. O Cay. That shit 730 00:39:08,640 --> 00:39:10,360 Speaker 3: cost me a lot of money. That was about to 731 00:39:10,360 --> 00:39:11,280 Speaker 3: be my next question. 732 00:39:11,600 --> 00:39:14,240 Speaker 1: That sounds like a very He charged me nothing. 733 00:39:14,680 --> 00:39:17,680 Speaker 3: He charged me. Nobody charged me. He charged me nothing. 734 00:39:18,080 --> 00:39:23,040 Speaker 3: Shout out the bank. He charged me nothing. But he said, 735 00:39:23,080 --> 00:39:26,040 Speaker 3: when we shoot the video, I gotta hire Hype Williams. 736 00:39:26,320 --> 00:39:30,160 Speaker 3: Oh you know what that is? Then I gotta pay 737 00:39:30,239 --> 00:39:36,080 Speaker 3: for the wardrobe. He literally had seven what was it, 738 00:39:36,200 --> 00:39:40,880 Speaker 3: seven eight thousand dollars tank tops from France, tang tops. 739 00:39:41,480 --> 00:39:43,719 Speaker 3: I'm looking at this sit like a hole in my head. 740 00:39:43,840 --> 00:39:43,960 Speaker 1: Man. 741 00:39:44,040 --> 00:39:46,040 Speaker 3: I'm like, when I went through the show, say yo, 742 00:39:46,080 --> 00:39:49,120 Speaker 3: what we spent eighty thousand on clothes and when I 743 00:39:49,239 --> 00:39:53,880 Speaker 3: was looking at shit was tang tops sweatpants for fifteen thousand. 744 00:39:54,280 --> 00:39:56,719 Speaker 3: I mean, we understand that shit now, but at the time, 745 00:39:57,080 --> 00:39:59,680 Speaker 3: I guess I ain't have it like that. That was 746 00:39:59,719 --> 00:40:00,200 Speaker 3: coming right. 747 00:40:00,360 --> 00:40:01,920 Speaker 1: I don't think we were in tune with. 748 00:40:03,800 --> 00:40:06,480 Speaker 3: Shi it cost that much, no way, But that was 749 00:40:06,560 --> 00:40:09,840 Speaker 3: right after another round. Had just had another round with 750 00:40:10,719 --> 00:40:12,960 Speaker 3: Chris Brown, and that was the gift that kept giving. 751 00:40:13,600 --> 00:40:15,680 Speaker 1: And so you got a very aggressive line in that 752 00:40:15,760 --> 00:40:16,720 Speaker 1: record too, which. 753 00:40:16,520 --> 00:40:20,239 Speaker 3: You want to fuck you with the mask on Halloween, pussy. Yeah, 754 00:40:20,320 --> 00:40:32,040 Speaker 3: that was a matter of bed. He tells me all 755 00:40:32,120 --> 00:40:35,840 Speaker 3: the time and in the day that don't go. You 756 00:40:35,880 --> 00:40:38,120 Speaker 3: know how I do that that that line, it was 757 00:40:38,200 --> 00:40:41,440 Speaker 3: coming at the single day I go on Twitter, somebody 758 00:40:41,600 --> 00:40:44,200 Speaker 3: like this nigga said fuck you with your mask on 759 00:40:44,719 --> 00:40:49,600 Speaker 3: holiday Halloween, pussy. But let me tell you that story. 760 00:40:49,680 --> 00:40:53,560 Speaker 3: I'm in, I'm in I'm in Africa. So for a 761 00:40:53,680 --> 00:40:58,080 Speaker 3: long time I've been to more places in Africa than 762 00:40:58,160 --> 00:41:01,759 Speaker 3: most artists have been everywhere Africa. And so it was 763 00:41:01,800 --> 00:41:05,160 Speaker 3: a time where American artists were either scared to go 764 00:41:05,280 --> 00:41:09,440 Speaker 3: to Africa or didn't want to go to Africa. So 765 00:41:09,640 --> 00:41:13,160 Speaker 3: I was doing I've been to Kenya. I've been to Somali. 766 00:41:13,239 --> 00:41:15,560 Speaker 3: I've been to Zimbabwe. I've been to South Africa. I've 767 00:41:15,600 --> 00:41:19,359 Speaker 3: been to Luanda. I've been to Rwanda. I've been to Angola. 768 00:41:20,000 --> 00:41:24,520 Speaker 3: I damn there, lived in ain't Goola, Equatorial Guinea. I've 769 00:41:24,560 --> 00:41:29,279 Speaker 3: been to Morocco. I've been Yo Bro. I went to 770 00:41:30,080 --> 00:41:33,080 Speaker 3: Nigeria a million times. I went to a place called Jabooty. 771 00:41:33,360 --> 00:41:36,960 Speaker 3: I'm doing all of Africa right, So I did everything 772 00:41:37,040 --> 00:41:40,319 Speaker 3: in Africa. And then one show I had had Timberland 773 00:41:41,200 --> 00:41:44,839 Speaker 3: Chris Brown seattra. It was finally I seen some Americans. 774 00:41:44,880 --> 00:41:49,160 Speaker 3: I'm in Africa and Chris Brown sitting there and he 775 00:41:49,280 --> 00:41:51,480 Speaker 3: talking with me, said, Yo, crack man, let's do a song. 776 00:41:51,560 --> 00:41:55,799 Speaker 3: It's time. How look at Chris Brown said like that, Chris, 777 00:41:58,840 --> 00:42:01,399 Speaker 3: I'm kind of kind of fucked up right now too. 778 00:42:01,960 --> 00:42:04,080 Speaker 3: I needed to hit hit. You know, when you go 779 00:42:04,200 --> 00:42:06,399 Speaker 3: through one of them sluts where you got a little 780 00:42:06,480 --> 00:42:09,200 Speaker 3: three four years where you ain't putt one out the park, 781 00:42:09,800 --> 00:42:12,759 Speaker 3: that's that's. Look when you're used to putting out number 782 00:42:12,800 --> 00:42:16,520 Speaker 3: ones and you get a slump where you almost can't 783 00:42:16,560 --> 00:42:19,960 Speaker 3: see the number. I was putting out so many number ones. 784 00:42:20,920 --> 00:42:22,800 Speaker 3: They was like a joke to me. I was giving 785 00:42:22,840 --> 00:42:26,160 Speaker 3: away number ones like to other artists. My friends, Yo, 786 00:42:26,239 --> 00:42:28,120 Speaker 3: take that, it's the number one, yo. Don't worry about this. 787 00:42:28,560 --> 00:42:30,719 Speaker 3: I thought they just come to everybody like that. When 788 00:42:30,719 --> 00:42:33,879 Speaker 3: I went in that drout and your ma and Chris 789 00:42:33,960 --> 00:42:43,920 Speaker 3: Brown said he gonna give me a life preserver, I said, now, Chris, now, Chris, please, 790 00:42:44,640 --> 00:42:47,799 Speaker 3: I'm an Africa with you. You probably He's like, nah, nah, 791 00:42:47,880 --> 00:42:50,279 Speaker 3: send the song. I do it. So I went right 792 00:42:50,360 --> 00:42:52,719 Speaker 3: back to the studio with Cooling Dre shout out Cooling Dre, 793 00:42:53,440 --> 00:42:57,320 Speaker 3: and they monsters in the game. And and so I 794 00:42:57,400 --> 00:42:59,879 Speaker 3: said with Dre and that that actually was like three 795 00:43:00,160 --> 00:43:03,160 Speaker 3: different hooks that we did in another round. So I 796 00:43:03,239 --> 00:43:06,880 Speaker 3: had one song where they had when on You, and 797 00:43:08,760 --> 00:43:12,400 Speaker 3: that was on one song. Then we had to we 798 00:43:12,520 --> 00:43:16,000 Speaker 3: broke that whole hook down three. It was actually three 799 00:43:16,080 --> 00:43:19,719 Speaker 3: hooks like on records I had. And then we just 800 00:43:19,800 --> 00:43:22,920 Speaker 3: made it one hook and send the best part to 801 00:43:23,000 --> 00:43:25,759 Speaker 3: send it to Chris, and he sent the back he 802 00:43:25,920 --> 00:43:28,560 Speaker 3: shat and so and so when we wrote I want 803 00:43:28,600 --> 00:43:33,759 Speaker 3: it on you, I want to fuck you, and you 804 00:43:33,840 --> 00:43:36,040 Speaker 3: know what inspired that little part right there? And I 805 00:43:36,080 --> 00:43:39,080 Speaker 3: hope I don't get sued was when when Lil Wayne 806 00:43:39,160 --> 00:43:41,320 Speaker 3: had that record. I used to go to live and 807 00:43:41,440 --> 00:43:44,400 Speaker 3: he'd be sitting on the couch and saying, I just 808 00:43:44,520 --> 00:43:47,320 Speaker 3: want to fuck every girl in the world. I just 809 00:43:47,440 --> 00:43:49,799 Speaker 3: want to fuck every girl in the world. And I'll 810 00:43:49,800 --> 00:43:51,120 Speaker 3: be looking at him and he'd be like, I just 811 00:43:51,200 --> 00:43:53,520 Speaker 3: want to and he pointing a round. And so that's 812 00:43:53,560 --> 00:43:55,080 Speaker 3: how I came up with that part of the hook 813 00:43:55,160 --> 00:44:01,640 Speaker 3: that won you. And you never know what inspires. So 814 00:44:01,800 --> 00:44:05,880 Speaker 3: he did it, and that ship just rangle off crazy. 815 00:44:06,760 --> 00:44:06,920 Speaker 1: You know. 816 00:44:07,040 --> 00:44:10,239 Speaker 3: The only problem with that song, I would say, was 817 00:44:10,400 --> 00:44:13,560 Speaker 3: that I wasn't on fire like so if I was 818 00:44:13,680 --> 00:44:16,680 Speaker 3: on fire, so that ship would have been the biggest 819 00:44:16,719 --> 00:44:19,359 Speaker 3: ship in the universe. But the fact that I had 820 00:44:19,400 --> 00:44:22,400 Speaker 3: to dig myself out of hole, you know, all the 821 00:44:22,480 --> 00:44:24,719 Speaker 3: way up was similar to you know all the way up. 822 00:44:24,719 --> 00:44:26,560 Speaker 3: It was a couple of years before I dropped the 823 00:44:26,640 --> 00:44:31,480 Speaker 3: Big Boy, so it stalled. You know, people were asking, 824 00:44:31,600 --> 00:44:34,719 Speaker 3: you think, you know these guys, you know, there's a 825 00:44:34,840 --> 00:44:38,759 Speaker 3: real bandwagon ship. Anybody got to jump on some ship 826 00:44:38,880 --> 00:44:41,719 Speaker 3: this and that. Social media wasn't out yet like that, 827 00:44:41,920 --> 00:44:44,320 Speaker 3: and so and and and all the way up. So 828 00:44:44,360 --> 00:44:47,320 Speaker 3: a couple of DJs just like yo, should I sound 829 00:44:47,440 --> 00:44:51,560 Speaker 3: like a lean Back? And then the ship just took 830 00:44:51,640 --> 00:44:52,560 Speaker 3: off and went flying. 831 00:44:52,719 --> 00:44:55,160 Speaker 1: You know, did you skip over? 832 00:44:55,320 --> 00:44:57,920 Speaker 3: Lean Back was out of here? Lean Back was monster 833 00:44:59,320 --> 00:45:02,680 Speaker 3: different type of dang. Shout out to scotts if. 834 00:45:02,640 --> 00:45:05,160 Speaker 1: I had no question, are you are you independent? 835 00:45:05,320 --> 00:45:08,799 Speaker 3: With no no, no, no, no no no, I'm signing 836 00:45:08,880 --> 00:45:11,160 Speaker 3: Steve Rifkin. At the time, that was just like. 837 00:45:11,400 --> 00:45:14,120 Speaker 1: But it's still under you though, on the squad because 838 00:45:15,280 --> 00:45:15,880 Speaker 1: and we'll. 839 00:45:15,719 --> 00:45:18,920 Speaker 3: Go to everything's under right, And that's what stories I 840 00:45:19,000 --> 00:45:21,480 Speaker 3: want to talk about. That the stories I'm trying to 841 00:45:21,520 --> 00:45:25,480 Speaker 3: tell you. It's like, look, I was signing Relativity Records, 842 00:45:26,000 --> 00:45:29,120 Speaker 3: low low budget record label. Thank god they put me on. 843 00:45:29,239 --> 00:45:31,680 Speaker 3: That's why I'm so close with Common. Me and him 844 00:45:31,719 --> 00:45:35,160 Speaker 3: started on the same label, m P the beat Nuts, 845 00:45:35,400 --> 00:45:40,280 Speaker 3: Chi Ali and so we we had this little label 846 00:45:40,400 --> 00:45:42,560 Speaker 3: that was independent, but we I didn't own ship. I 847 00:45:42,680 --> 00:45:47,719 Speaker 3: was just an artist. And then Bee Smalls blows up. 848 00:45:48,280 --> 00:45:51,400 Speaker 3: So I gave Biggie Smalls his first show ever. So 849 00:45:51,520 --> 00:45:54,080 Speaker 3: I was rapping and promoting shows at the same time. 850 00:45:54,160 --> 00:45:56,440 Speaker 3: Like I told you, I was promoting out here. So 851 00:45:56,640 --> 00:46:02,640 Speaker 3: we was tight tight. So Biggie said, y'all, let's make 852 00:46:02,680 --> 00:46:05,960 Speaker 3: an album. Together. He was on the time. He had 853 00:46:06,040 --> 00:46:07,800 Speaker 3: all a beef for Tupac and this and this and 854 00:46:07,920 --> 00:46:12,439 Speaker 3: that and so, long story short, we recorded a couple 855 00:46:12,480 --> 00:46:17,160 Speaker 3: of records. Immediately Atlantic Records heard that I was working 856 00:46:17,239 --> 00:46:20,080 Speaker 3: with Biggie and you know how they do the divide 857 00:46:20,080 --> 00:46:22,279 Speaker 3: and conquer. They came right over shout out my brother 858 00:46:22,400 --> 00:46:25,279 Speaker 3: rob Reef Tuloh, thank god you did that. So he 859 00:46:25,440 --> 00:46:27,279 Speaker 3: came over and said, Yo, you're working with Biggie on 860 00:46:27,360 --> 00:46:30,680 Speaker 3: the album. I was saying yeah, so boom, he said, nah, 861 00:46:30,760 --> 00:46:32,960 Speaker 3: we want to give you your own record label. We 862 00:46:33,080 --> 00:46:35,680 Speaker 3: wanted this, this, that, and so I didn't even deserve 863 00:46:36,640 --> 00:46:39,320 Speaker 3: my own record label. You know what I'm saying. I 864 00:46:39,360 --> 00:46:42,520 Speaker 3: didn't even deserve my own record label because I was 865 00:46:42,680 --> 00:46:46,279 Speaker 3: just on a bum fuck record label and I ain't 866 00:46:46,320 --> 00:46:48,799 Speaker 3: really sell no records or nothing like that. Because they heard, 867 00:46:48,840 --> 00:46:52,880 Speaker 3: they said, Yo, anything Puff touching anything, Biggie touching anybody 868 00:46:53,000 --> 00:46:55,239 Speaker 3: touching like that, getting that the ship about to go 869 00:46:55,840 --> 00:46:56,239 Speaker 3: get them. 870 00:46:57,000 --> 00:47:00,239 Speaker 1: So we want to get a label and millions, and 871 00:47:01,040 --> 00:47:04,279 Speaker 1: you had a label deal. Off of a tall conversation. 872 00:47:05,120 --> 00:47:08,480 Speaker 3: We heard Nigga's talking Yo, Joe and Biggie working on 873 00:47:08,640 --> 00:47:13,160 Speaker 3: something social social currency at the time. It wasn't social media, 874 00:47:13,200 --> 00:47:15,879 Speaker 3: it wasn't not like that, but they heard the hype 875 00:47:15,880 --> 00:47:17,920 Speaker 3: and it was like boom. And I remember I showed 876 00:47:19,680 --> 00:47:22,520 Speaker 3: Poff Daddy the contract and he read it. He said, oh, 877 00:47:22,600 --> 00:47:25,439 Speaker 3: play boy, you got to sign that. I ain't ain't. 878 00:47:26,239 --> 00:47:38,560 Speaker 3: I'm not giving you nothing like that, playboy. Let me 879 00:47:38,600 --> 00:47:41,160 Speaker 3: tell you some of the greatest South Sus single of 880 00:47:41,239 --> 00:47:44,759 Speaker 3: all time. His name is Hector Loveo. That movie O 881 00:47:44,920 --> 00:47:50,320 Speaker 3: Conte Jalo and Mark Anthony. That was his life and 882 00:47:50,480 --> 00:47:54,040 Speaker 3: he's my favorite souths single of all time. And he 883 00:47:54,200 --> 00:47:58,279 Speaker 3: got live songs where he's talking so much ship tank 884 00:47:58,400 --> 00:48:01,040 Speaker 3: and I feel like I'm there. When I'm there, he says, 885 00:48:01,080 --> 00:48:04,040 Speaker 3: the only singer that sings underwater, the only singer that 886 00:48:04,120 --> 00:48:06,759 Speaker 3: when he opens his mouth, fire comes out. This this 887 00:48:06,960 --> 00:48:08,600 Speaker 3: that I know you see a lot of singers in 888 00:48:08,680 --> 00:48:12,160 Speaker 3: here and then fucking with me tonight like he was. 889 00:48:13,000 --> 00:48:15,839 Speaker 3: And they were there and and and and so think 890 00:48:15,920 --> 00:48:18,120 Speaker 3: Marvin Gay Stevie wondered this, but this and that. He 891 00:48:18,320 --> 00:48:21,040 Speaker 3: was talking that ship with them there, so he's talking 892 00:48:21,120 --> 00:48:25,400 Speaker 3: that SELLI cruises here, the biggest was there. He was like, 893 00:48:25,480 --> 00:48:28,080 Speaker 3: ain't can't nobody fuck with me? I am the best 894 00:48:28,560 --> 00:48:31,000 Speaker 3: and I'm like, wow, what you know? I never seen 895 00:48:31,040 --> 00:48:34,880 Speaker 3: him live. I'm like, what it would have been to Besy? 896 00:48:35,120 --> 00:48:35,319 Speaker 1: Yeah? 897 00:48:37,400 --> 00:48:40,319 Speaker 3: Now my favorite song of all time? 898 00:48:40,400 --> 00:48:50,479 Speaker 1: Hold on Speed Speed, Yeah. I introduced these kind of things, 899 00:48:51,080 --> 00:48:52,239 Speaker 1: songs for these kind of things. 900 00:48:52,320 --> 00:48:53,960 Speaker 3: Joe, you have songs for the introduction. 901 00:48:55,239 --> 00:49:00,880 Speaker 1: Joe, this is crazy, gotta dream, hold on, let me 902 00:49:00,920 --> 00:49:11,520 Speaker 1: get the dream dream. There we go, Joe, we have 903 00:49:11,600 --> 00:49:15,120 Speaker 1: a song for this. Who's the song? Tell him what song? 904 00:49:16,840 --> 00:49:18,000 Speaker 1: Top F. 905 00:49:21,440 --> 00:49:22,719 Speaker 3: You're to lie. 906 00:49:26,480 --> 00:49:33,120 Speaker 1: F your top fat ob singer? 907 00:49:34,719 --> 00:49:35,200 Speaker 3: What else? 908 00:49:35,960 --> 00:49:37,320 Speaker 1: R and B songs? 909 00:49:39,840 --> 00:49:44,040 Speaker 3: We got a new that's this that Joe? We know 910 00:49:44,320 --> 00:49:49,000 Speaker 3: how you room? What do we? You aren't know your top. 911 00:49:51,080 --> 00:49:54,200 Speaker 2: And yes, rare. 912 00:49:55,680 --> 00:49:57,480 Speaker 3: Pow top far. 913 00:50:03,400 --> 00:50:03,560 Speaker 1: Jo. 914 00:50:03,680 --> 00:50:17,399 Speaker 5: Okay, I'm gonna give you my top five. 915 00:50:17,960 --> 00:50:22,200 Speaker 3: Luther Evangels the greatest of all time, just my opinion. 916 00:50:22,800 --> 00:50:26,760 Speaker 3: You know, some people say Teddy, some people say Stevie, 917 00:50:27,440 --> 00:50:28,560 Speaker 3: some people say. 918 00:50:29,600 --> 00:50:32,000 Speaker 1: People say Donnie. They say that, but I got their faithorite. 919 00:50:31,800 --> 00:50:36,920 Speaker 3: We say everybody? So my guy is Luther Evangels the 920 00:50:36,960 --> 00:50:38,680 Speaker 3: greatest of all time. I used to go to see 921 00:50:38,760 --> 00:50:41,480 Speaker 3: him and he'd be this small because I was up 922 00:50:41,560 --> 00:50:44,759 Speaker 3: a deck with a cheap three piece suit on. Like 923 00:50:44,840 --> 00:50:48,359 Speaker 3: the cheap shit one n eighty dollars three piece suit 924 00:50:48,440 --> 00:50:52,120 Speaker 3: up with my wife, with my wife, with my wife. 925 00:50:53,080 --> 00:50:57,399 Speaker 3: The second one would be Babyface, And so anything Babyface 926 00:50:58,680 --> 00:51:04,080 Speaker 3: is uh, Babyface is like uh, I know every ad, live, 927 00:51:04,239 --> 00:51:07,320 Speaker 3: every lyric, every everything too. I could be a background 928 00:51:07,400 --> 00:51:11,120 Speaker 3: singer for Babyface and so so many times baby Face 929 00:51:11,200 --> 00:51:14,640 Speaker 3: performing people want to throw me out the show because 930 00:51:14,680 --> 00:51:17,439 Speaker 3: you know, decent people go see Babyface. 931 00:51:18,360 --> 00:51:19,239 Speaker 1: And I'm sitting in there. 932 00:51:19,520 --> 00:51:22,600 Speaker 3: I'm standing in the front roads. You know, tell me where. 933 00:51:24,000 --> 00:51:24,239 Speaker 1: You know? 934 00:51:24,800 --> 00:51:27,600 Speaker 3: You tell me who you know. That's when you turn around, 935 00:51:28,080 --> 00:51:30,120 Speaker 3: love you like you don't. You don't want to go 936 00:51:30,280 --> 00:51:33,400 Speaker 3: to a Mary Jay's show with your wife there. You 937 00:51:33,600 --> 00:51:35,640 Speaker 3: don't want to go cause you probably get stabbed in 938 00:51:35,719 --> 00:51:40,440 Speaker 3: your back about forty times by mad women. Right, But Babyface, 939 00:51:40,560 --> 00:51:42,480 Speaker 3: you could turn to your wife and go, but where 940 00:51:42,560 --> 00:51:46,719 Speaker 3: where you go? And tell me who who? Who's gonna 941 00:51:46,800 --> 00:51:49,640 Speaker 3: live your baby where that I do not tell you where? 942 00:51:50,000 --> 00:51:51,840 Speaker 1: No, baby Face is the conversation. 943 00:51:52,880 --> 00:51:55,719 Speaker 3: Where you go, Where where you go? And tell me 944 00:51:55,840 --> 00:51:59,520 Speaker 3: who's gotta you know that's your babyface. There would be 945 00:51:59,560 --> 00:52:03,880 Speaker 3: a Needa Baker. Now, I listen to Anita Baker every 946 00:52:04,080 --> 00:52:08,359 Speaker 3: single day of my life. The only problem I got 947 00:52:08,400 --> 00:52:10,920 Speaker 3: with Anita Baker still when I go to her shows, 948 00:52:11,360 --> 00:52:14,839 Speaker 3: she don't sing the song. You know, she she kills 949 00:52:14,920 --> 00:52:17,240 Speaker 3: it so much. She's so tired of singing these songs. 950 00:52:17,680 --> 00:52:19,360 Speaker 3: So if you come to my song, you're gonna hear me. 951 00:52:19,440 --> 00:52:21,480 Speaker 3: Go my show, you're gonna hear me say lean back, 952 00:52:22,080 --> 00:52:27,520 Speaker 3: lean back, ain't hey, Hey, I'm trying to sing along 953 00:52:27,600 --> 00:52:30,600 Speaker 3: with us, but she's killing it so much that I can't. 954 00:52:30,680 --> 00:52:33,440 Speaker 3: Lauren Hill do that too. She get like they just 955 00:52:33,560 --> 00:52:36,319 Speaker 3: like I guess, they want to change the song. Tired 956 00:52:36,360 --> 00:52:39,239 Speaker 3: of singing the ship. They freak it a whole different way, 957 00:52:39,880 --> 00:52:42,200 Speaker 3: you know what I'm saying. So, but Anita Baker, she's 958 00:52:42,360 --> 00:52:46,200 Speaker 3: uh top three. So I got Luther, Babyface and Needa 959 00:52:46,239 --> 00:52:49,280 Speaker 3: Baker Forth you know where I had to keep sweat. 960 00:52:49,320 --> 00:52:58,760 Speaker 3: I have yeah, keep sweating. Oh you know step on stage. 961 00:52:58,880 --> 00:53:04,560 Speaker 3: Girl screamed like I'm chief. He's just amazing to me. Man, 962 00:53:04,640 --> 00:53:08,240 Speaker 3: I watched this man be a superstar my whole life. 963 00:53:08,960 --> 00:53:13,440 Speaker 3: Yeah no, yeah, watch this man in real life be 964 00:53:13,560 --> 00:53:15,880 Speaker 3: a superstar my whole life. When he used to have 965 00:53:16,040 --> 00:53:18,719 Speaker 3: the show in Madison, squat Gardener, when he come out 966 00:53:18,800 --> 00:53:21,680 Speaker 3: in the bed, they pushed the bed out and he 967 00:53:21,800 --> 00:53:26,560 Speaker 3: got the He's still the biggest so Keith sweat Man. 968 00:53:27,600 --> 00:53:30,879 Speaker 3: He's definitely a role model to me, somebody I look 969 00:53:30,960 --> 00:53:35,440 Speaker 3: up to. And another way, Uh, and last is Stephanie 970 00:53:35,520 --> 00:53:41,000 Speaker 3: Mills for sure, and so is you know, because Stephanie 971 00:53:41,120 --> 00:53:44,239 Speaker 3: brings my moms and my aunts into it, you know. 972 00:53:44,360 --> 00:53:47,680 Speaker 3: And when they was cleaning the saturdays, you know what 973 00:53:47,719 --> 00:53:51,040 Speaker 3: I mean, they playing that Stephanie top and I'm just like, 974 00:53:51,320 --> 00:53:54,600 Speaker 3: you know, losing my mind with Stephanie and every time 975 00:53:54,640 --> 00:53:58,359 Speaker 3: I hear her music it makes me feel the same way. Yeah, 976 00:53:58,400 --> 00:53:59,800 Speaker 3: and she's also touring. 977 00:54:00,719 --> 00:54:01,719 Speaker 1: Uh. You know. R and B. 978 00:54:01,920 --> 00:54:07,760 Speaker 3: I think their fans support more than hip hop fans 979 00:54:07,840 --> 00:54:10,600 Speaker 3: do because you can have hip hop guys slip through 980 00:54:10,640 --> 00:54:13,799 Speaker 3: the cracks, but R and B, if you're not getting high, 981 00:54:14,400 --> 00:54:18,239 Speaker 3: you show up, you can sing good still because some 982 00:54:18,400 --> 00:54:21,440 Speaker 3: people that is sad. I've went to see some R 983 00:54:21,480 --> 00:54:26,239 Speaker 3: and B singers that they lost their voice, and so 984 00:54:28,239 --> 00:54:30,160 Speaker 3: it's crazy because I know they got to pay their bills, 985 00:54:30,200 --> 00:54:33,239 Speaker 3: but I'd rather listen to the record how I know them, 986 00:54:33,760 --> 00:54:36,480 Speaker 3: how they really was putting it down. They go to 987 00:54:36,560 --> 00:54:40,000 Speaker 3: a show and they can't do it right. So that's 988 00:54:40,080 --> 00:54:43,400 Speaker 3: my top five. Luther Vangels grew up like three blocks 989 00:54:43,440 --> 00:54:48,399 Speaker 3: from me. Luther Vanels was born in the Lower East 990 00:54:48,480 --> 00:54:51,799 Speaker 3: Side but came up to the Bronx, but literally three 991 00:54:52,120 --> 00:54:54,239 Speaker 3: so that's it's safe to say. Luther grew up where 992 00:54:54,320 --> 00:54:55,160 Speaker 3: hip hop was born. 993 00:54:55,840 --> 00:54:56,520 Speaker 1: He lived. 994 00:54:58,640 --> 00:55:01,600 Speaker 3: Five foot steps, you know, five blocks from me, so 995 00:55:01,719 --> 00:55:04,520 Speaker 3: I didn't know tell our sampled the Luther's on to 996 00:55:04,640 --> 00:55:08,080 Speaker 3: the Sunshine and his family. They cleared it so fast 997 00:55:08,160 --> 00:55:09,960 Speaker 3: and they was like, Yo, we love you fat Joey 998 00:55:10,040 --> 00:55:13,040 Speaker 3: from five blocks away. And then when I went to 999 00:55:13,160 --> 00:55:15,800 Speaker 3: YouTube and started singing, I was like, Yo, fucking Luther 1000 00:55:15,960 --> 00:55:19,759 Speaker 3: from five blocks that's crazy. Luther van Jos everything to me. 1001 00:55:20,040 --> 00:55:23,160 Speaker 3: You know what I'm saying. He's uh, he's my idel man. 1002 00:55:23,280 --> 00:55:26,879 Speaker 3: He's special. I don't think nobody can sing like him. 1003 00:55:26,920 --> 00:55:28,800 Speaker 3: I think he can hear any kind of note in 1004 00:55:28,880 --> 00:55:31,880 Speaker 3: the world. He was just crazy. I remember I used 1005 00:55:31,920 --> 00:55:36,320 Speaker 3: to go to shows. He walked past, and you know, 1006 00:55:36,480 --> 00:55:38,839 Speaker 3: Luther about to get him some shit. So every now 1007 00:55:38,880 --> 00:55:40,560 Speaker 3: and then I go on YouTube and I'd be like, 1008 00:55:40,560 --> 00:55:44,799 Speaker 3: all right, Luther BT Award Luther, American Music Award, Luther 1009 00:55:44,960 --> 00:55:48,640 Speaker 3: Tribute to Dion Warwick, and she on some shit. Like 1010 00:55:48,719 --> 00:55:49,400 Speaker 3: he's sitting there. 1011 00:55:49,480 --> 00:55:49,919 Speaker 1: You're ready. 1012 00:55:50,200 --> 00:55:52,680 Speaker 3: The whole crowd is laughing me for you. He started 1013 00:55:52,680 --> 00:55:55,080 Speaker 3: to sing because they already know, all right, Luther about 1014 00:55:55,120 --> 00:55:57,440 Speaker 3: to be on some shit. So that's why guy gave 1015 00:55:57,520 --> 00:56:00,360 Speaker 3: you the songs. I'll tell you a funny story about 1016 00:56:00,440 --> 00:56:04,920 Speaker 3: all right. And of course Michael Jackson Trump's everything. You know, 1017 00:56:05,600 --> 00:56:10,520 Speaker 3: Michael Jackson is Michael Jackson. He's an alien, right, and 1018 00:56:10,680 --> 00:56:13,240 Speaker 3: so to anything Michael Jackson. 1019 00:56:13,320 --> 00:56:13,440 Speaker 1: Right. 1020 00:56:13,960 --> 00:56:17,080 Speaker 3: But I mentioned a crazy story is I was in 1021 00:56:17,160 --> 00:56:20,640 Speaker 3: the studio with Rico Love, good friend of mine, brother, 1022 00:56:20,960 --> 00:56:23,080 Speaker 3: and he was working this one. He was writing every 1023 00:56:23,160 --> 00:56:24,880 Speaker 3: hit for Usher. I was there when he was writing 1024 00:56:24,920 --> 00:56:27,719 Speaker 3: all them hits for Usher, like hanging out with them, 1025 00:56:27,800 --> 00:56:32,360 Speaker 3: and Usher was dead. That's funny bout Usher. So so 1026 00:56:32,520 --> 00:56:34,600 Speaker 3: we up there one day, Usher begs me to take 1027 00:56:34,640 --> 00:56:36,759 Speaker 3: them to the club, right, and I'm like, y, usher Man, 1028 00:56:36,880 --> 00:56:38,359 Speaker 3: you know you don't want to go to no club, 1029 00:56:38,440 --> 00:56:42,640 Speaker 3: you know, because us likes I don't want the responsibility 1030 00:56:42,680 --> 00:56:46,880 Speaker 3: of having to hold down these fucking superstars, right, because 1031 00:56:46,920 --> 00:56:50,520 Speaker 3: I become security, you know, I can never let nothing 1032 00:56:50,600 --> 00:56:53,719 Speaker 3: happen to us. Ship now telling me take him to 1033 00:56:53,840 --> 00:56:56,880 Speaker 3: where all the Spanish chicks is that's usually in the 1034 00:56:56,960 --> 00:56:59,480 Speaker 3: hood out here. So he's like, Yo, I want to 1035 00:56:59,480 --> 00:57:02,160 Speaker 3: see this the Spanish chicks, let's go. I'm like, y'all 1036 00:57:02,200 --> 00:57:05,800 Speaker 3: should stay here. He was in a safe studio, fucking 1037 00:57:05,920 --> 00:57:11,680 Speaker 3: Jay Valentine Candles. We walk in the club and he 1038 00:57:11,880 --> 00:57:15,520 Speaker 3: starts dancing and I'm looking at him and the man 1039 00:57:15,680 --> 00:57:18,280 Speaker 3: is floating in one spot. He was doing some ship 1040 00:57:18,320 --> 00:57:21,560 Speaker 3: where he was floating. I'm looking at him. Everybody's looking 1041 00:57:21,560 --> 00:57:25,160 Speaker 3: at him, like, yo, fucking Usher floating in one spot. 1042 00:57:25,240 --> 00:57:26,880 Speaker 3: I don't know what the fuck he was doing. I 1043 00:57:26,960 --> 00:57:29,680 Speaker 3: was like, yo, the Scott he's not on his feet, 1044 00:57:29,760 --> 00:57:33,240 Speaker 3: he's like floating, right, Usher. But I was there for 1045 00:57:33,360 --> 00:57:36,040 Speaker 3: when we go rode all of them. And then I 1046 00:57:36,320 --> 00:57:41,440 Speaker 3: actually had to convince Kelly Rowland to do that song Motivation, 1047 00:57:42,640 --> 00:57:46,640 Speaker 3: and so she wasn't sure about it, and I was like, yo, Kelly, 1048 00:57:47,080 --> 00:57:48,880 Speaker 3: because she had just had a hit that was one 1049 00:57:48,920 --> 00:57:54,680 Speaker 3: of them sat Ship, so she was thinking about and 1050 00:57:54,760 --> 00:57:58,600 Speaker 3: I'm like, yo, bro, you know you Destiny's child. You 1051 00:57:58,680 --> 00:58:01,200 Speaker 3: know that ship is this man. The man just wrote 1052 00:58:01,840 --> 00:58:05,439 Speaker 3: thirty million hits for us, like you catching them. That's 1053 00:58:05,440 --> 00:58:09,040 Speaker 3: another thing you know as a writer now, I know, right, 1054 00:58:09,160 --> 00:58:11,400 Speaker 3: Like so I did four songs with Scott Storch. Each 1055 00:58:11,480 --> 00:58:13,920 Speaker 3: one of them went number one on the Billboard one hundred. 1056 00:58:14,480 --> 00:58:17,040 Speaker 3: Had I known that, I would have did twenty songs 1057 00:58:18,480 --> 00:58:21,640 Speaker 3: at the time. You know, when you're gun hot. Yeah, 1058 00:58:21,880 --> 00:58:23,720 Speaker 3: when you got a pen in your gun hot, you 1059 00:58:23,840 --> 00:58:24,320 Speaker 3: gotta go. 1060 00:58:25,400 --> 00:58:26,040 Speaker 1: You know what I'm saying. 1061 00:58:26,080 --> 00:58:29,320 Speaker 3: So I'm like, yo, his gun hot right now? You 1062 00:58:29,400 --> 00:58:31,800 Speaker 3: know she did it, and look that was a big 1063 00:58:31,920 --> 00:58:33,400 Speaker 3: hit for her. You know what I'm saying. 1064 00:58:33,960 --> 00:58:37,600 Speaker 1: Let's build your super R and B artists, Joe, right now, 1065 00:58:37,640 --> 00:58:39,280 Speaker 1: how do we do that? Show you? I'm goin to 1066 00:58:39,320 --> 00:58:42,720 Speaker 1: show you. This is called voltron, right, So you have 1067 00:58:42,800 --> 00:58:45,120 Speaker 1: to pick an R and B artist, dead or alive 1068 00:58:45,720 --> 00:58:48,919 Speaker 1: that you would get the vocal from, that you would 1069 00:58:48,960 --> 00:58:51,760 Speaker 1: get the performance style from, that you would get the 1070 00:58:51,920 --> 00:58:55,040 Speaker 1: styling from, and that you would get the passion from. 1071 00:58:56,120 --> 00:58:57,960 Speaker 1: So out of all the R and B artists that 1072 00:58:58,040 --> 00:59:01,280 Speaker 1: you know and love, did her alive? To make your 1073 00:59:01,360 --> 00:59:03,880 Speaker 1: super R and B artists, who would you get the 1074 00:59:04,080 --> 00:59:04,720 Speaker 1: vocal from? 1075 00:59:05,920 --> 00:59:12,720 Speaker 3: Michael Jackson? Nobody got that. Nobody got that tone, any 1076 00:59:12,800 --> 00:59:14,560 Speaker 3: kind of record, any record, nobody. 1077 00:59:16,480 --> 00:59:21,160 Speaker 1: We've said he had had four voices overtime, He's had 1078 00:59:21,240 --> 00:59:24,440 Speaker 1: four different voices Ala. 1079 00:59:25,040 --> 00:59:30,040 Speaker 3: Michael Jackson performance, I get Chris Brown. So I got 1080 00:59:30,080 --> 00:59:37,320 Speaker 3: an m J and a Chris Brown absolutely absolutely on 1081 00:59:37,440 --> 00:59:38,240 Speaker 3: the summer. 1082 00:59:39,960 --> 00:59:44,640 Speaker 1: All right Will Records. So who's the styling of the 1083 00:59:44,800 --> 00:59:47,360 Speaker 1: artists the drip? Who got the fly sh it on? 1084 00:59:49,680 --> 00:59:52,160 Speaker 3: If I could pick, if it could be a female, 1085 00:59:53,440 --> 00:59:56,240 Speaker 3: it could be a female. And I really think about this, 1086 00:59:56,400 --> 00:59:59,400 Speaker 3: but I think I go Aliyah. 1087 01:00:00,120 --> 01:00:01,040 Speaker 1: The stylis fly. 1088 01:00:01,520 --> 01:00:03,680 Speaker 3: You know what I'm saying. That was that little tomboy 1089 01:00:03,800 --> 01:00:07,040 Speaker 3: look showing her little six pack. You know what I'm saying. 1090 01:00:07,360 --> 01:00:11,360 Speaker 3: I think she was a big trendsetter. Yeah, yeah, yeah, 1091 01:00:11,480 --> 01:00:16,240 Speaker 3: So I would go vocally m J performance, Chris Brown 1092 01:00:16,520 --> 01:00:17,760 Speaker 3: styling the Leah. 1093 01:00:18,000 --> 01:00:19,800 Speaker 1: Passion, passion. 1094 01:00:25,880 --> 01:00:31,160 Speaker 3: That's a lot of passion, but passion. I'm torn between two. 1095 01:00:33,720 --> 01:00:35,640 Speaker 3: One I really know which is Maxwell. 1096 01:00:40,400 --> 01:00:40,520 Speaker 1: Right. 1097 01:00:41,320 --> 01:00:43,520 Speaker 3: Yeah. Every time I see Maxwell, I stop him. I 1098 01:00:43,600 --> 01:00:47,440 Speaker 3: make him sing that ship to he can be drunk 1099 01:00:47,520 --> 01:00:50,680 Speaker 3: at a part. Yeah yeah, yeah, yeah yeah, every time 1100 01:00:51,080 --> 01:00:53,480 Speaker 3: sing the song man, Yeah yeah, sing the song. Max. 1101 01:00:55,440 --> 01:00:58,040 Speaker 3: We could be in the club popping. I'll be like, yo, 1102 01:00:58,080 --> 01:01:01,800 Speaker 3: you gotta be like yo, Joe, you got so you 1103 01:01:01,920 --> 01:01:08,200 Speaker 3: need passion to hit that note. And somebody I don't 1104 01:01:08,200 --> 01:01:11,200 Speaker 3: really know all her music like that, but just from 1105 01:01:11,240 --> 01:01:13,840 Speaker 3: seeing her perform so many times throughout my whole life, 1106 01:01:13,880 --> 01:01:20,200 Speaker 3: I'll say, you Alounder Adams because when she's singing, she's shinging. 1107 01:01:20,760 --> 01:01:21,320 Speaker 1: She's not playing. 1108 01:01:21,520 --> 01:01:26,240 Speaker 3: You know, yeah, she's not playing with these people, you 1109 01:01:26,320 --> 01:01:29,200 Speaker 3: know what I'm saying. And we get throw Patty in 1110 01:01:29,280 --> 01:01:32,240 Speaker 3: there too, Patty LaBelle, but you know those are like, 1111 01:01:32,480 --> 01:01:36,480 Speaker 3: you know what I'm saying, passion. So I got vocally 1112 01:01:36,600 --> 01:01:40,000 Speaker 3: nobody better than MJ with the his tones is like 1113 01:01:40,520 --> 01:01:44,040 Speaker 3: it's unreal. Like every time I listen to Michael. Matter 1114 01:01:44,080 --> 01:01:45,880 Speaker 3: of fact, I'm gonna listen to him now when I 1115 01:01:46,000 --> 01:01:51,320 Speaker 3: leave here and go in the car. Vocally nobody, performance wise, 1116 01:01:51,880 --> 01:01:56,280 Speaker 3: nobody like Chris Brown. I don't watch Chris Brown jump 1117 01:01:56,400 --> 01:02:01,240 Speaker 3: off the balcony and land on one finger the ship 1118 01:02:02,120 --> 01:02:07,040 Speaker 3: like yo, bro, this guy here, I'm not exaggerating. I'm 1119 01:02:07,080 --> 01:02:07,919 Speaker 3: not exaggerating. 1120 01:02:07,920 --> 01:02:08,800 Speaker 1: I didn't know where he. 1121 01:02:08,920 --> 01:02:13,240 Speaker 3: Was gonna say, Yo, he flipped off the bunton. He 1122 01:02:13,880 --> 01:02:20,960 Speaker 3: laying on one finger and then opening humbrother and like yo, brother, 1123 01:02:21,320 --> 01:02:26,320 Speaker 3: like the man unreal, like we gotta stop but this but. 1124 01:02:26,400 --> 01:02:28,440 Speaker 1: This ship is true too. That's what makes me. Man. 1125 01:02:28,760 --> 01:02:32,480 Speaker 3: It's unreal. Then he'll go playing game of basketball and 1126 01:02:32,560 --> 01:02:40,400 Speaker 3: dropped sixty on it. Yo, He's unreal. Swag I said it, 1127 01:02:40,520 --> 01:02:45,320 Speaker 3: lib yeah, yeah, and passion. I gave you a couple 1128 01:02:45,400 --> 01:02:51,520 Speaker 3: of Jews from Yolanda Adams, Patty Down and uh and Maxwell. 1129 01:02:51,920 --> 01:02:53,160 Speaker 3: It's just Maxwell. He did it. 1130 01:02:53,360 --> 01:02:53,640 Speaker 1: He did. 1131 01:02:54,000 --> 01:02:56,959 Speaker 3: You know Nas. You know Nas never had the rhyme 1132 01:02:57,080 --> 01:03:01,600 Speaker 3: outside of Illmatic. He created such a classic, the album Illmatic. 1133 01:03:02,280 --> 01:03:04,480 Speaker 3: If he never rhymed again, he'd be a legend, the 1134 01:03:04,840 --> 01:03:07,880 Speaker 3: icon on the Mount Rushmore forever. Yeah, right, because if 1135 01:03:07,920 --> 01:03:10,840 Speaker 3: you think about it, on Dred three thousand ain't really rapping, 1136 01:03:10,920 --> 01:03:13,480 Speaker 3: like fifteen years, we still got him on Mount Rushmore. 1137 01:03:13,960 --> 01:03:16,479 Speaker 3: So your man Nis were ill matter. He was done. 1138 01:03:16,600 --> 01:03:19,720 Speaker 3: He did some ship that goes into in the Museum 1139 01:03:19,800 --> 01:03:23,800 Speaker 3: of Natural History, right, and so Max man with that. 1140 01:03:27,000 --> 01:03:30,120 Speaker 3: I ain't never had the saying of a song swimming 1141 01:03:30,200 --> 01:03:32,920 Speaker 3: through the concrete and ship. You remember the video. You 1142 01:03:32,960 --> 01:03:36,480 Speaker 3: remember the video You're swimming through the you know what 1143 01:03:36,520 --> 01:03:40,240 Speaker 3: I'm saying. So you know, I'm good with what my choices. 1144 01:03:39,880 --> 01:03:41,920 Speaker 1: Were all before we let you, before we let you 1145 01:03:42,000 --> 01:03:45,320 Speaker 1: out of here, brother Joe. Yeah, we got a very 1146 01:03:45,400 --> 01:03:48,520 Speaker 1: very very special part of this show. We keep themed songs. 1147 01:03:48,560 --> 01:03:52,120 Speaker 1: Ready here, Okay, that's my that's my job. This one is. 1148 01:03:52,800 --> 01:03:55,720 Speaker 1: I ain't saying no names. I ain't saying no names. 1149 01:03:56,160 --> 01:03:58,840 Speaker 1: Ain't saying no names. I ain't saying no name. 1150 01:03:58,960 --> 01:04:04,240 Speaker 3: Where you were, what you did? You don't say she. 1151 01:04:06,480 --> 01:04:07,520 Speaker 1: I ain't saying nobody. 1152 01:04:16,000 --> 01:04:19,480 Speaker 3: And that's all we want to We don't want nobody 1153 01:04:19,520 --> 01:04:20,360 Speaker 3: to say no names. 1154 01:04:21,160 --> 01:04:25,480 Speaker 1: So this is no man, very very very special segment. 1155 01:04:26,080 --> 01:04:27,680 Speaker 3: Thank you so much. Man, it was an honor to 1156 01:04:27,760 --> 01:04:30,520 Speaker 3: be You got you got to. You're not done yet. 1157 01:04:30,560 --> 01:04:31,280 Speaker 3: Oh I'm not done. 1158 01:04:31,360 --> 01:04:33,960 Speaker 2: You're not done. You got one more thing. Okay, it's 1159 01:04:34,000 --> 01:04:35,760 Speaker 2: the part of the show is called I ain't saying 1160 01:04:35,800 --> 01:04:39,080 Speaker 2: no names. Will you tell us a story? Funny or 1161 01:04:39,160 --> 01:04:43,480 Speaker 2: fucked up? Are funny and fucked up? The only rule 1162 01:04:43,520 --> 01:04:45,600 Speaker 2: to the game is you can't say no names. 1163 01:04:46,000 --> 01:04:51,720 Speaker 3: Okay, what comes to mind? 1164 01:04:53,640 --> 01:04:53,800 Speaker 1: Man? 1165 01:04:53,840 --> 01:04:58,560 Speaker 3: I got too many stories. Oh it was an artist 1166 01:04:59,200 --> 01:05:06,000 Speaker 3: right that, Uh, an R and B artist who was 1167 01:05:06,200 --> 01:05:09,720 Speaker 3: very sexual, very uh you know, write songs for the 1168 01:05:09,880 --> 01:05:11,880 Speaker 3: ladies and this and that and. 1169 01:05:13,520 --> 01:05:13,680 Speaker 1: Uh. 1170 01:05:15,680 --> 01:05:19,440 Speaker 3: He would have women butt naked like if it was 1171 01:05:19,560 --> 01:05:23,320 Speaker 3: like like art, like you know how you statue like 1172 01:05:23,440 --> 01:05:26,360 Speaker 3: a statue like art. And he would write his hit 1173 01:05:26,480 --> 01:05:32,600 Speaker 3: records looking at butt naked women. That was like his art, 1174 01:05:33,040 --> 01:05:37,200 Speaker 3: you know how he got this and then and then 1175 01:05:37,280 --> 01:05:39,720 Speaker 3: another red Bone to come and another one and they 1176 01:05:39,840 --> 01:05:42,480 Speaker 3: was they was older. I don't want nobody thinking, no 1177 01:05:42,560 --> 01:05:47,400 Speaker 3: crazy shit. But I ain't saying no names. But let 1178 01:05:47,440 --> 01:05:49,520 Speaker 3: me tell you something that that I never forget. I 1179 01:05:49,720 --> 01:05:53,200 Speaker 3: never forgot that session. But I was just like they 1180 01:05:53,280 --> 01:05:57,000 Speaker 3: was just coming poles about an hour coming poles, but 1181 01:05:57,240 --> 01:06:01,880 Speaker 3: naked on the stool thing. My walk out the room, 1182 01:06:01,960 --> 01:06:05,360 Speaker 3: another one come in and the dude just be writing 1183 01:06:05,440 --> 01:06:10,680 Speaker 3: here records about girls. I ain't saying no names. Wow. 1184 01:06:11,000 --> 01:06:12,000 Speaker 1: I like that. 1185 01:06:16,560 --> 01:06:19,600 Speaker 3: That's a legendary. I never gave nobody that one. 1186 01:06:20,200 --> 01:06:23,080 Speaker 1: That's a legend to that. Wow. 1187 01:06:23,440 --> 01:06:24,120 Speaker 3: Yeah yeah yeah. 1188 01:06:24,120 --> 01:06:27,520 Speaker 1: You never know what people's inspiration is that. Okay, this 1189 01:06:27,600 --> 01:06:30,280 Speaker 1: is is a question. Is that is that? Is that cheating? 1190 01:06:31,800 --> 01:06:35,240 Speaker 1: I'm just writing a song. It's not it's not cheating, right. 1191 01:06:35,520 --> 01:06:38,760 Speaker 3: No, it's not cheating. No, no, no, it's not cheating. 1192 01:06:39,560 --> 01:06:40,400 Speaker 1: It's not cheating. 1193 01:06:42,240 --> 01:06:45,600 Speaker 3: Okay, with that, I didn't see the girls flirting. They 1194 01:06:45,680 --> 01:06:47,960 Speaker 3: weren't even looking at us. They were there minding their 1195 01:06:48,040 --> 01:06:55,800 Speaker 3: business like they posing like I don't get yeah, yeah, yeah, 1196 01:06:55,920 --> 01:06:57,960 Speaker 3: but I ain't saying no names. 1197 01:06:58,080 --> 01:07:03,720 Speaker 1: Wow, wow, other fat Joe. We are. I mean, family 1198 01:07:03,800 --> 01:07:05,280 Speaker 1: goes without saying, but we are. 1199 01:07:05,440 --> 01:07:05,680 Speaker 3: We are. 1200 01:07:05,760 --> 01:07:09,120 Speaker 1: I think we are all inspired and and we are 1201 01:07:09,200 --> 01:07:12,120 Speaker 1: all better because of what you've done and how you 1202 01:07:12,200 --> 01:07:15,480 Speaker 1: do it, man, And we appreciate we appreciate you a 1203 01:07:15,680 --> 01:07:18,280 Speaker 1: thousand times over. I appreciate you giving me the call. 1204 01:07:18,920 --> 01:07:22,360 Speaker 1: As I said, you've always been inclusively, You've always wrapped 1205 01:07:22,400 --> 01:07:25,080 Speaker 1: your hands and arms around everyone. And you give me 1206 01:07:25,160 --> 01:07:28,479 Speaker 1: a call and say, hey, man, you want you want 1207 01:07:28,560 --> 01:07:32,200 Speaker 1: to be part of this. Yeah, it wasn't a do 1208 01:07:32,400 --> 01:07:35,680 Speaker 1: you want to be part of this? It was you 1209 01:07:35,880 --> 01:07:36,760 Speaker 1: want to be part of. 1210 01:07:36,800 --> 01:07:42,160 Speaker 3: You get money right? Think of Tyson back for right, 1211 01:07:42,280 --> 01:07:44,200 Speaker 3: one of the most handsome men in the world. You've 1212 01:07:44,240 --> 01:07:49,800 Speaker 3: been a runway model forever. We found a way for 1213 01:07:49,960 --> 01:07:54,520 Speaker 3: people who love him to support and he get paid 1214 01:07:54,600 --> 01:08:00,000 Speaker 3: now office his looks so every night somebody, every day 1215 01:08:00,000 --> 01:08:02,720 Speaker 3: he ain't somebody buying the box. You know, we finally 1216 01:08:02,840 --> 01:08:05,480 Speaker 3: found the right system for Tyson Beckford to get his 1217 01:08:05,840 --> 01:08:09,440 Speaker 3: just due, get his flowers right. And so you know, 1218 01:08:09,560 --> 01:08:11,480 Speaker 3: it's the beginning of a lot of stuff we're gonna do. 1219 01:08:11,680 --> 01:08:14,200 Speaker 3: You know, shout out to jay Z. He going for 1220 01:08:14,320 --> 01:08:19,280 Speaker 3: the casino up in New York Times Square, and so 1221 01:08:19,360 --> 01:08:22,400 Speaker 3: I wanted to get it because then fifteen thousand people 1222 01:08:22,439 --> 01:08:24,920 Speaker 3: that look like us to get jobs and Times Square 1223 01:08:25,560 --> 01:08:28,200 Speaker 3: and so I just every time I hear amazing things 1224 01:08:28,240 --> 01:08:31,320 Speaker 3: from people you know, I look up to or who 1225 01:08:31,400 --> 01:08:33,880 Speaker 3: I love or what they're doing, you know, and inspires me. 1226 01:08:34,880 --> 01:08:37,320 Speaker 1: Well, you inspire his brother in that absolutely, that is 1227 01:08:37,360 --> 01:08:40,640 Speaker 1: the blueprint, man. How can we continue to push it 1228 01:08:40,760 --> 01:08:43,400 Speaker 1: forward or pay it forward? You know what I mean? 1229 01:08:46,120 --> 01:08:52,160 Speaker 1: That's it. I'm Tank, this podcast authority on all things 1230 01:08:52,439 --> 01:08:56,519 Speaker 1: R and B and this has been all things fat yup, Yeah, 1231 01:09:00,240 --> 01:09:01,280 Speaker 1: R and B Money. 1232 01:09:02,439 --> 01:09:04,200 Speaker 2: R and B Money is a production of the Black 1233 01:09:04,240 --> 01:09:09,000 Speaker 2: Effect podcast Network. For more podcasts from iHeartRadio, visit the 1234 01:09:09,120 --> 01:09:12,960 Speaker 2: iHeartRadio app, Apple Podcasts, or wherever you listen to your 1235 01:09:13,000 --> 01:09:16,880 Speaker 2: favorite shows. Don't forget to subscribe to and rate our show, 1236 01:09:17,200 --> 01:09:19,800 Speaker 2: and you can connect with us on social media at 1237 01:09:19,880 --> 01:09:24,120 Speaker 2: j Valentine and at the Real Tank. For the extended episode, 1238 01:09:24,240 --> 01:09:28,439 Speaker 2: subscribe to YouTube dot com or slash R and B 1239 01:09:28,560 --> 01:09:28,840 Speaker 2: Money