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Speaker 1: Thanks the chronic goals.

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Speaker 2: This is not your average shows.

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Speaker 3: You're now tuned into the rail felt.

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Speaker 4: Hello, welcome to the gainst the Chronicles podcast, the production

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Speaker 4: of iHeart Radio and Black Effect podcast Network. Make sure

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Speaker 4: you download the iHeart app and subscribe to Against the

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Speaker 4: Chronicles for my Apple users, hit the purple Michael your

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Speaker 4: front screen, subscribed Against the Chronicles, leave of five star

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Speaker 4: rating and comment what's happening, what's happening? What's happening. It's

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Speaker 4: another episode Against the Chronicles podcast. It's your boy, big

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Speaker 4: stealer man. Before we get started, man, I'll let you

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Speaker 4: kick this off eight man. Want to give a condolency.

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Speaker 5: Yeah, we got a my boy night te passed away today.

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Speaker 5: So you anybody who's a loyal c MW fan, No,

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Speaker 5: Mike T's been around, you know. He was a significant deed.

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Speaker 5: You know, lended a hand on production on some of

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Speaker 5: significant CMW songs, was in every video we toured together.

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Speaker 5: You know, I started my you know, I started my

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Speaker 5: CMW shit with Mike T. When we first started the group.

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Speaker 5: Everybody know it was another DJ involved dude named Aunt,

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Speaker 5: but uh ant you know, had other shit going on,

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Speaker 5: So we brought in Mike T. Not as a member

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Speaker 5: at first, but just somebody to handle Back then, niggas

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Speaker 5: was DJ's were very strong on projects.

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Speaker 1: And what have you.

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Speaker 5: What epis Mike T was very intricate when it came

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Speaker 5: to a lot of CMW music. We didn't do hooks

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Speaker 5: and shit. We used Mike T as a DJ to

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Speaker 5: do our hooks with his skills. Shout out to you know,

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Speaker 5: his mom's and his brother, all the homies that I knew,

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Speaker 5: you know through Mike T.

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Speaker 1: A good dude, good dude. You feel me.

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Speaker 5: It's unfortunate that he left us. You know, it was unexpected.

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Speaker 5: I'm sure I just talked to him not a few

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Speaker 5: days ago, so I'm sure it was unexpected for a

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Speaker 5: lot of us.

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Speaker 4: It's like that man we getting up in age, man,

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Speaker 4: and I tell people, man, you could be five years

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Speaker 4: old to fifty five ninety years old. Man that we

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Speaker 4: don't have time as not beholding any of us. It

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Speaker 4: could leave us at any second, Like we don't have

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Speaker 4: to make that every second. Man. Pretty much that we

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Speaker 4: have on this planet, we got to cherish because we

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Speaker 4: don't know. That's why I don't never try to leave.

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Speaker 4: I don't like doing petty shit, Man, because you just

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Speaker 4: never know you could lose. You could be getting to

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Speaker 4: it one of your parties. Man, it'll be your last

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Speaker 4: time talking to him, be the last time man, you know,

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Speaker 4: couldoz is Man to him and his family. Man, And

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Speaker 4: I think we go get into something later on Man,

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Speaker 4: and really just go over the whole history to see

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Speaker 4: him done. You Man, it's a classic you know West

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Speaker 4: Coast group, Man, and we need to we need to

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Speaker 4: bang that out eight one day. Just have Man probably

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Speaker 4: shout the you know, crew members whoels around, maybe even

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Speaker 4: get chilled to call in, right. I think that'll be

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Speaker 4: something dope, you know, do that for the people you know,

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Speaker 4: speaking of we talked since were on the subject, Man

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Speaker 4: of hip hop. Man, I got one of my homeboys

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Speaker 4: on the show Man, the unsung music execs Man Southern California. Man,

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Speaker 4: this dude don't have his hands and something everything Man,

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Speaker 4: from movies to records. I'm talking about some of the

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Speaker 4: most legendary recording artists around. We go wait till the

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Speaker 4: interview gets thirty, you know, until we start talking to

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Speaker 4: you the name. I don't want to do too much

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Speaker 4: name dropping, man, but we got the homie Man d

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Speaker 4: Nne skills up in here, man.

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Speaker 2: Man, just appreciate y'all.

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Speaker 4: Sure, man, I appreciate you coming on this, Like, is

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Speaker 4: this your first interview?

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Speaker 3: Yeah yeah, yep. I mean I've done some you know what,

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Speaker 3: behind the scenes.

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Speaker 4: Strictly behind See we got somebody, man, that's really one

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Speaker 4: of them dudes, that's an exec man, back one of

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Speaker 4: these eis. Wasn't all in the music videos, wasn't all

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Speaker 4: on the songs and on stage dance and with the

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Speaker 4: artists and all that stuff. You really come from that

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Speaker 4: era of d iund to stand behind the scenes, man,

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Speaker 4: it was. It was different back then.

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Speaker 3: Well you know, I come from an era it was

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Speaker 3: well Adan was just talking about it was a spirit

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Speaker 3: going on, you know what I mean. It was based

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Speaker 3: off skills and wanting to do it before all the

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Speaker 3: big business got involved, which we wanted, but it was

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Speaker 3: just a feeling. It was everybody was into what we

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Speaker 3: needed to do to get by each day. And the

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Speaker 3: music played such an intergril part of everything, you know

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Speaker 3: what I'm saying, Like how we moved out here in

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Speaker 3: La I'm part of the underground scene now in La

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Speaker 3: cat Atlanta. That's what my heart is is the underground

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Speaker 3: you know what I'm saying what eight was talking about

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Speaker 3: about Sooner w if they're one of those groups that

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Speaker 3: had an impact on steals of hip hop like he

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Speaker 3: was talking about. You know what I'm saying, Mike t

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Speaker 3: on Jack Mo using the voice and jd on when

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Speaker 3: America's most wanted out with stray Jack and the Cutney.

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Speaker 3: You know what I'm saying on Jack mod I was in.

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Speaker 3: I was one of those people that was into our

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Speaker 3: songs was built.

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Speaker 2: You know what I'm saying.

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Speaker 3: The best hip hop songs are not that singles, it's

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Speaker 3: the album cuts.

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Speaker 2: You know what I'm saying.

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Speaker 3: That's what I was into because that's the true culture

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Speaker 3: of it, that's the true expression.

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Speaker 4: Yeah, and that was the thing back then, man, because

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Speaker 4: you didn't really have the eight bar versus in the

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Speaker 4: choruses with the singing and stuff on. It didn't really

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Speaker 4: come to like later on. You know, you had dudes

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Speaker 4: that would usually just leave like that eight bars empty,

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Speaker 4: or you would have like a sample in there, something,

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Speaker 4: you would have somebody cutting up a record in there. Right.

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Speaker 4: That was like the real break, you know, the real

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Speaker 4: break in the record. Right. Yeah, that was pretty much

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Speaker 4: universal and you got your start with, Man, happened to

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Speaker 4: be your cousin, DJ Bobcat.

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Speaker 2: What's sir? That's sirt?

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Speaker 1: Wow?

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Speaker 4: I mean, man, you know what I wanted. This ain't

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Speaker 4: a bobcare interview. Bob, I know you gonna be watching this. Man,

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Speaker 4: you got we gonna get you on here.

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Speaker 5: Man.

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Speaker 4: If me and me aid and be done, will come

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Speaker 4: and tie you up. Michael fon Mafia, you already know

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Speaker 4: what's happening anyway. But anyway, when Bob took that track

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Speaker 4: out to New York, man, he always tell me, Man, still,

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Speaker 4: I didn't really know what I was doing yet. When

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Speaker 4: I first went out there with l he said, Jack

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Speaker 4: Poo's SB twelve hundred. Was you around him during that

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Speaker 4: all that time? Man?

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Speaker 2: Yeah, I was.

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Speaker 3: I'm younger than Bob what I was in the hip

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Speaker 3: hop and I was watching his move. First time I

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Speaker 3: even seen somebody them with Pairry Tables was in it

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Speaker 3: where he Gray lived. I went over there and he

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Speaker 3: was cutting the suck on seas. That's the first time

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Speaker 3: I seen somebody on some tales, you know what I mean?

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Speaker 3: And I was watching like whoa you know, Bob's name

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Speaker 3: was out there. He was very young and uncle John's

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Speaker 3: Army while I was too young to go to the

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Speaker 3: you know, sports arena.

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Speaker 4: There to be about because Bob was sixteen when he

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Speaker 4: joined Uncle.

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Speaker 2: Davin James five six years older than you know here.

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Speaker 4: So you was a little little kid then.

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Speaker 2: Yeah, yeah, I was.

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Speaker 3: I come from we come from musical backgrounds our family,

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Speaker 3: you know what I'm saying. First of all, I come

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Speaker 3: from the movie. My family's from the Black Panther move,

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Speaker 3: you know what I'm saying. So we always been about culture.

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Speaker 3: My mom had a school. My mom and dad had

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Speaker 3: a school on fifty fourth and fourth ash WV.

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Speaker 2: The Boys Socle Institute.

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Speaker 3: When mister far Khan came through there, college, Bahama's sons

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Speaker 3: went to school there.

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Speaker 2: We met Bob early at the Watts Towers.

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Speaker 3: It was all about culture, learning about self awareness of

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Speaker 3: who we are.

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Speaker 4: No.

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Speaker 3: So we were headed the game with this stout the game.

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Speaker 3: But we used to get laughed at somewhat, you know

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Speaker 3: what I mean, our names and what we represented. When

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Speaker 3: the hip hop came around, let's started talking about those

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Speaker 3: same subjects. Public Enemy Carris, want some NWA songs. They

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Speaker 3: bought everything full circle and I.

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Speaker 4: Would save man back then. Really the skill level was

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Speaker 4: a little bit. I ain't gonna say it was higher, man,

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Speaker 4: but it wasn't. No, there was nothing to draw from.

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Speaker 4: It really wasn't no biting going on because you know,

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Speaker 4: you had people who was like I think that was

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Speaker 4: like you could say it was the second generation of

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Speaker 4: hip hop because that was right after Mellie Mail and

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Speaker 4: all of the other people, grand Master Flash and the

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Speaker 4: Furious Fire from all of them. So it was a

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Speaker 4: real heavy DJ presence, Like the DJ was the front

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Speaker 4: of center on the record. And I think, yes, yeah,

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Speaker 4: that all kind of changed like with l L. When

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Speaker 4: you know l L kind of came around and stuff,

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Speaker 4: we started seeing the development of the actual rap star.

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Speaker 4: I would have to say that l L was probably

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Speaker 4: one of hip hop's first superstars.

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Speaker 2: No question.

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Speaker 3: I mean, remember before Bob got with a Remember hell

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Speaker 3: I he made his interest and crush groove.

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Speaker 2: You know what I'm saying with that meant I was

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Speaker 2: watching the rite.

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Speaker 3: At the ball in theater on the West Side Kid

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Speaker 3: when LL came in did his first you know from

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Speaker 3: radio on Prus Goof he blew it up and you

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Speaker 3: Can't Live Without My Radio album had a huge impact.

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Speaker 2: They used to play Okay all the time, Gary.

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Speaker 3: Back, Rocky Dell's especially all I was really hit eight

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Speaker 3: no out here, you know, and then.

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Speaker 2: And all that Bob got with there.

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Speaker 5: That's what That's what we had to function. Yeah, you

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Speaker 5: give me a lot of our ship. You know, we

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Speaker 5: had niggas on the mic, but you know, like you said, yeah,

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Speaker 5: was probably somebody that we considered, you know, a hip

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Speaker 5: hop superstar. Even at that time, you get me, Even

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Speaker 5: though hip hop was fresh and new, we still looked

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Speaker 5: at certain niggas, you know, run DM, Wodan, LL cool J,

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Speaker 5: the Beastie Boys. We looked at them niggas as like shit,

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Speaker 5: they might as well been Michael Jackson in them at

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Speaker 5: the time as far as they was conferred in hip hop.

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Speaker 1: You feel me?

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Speaker 2: Yeah, real, everybody was pumping Bob.

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Speaker 4: Bob LL.

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Speaker 3: I was already LL fan, and I was always watching

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Speaker 3: my cousin evolution of Come Out of DJA.

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Speaker 2: You know what I'm saying.

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Speaker 3: So like I'm saying, I'm really into hip hop right

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Speaker 3: at the young age. So Bob Skills is getting better

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Speaker 3: and better. You know what I'm saying is the top DJ.

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Speaker 3: You know what I'm saying, Like Uncle Jams, I'm not

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Speaker 3: talking about this playing jams at the party, were talking

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Speaker 3: about sight scratching all records. You know what I'm saying,

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Speaker 3: part of the hook, like we was talking about big

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Speaker 3: part of the song, and back then it was using

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Speaker 3: they was cutting, Bob was cutting live on different channels.

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Speaker 3: You know what I'm saying, to bring samples together. He

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Speaker 3: breached that shit down to you with you know, Darryl

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Speaker 3: and Dwayne and Muffler. You know what I'm saying, Like

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Speaker 3: how they was did a bad album. To see the

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Speaker 3: evolution of him on that album.

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Speaker 2: Part of the man, I mean them dudes, I was

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Speaker 2: just watching them from.

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Speaker 3: Afar, I really you know that came out Ryan Pace

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Speaker 3: came out at the same time, eighty seven. But I

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Speaker 3: was so proud of Boub you know what I'm saying.

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Speaker 3: But a lot of people don't know that the West

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Speaker 3: Coast was involved in the Golden era, you know what

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Speaker 3: I'm saying, Like early gold the nerd like eighty seven

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Speaker 3: because that was a West Coast produced album, the bad album.

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Speaker 3: It was different from Canda without my Radio, but they

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Speaker 3: had the sound of Queans and the West Coast sound

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Speaker 3: together who did something three five seven on their So

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Speaker 3: that gave me a lot of direction. Me and my

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Speaker 3: older brother, you know what I'm saying. We started off

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Speaker 3: prow Wow.

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Speaker 4: That yeah shoo is d him because that was a

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Speaker 4: real pivotal time. And you mentioned something that that was

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Speaker 4: a West Coast produced album, because yes, you had Bob,

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Speaker 4: you had you know, Muffler. You pretty much that was

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Speaker 4: like the formation of the Boogeyman.

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Speaker 2: Well they were the La Posse then that time, right,

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Speaker 2: the Posse.

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Speaker 3: That's what they got called or called credit on it

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Speaker 3: out and it was Bob, Muffler and Darryl Piarce.

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Speaker 2: You know what I'm saying.

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Speaker 4: Darryl piers I told Daryl the other day.

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Speaker 3: Yeah, so they did that whole album of course with LLL. Hey,

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Speaker 3: while we're talking about.

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Speaker 4: Love He Love recipes he Love he Loved drives a

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Speaker 4: tank as long as a bulls you clown while he's dying,

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Speaker 4: he ain't give him the foot.

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Speaker 2: Yes, man, hip hop be alleged, you know what I'm saying.

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Speaker 2: So that's a piece for him.

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Speaker 4: Yeah, man, that's crazy, man. We lost E Love and

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Speaker 4: Mike t All like in the same week. Pretty much. Yeah, man,

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Speaker 4: crazy man, it's crazy. But you know, going from that, man,

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Speaker 4: you were pretty much man, responsible man for the evolution

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Speaker 4: man and probably I would say probably one of the

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Speaker 4: most impactful rappers in the history of hip hop man.

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Speaker 4: And I like to call him the like the hip

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Speaker 4: hop Elvis man. Tupac's the core.

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Speaker 3: I'm not going to take that credit. I played a part,

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Speaker 3: That's what I'm saying, played it part, you know. And

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Speaker 3: I build on that for sure. But I had something

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Speaker 3: to do with him and Bob getting together, for sure.

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Speaker 4: But that's but that's but that's what I want to

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Speaker 4: go into. And when I say that, because even though

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Speaker 4: Tupac was from the East Coast, he goes forever be

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Speaker 4: it mortalized as the West Coast artist. You know what

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Speaker 4: I'm saying. He was from the East Coast, but Bob

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Speaker 4: was the first one to pretty much from a West

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Speaker 4: coast kind of the I think Bob had him probably

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Speaker 4: before a shot g and.

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Speaker 3: Him right, Nah, nah, Well he had a chance to.

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Speaker 3: I'll make it clear. I'm gonna let you tell that story.

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Speaker 3: Tell the story.

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Speaker 1: Bro.

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Speaker 3: I met pot in eighty nine, ninety around that time

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Speaker 3: before he got on with Digit on the ground.

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Speaker 2: He was a stricty dope.

285
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Speaker 3: He was in Atlanta or I went to Clark or

286
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Speaker 3: Atlanta University's my freshman year and Pops uh mentor manager

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00:14:40,400 --> 00:14:43,920
Speaker 3: while Tody Tango he wasn't his manager then was having

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Speaker 3: something for the new after they were formed a performation

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Speaker 3: New African panis right. I just happened to be going

290
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Speaker 3: to Clark Is from LA. He went to French Shaw.

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Speaker 3: You know what I'm saying. Pop got LA roots. That's

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Speaker 3: what a lot of people don't understand.

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Speaker 2: People he was down.

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Speaker 4: It wasn't new.

295
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Speaker 3: He knew people come on later a hip hop, but

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Speaker 3: he knew people in LA and he visited LA in

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Speaker 3: late eighties before I knew him.

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Speaker 2: You know what I'm saying. Derrick K. Dame and they

299
00:15:14,280 --> 00:15:17,600
Speaker 2: stayed over in forty Goods. You know what I'm saying.

300
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Speaker 3: Wattami and the brother Watani is from the movement too.

301
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Speaker 3: They were having something called the Panther Retreat. They were

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Speaker 3: getting the kids of the movement, getting them together to

303
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Speaker 3: start a new organizations. I had no idea they going

304
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Speaker 3: to be in Atlanta. They said, you want to come

305
00:15:36,600 --> 00:15:42,920
Speaker 3: to this event. To the event, poker is on the mic, right, Okay,

306
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Speaker 3: So when I come to Atlanta, I'm working with Bob.

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Speaker 3: I'm trying to find the dopestim seeds to join Bob Sporss,

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Speaker 3: you know what I'm saying.

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Speaker 2: Of course he was at the time LLL. You know

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Speaker 2: what I'm saying.

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Speaker 3: His name was ranking, so I'm trying to find a

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Speaker 3: dope seas. So I linked with him and we just

313
00:16:01,120 --> 00:16:03,440
Speaker 3: hit it off. We stayed up all night talking about

314
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Speaker 3: hip hop and the movie we listened to.

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Speaker 4: I'm pretty sure that the movement had a lot to

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Speaker 4: do with that.

317
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Speaker 2: Yeah, but I love for hip hop was all with it,

318
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Speaker 2: you know what I'm saying.

319
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Speaker 3: And we talked about rat We listened to rathing My

320
00:16:18,160 --> 00:16:20,880
Speaker 3: Madness and Princess of the Posse by cleaning my Teeth.

321
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Speaker 2: For like fifteen sixteen times.

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Speaker 3: Somebody had to sing it talking and I actually got

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Speaker 3: a picture pop wrote a ron and dedicated to him.

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Speaker 2: So we was cool.

325
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Speaker 3: So the next day I took him down to my

326
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Speaker 3: thorn and said, I got ony do see the Bob

327
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Speaker 3: oh Bob like yo, I got to succeed, and Bob

328
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Speaker 3: I was like, man.

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Speaker 2: I listened to him later red that's a real but

330
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Speaker 2: he was a distant. He just was like, I know

331
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Speaker 2: your taste. I get with him, and it didn't go

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Speaker 2: down right then you know what I'm.

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Speaker 4: Saying, what's part disappointed? Now?

334
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Speaker 2: I been true.

335
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Speaker 3: You know he's from Park was trying to make it

336
00:16:58,000 --> 00:17:01,400
Speaker 3: in light he had He gone, you know, bro, like

337
00:17:02,720 --> 00:17:04,680
Speaker 3: we didn't have a lot, you know what I'm saying.

338
00:17:05,160 --> 00:17:06,480
Speaker 2: So he was about to move back to.

339
00:17:06,520 --> 00:17:09,840
Speaker 3: On Land, you know, I mean before he ended up

340
00:17:09,880 --> 00:17:11,680
Speaker 3: getting all shocking and took him on tour.

341
00:17:12,400 --> 00:17:14,159
Speaker 4: It happened the way it was supposed to happen. You know,

342
00:17:14,240 --> 00:17:16,679
Speaker 4: that was a part of you know, start of a journey.

343
00:17:17,080 --> 00:17:20,760
Speaker 4: But him and Bob wound up looking up again. Is

344
00:17:20,840 --> 00:17:22,840
Speaker 4: that how he got Let's talk about the streetly from

345
00:17:22,880 --> 00:17:23,639
Speaker 4: my Niggas album?

346
00:17:23,840 --> 00:17:27,480
Speaker 3: Okay, yeah, So me and we ended up being pooled.

347
00:17:27,920 --> 00:17:31,840
Speaker 3: So when he came to l A. I used to

348
00:17:31,880 --> 00:17:33,960
Speaker 3: come home for the summer. I was trying to hook

349
00:17:34,040 --> 00:17:36,879
Speaker 3: up Pop and Bob. Bob was like, oh that's I'm like,

350
00:17:36,960 --> 00:17:39,280
Speaker 3: that's the same nigga from Juke. That's the thing I

351
00:17:39,440 --> 00:17:42,119
Speaker 3: was telling you about, you know what I'm saying. He like, Okay,

352
00:17:42,960 --> 00:17:46,000
Speaker 3: let's make it happen. Bob stood us up once or twice.

353
00:17:46,080 --> 00:17:53,800
Speaker 3: Prince Shaw Marlob went to the China Club club back

354
00:17:53,880 --> 00:17:56,679
Speaker 3: in the day and they ran in the pop. They

355
00:17:56,760 --> 00:17:59,520
Speaker 3: both called me. The next day was like I finally

356
00:17:59,640 --> 00:18:02,560
Speaker 3: looked up with Bob and they started making an album.

357
00:18:02,600 --> 00:18:03,640
Speaker 2: I went back to Atlanta.

358
00:18:04,040 --> 00:18:06,320
Speaker 3: You know what I'm saying, but pop and Bob will

359
00:18:06,359 --> 00:18:09,000
Speaker 3: be calling me telling me how everything was going, and

360
00:18:09,080 --> 00:18:10,080
Speaker 3: I was hyping they did.

361
00:18:10,240 --> 00:18:14,119
Speaker 2: So they got a song a thread on that album,

362
00:18:15,680 --> 00:18:17,280
Speaker 2: ice Cube and Nice Teeth.

363
00:18:18,320 --> 00:18:22,680
Speaker 3: You know what I'm saying, Soldiers Revenge and see these

364
00:18:22,800 --> 00:18:27,400
Speaker 3: songs is big because he was connecting East and West

365
00:18:27,400 --> 00:18:30,920
Speaker 3: for real movement wise too. You know what I'm saying,

366
00:18:31,280 --> 00:18:34,600
Speaker 3: Bopa spread love like I'll come in here breaking some

367
00:18:34,760 --> 00:18:35,480
Speaker 3: bread with Bob.

368
00:18:35,600 --> 00:18:38,879
Speaker 2: I'm on there. You know what I'm saying. Oh, it

369
00:18:39,359 --> 00:18:44,360
Speaker 2: really consolidated it friendship for ever with our families.

370
00:18:50,000 --> 00:18:53,119
Speaker 4: You know what's funny, man, me knowing Bob right and

371
00:18:53,359 --> 00:18:56,000
Speaker 4: just you know Bob family. Right, Bob is big broke right,

372
00:18:57,520 --> 00:19:01,040
Speaker 4: and it turns about the Soldier's Revenge record. Right. Bob

373
00:19:01,160 --> 00:19:03,239
Speaker 4: always liked to play with that effect that made your

374
00:19:03,320 --> 00:19:06,000
Speaker 4: voice real deep, like like come on, you know what

375
00:19:06,040 --> 00:19:10,000
Speaker 4: I'm saying. I'm guarantee you man. Was you in that

376
00:19:10,119 --> 00:19:11,760
Speaker 4: session when they made that you was back?

377
00:19:12,160 --> 00:19:14,320
Speaker 2: He was in Atlanta, Atlante Dog yeah, I missed that.

378
00:19:14,440 --> 00:19:17,040
Speaker 4: I guarantee you man that Bob probably had him throw

379
00:19:17,080 --> 00:19:18,560
Speaker 4: that effect in there on that other voice.

380
00:19:19,080 --> 00:19:19,320
Speaker 2: You know.

381
00:19:19,440 --> 00:19:22,280
Speaker 3: The the dope thing about that. You know, Pox on

382
00:19:22,400 --> 00:19:26,760
Speaker 3: his first album was doing that effect on Soldiers Story.

383
00:19:27,680 --> 00:19:29,440
Speaker 3: I don't know a lot of people ain't in the

384
00:19:29,520 --> 00:19:32,240
Speaker 3: Fox first out I am. You know what I'm saying.

385
00:19:32,320 --> 00:19:35,480
Speaker 4: I'm gonna tell you Pak's first album, Man really strictly,

386
00:19:35,760 --> 00:19:39,560
Speaker 4: strictly for my niggas, Man is like my like I'm

387
00:19:39,600 --> 00:19:42,480
Speaker 4: fighting between that as being between that and the one

388
00:19:42,560 --> 00:19:45,760
Speaker 4: with so many tears on there. Me against the World,

389
00:19:46,280 --> 00:19:49,200
Speaker 4: Me against the World, I think strictly for my niggas

390
00:19:49,200 --> 00:19:51,080
Speaker 4: and Me against the World is his two best albums.

391
00:19:51,840 --> 00:19:55,320
Speaker 3: Well, you know, the POC dynamic is something different. You

392
00:19:55,400 --> 00:19:58,320
Speaker 3: know what I'm saying. I come from a different place

393
00:19:58,400 --> 00:20:01,120
Speaker 3: with it. You know what I'm saying. I'm not popapologists

394
00:20:01,359 --> 00:20:04,359
Speaker 3: on everything. You know what I'm saying, the man, but

395
00:20:04,560 --> 00:20:06,480
Speaker 3: I think the main thing that people need to look

396
00:20:06,560 --> 00:20:10,639
Speaker 3: at is the struggle and what it was actually before

397
00:20:11,040 --> 00:20:13,080
Speaker 3: you know what I'm saying, he talked about it. He

398
00:20:13,160 --> 00:20:16,639
Speaker 3: was fighting with himself and that's what we have to

399
00:20:16,760 --> 00:20:20,000
Speaker 3: do as black people in the system.

400
00:20:20,119 --> 00:20:20,479
Speaker 2: Period.

401
00:20:21,040 --> 00:20:24,240
Speaker 3: You know what I'm saying. People don't know podcave for poverty.

402
00:20:25,359 --> 00:20:27,160
Speaker 3: I knew a lot of people at the same time

403
00:20:27,280 --> 00:20:30,040
Speaker 3: that everybody had a home. I didn't have no my own.

404
00:20:30,160 --> 00:20:30,280
Speaker 4: Man.

405
00:20:30,320 --> 00:20:33,800
Speaker 3: He was running because his parents went to war with

406
00:20:33,960 --> 00:20:37,240
Speaker 3: the government, so they made him suffer for it.

407
00:20:37,600 --> 00:20:40,320
Speaker 2: You know what I'm saying, The loss of a twol

408
00:20:41,880 --> 00:20:43,080
Speaker 2: was locked up, you.

409
00:20:43,080 --> 00:20:44,680
Speaker 3: Know what I'm saying, And feel he was dealing with

410
00:20:44,840 --> 00:20:48,800
Speaker 3: problems and he had to handle a lot. So when

411
00:20:48,840 --> 00:20:50,760
Speaker 3: he got on, that's why he was so home with

412
00:20:50,960 --> 00:20:54,160
Speaker 3: everybody hungry. I'm just saying, that's his story. He had

413
00:20:54,960 --> 00:20:55,520
Speaker 3: for a reason.

414
00:20:57,080 --> 00:20:58,560
Speaker 2: He was more than he was more.

415
00:20:59,040 --> 00:21:01,479
Speaker 3: And I'm like, you know, people be you know, riting

416
00:21:01,560 --> 00:21:03,080
Speaker 3: and all that other shit and putting a lot of

417
00:21:03,119 --> 00:21:04,800
Speaker 3: shit on you know what I'm saying. But I've seen

418
00:21:04,880 --> 00:21:08,359
Speaker 3: him other spaces, you know what I'm saying, because he

419
00:21:08,520 --> 00:21:12,160
Speaker 3: come from that. You know what I'm saying. It's people

420
00:21:12,320 --> 00:21:14,600
Speaker 3: been like that. They've been on the front line for

421
00:21:14,680 --> 00:21:19,919
Speaker 3: black people, period, you know what I'm saying. So whatever

422
00:21:20,040 --> 00:21:22,040
Speaker 3: team he was on, that's what he was on, right

423
00:21:22,160 --> 00:21:25,240
Speaker 3: or wrong, you know what I'm saying. And that was

424
00:21:25,280 --> 00:21:27,600
Speaker 3: the spirit of period.

425
00:21:27,720 --> 00:21:30,760
Speaker 4: I really think that that's what's missing the music today though,

426
00:21:30,880 --> 00:21:34,720
Speaker 4: D nine Hu probably you know if you'll probably agree, right,

427
00:21:35,880 --> 00:21:39,639
Speaker 4: I think that, man. I think what happened right was this.

428
00:21:40,040 --> 00:21:42,680
Speaker 4: I think what happened man during that time was this.

429
00:21:43,720 --> 00:21:45,880
Speaker 4: I think you had the black movement right to where

430
00:21:45,920 --> 00:21:49,480
Speaker 4: people would have it was a lot of black positivity.

431
00:21:49,560 --> 00:21:52,200
Speaker 4: You know, you had public enemy, right, you had all

432
00:21:52,280 --> 00:21:56,200
Speaker 4: these different groups. Man, that was real prolific, right. And

433
00:21:56,640 --> 00:21:58,880
Speaker 4: I'm not gonna say Gangst the Rap changed that because

434
00:21:58,920 --> 00:22:00,680
Speaker 4: Gainst the rap was like the at the beginning. To me,

435
00:22:01,520 --> 00:22:04,680
Speaker 4: we had a time in music to where we had

436
00:22:04,760 --> 00:22:07,959
Speaker 4: some real powerful music. Everything says something like even when

437
00:22:08,000 --> 00:22:10,600
Speaker 4: you go back to see them w right. You know,

438
00:22:10,680 --> 00:22:12,520
Speaker 4: the media called a gangster rap, but to me it

439
00:22:12,640 --> 00:22:13,520
Speaker 4: was reality rap.

440
00:22:13,640 --> 00:22:13,760
Speaker 5: Right.

441
00:22:14,240 --> 00:22:17,359
Speaker 4: It was always about the struggle in black consequences, you know.

442
00:22:17,880 --> 00:22:22,199
Speaker 4: Like the thing was with the difference between back then

443
00:22:22,280 --> 00:22:26,440
Speaker 4: and now to me is when MCA the Scarface did

444
00:22:26,480 --> 00:22:29,000
Speaker 4: a song about you know, the criminals and the trucks

445
00:22:29,080 --> 00:22:31,359
Speaker 4: doing their thing, right, it was always a consequence to it.

446
00:22:31,720 --> 00:22:35,440
Speaker 4: Somebody got shot, somebody went to jail. You know, this

447
00:22:35,720 --> 00:22:38,639
Speaker 4: happened to homies, little sister got smoked or whatever, like that,

448
00:22:38,800 --> 00:22:42,160
Speaker 4: you know, and then it just turned into a thing, man,

449
00:22:42,280 --> 00:22:45,600
Speaker 4: where everybody just had these illusions of grandeer. Everybody was

450
00:22:45,680 --> 00:22:49,520
Speaker 4: moving tons of cocaine with no consequences. Everybody was shooting

451
00:22:49,560 --> 00:22:52,680
Speaker 4: this dude. It got real mainly for a minute. Do

452
00:22:52,840 --> 00:22:55,680
Speaker 4: you say, you know, coming from the movement, ma'am, I'm

453
00:22:55,720 --> 00:22:57,320
Speaker 4: gonna ask both of you all this, do you think

454
00:22:57,440 --> 00:22:59,639
Speaker 4: it was a concentrated effort to destroy all that?

455
00:23:00,520 --> 00:23:02,119
Speaker 1: I mean, I guess you could say that.

456
00:23:03,359 --> 00:23:06,080
Speaker 5: I guess you could say that with I guess dealing

457
00:23:06,160 --> 00:23:10,959
Speaker 5: with any strong Black foundation or situation, it has always

458
00:23:11,000 --> 00:23:14,680
Speaker 5: been some plot to disrupt, or to destroy or to

459
00:23:14,840 --> 00:23:17,880
Speaker 5: break up. You feel me, And like you said, that shit,

460
00:23:18,720 --> 00:23:20,080
Speaker 5: that shit was before rap.

461
00:23:20,560 --> 00:23:21,080
Speaker 1: You get me.

462
00:23:21,440 --> 00:23:23,560
Speaker 5: That goes back to the Martin Luther King and the

463
00:23:23,640 --> 00:23:29,000
Speaker 5: slave shit, the formation of organizations, so to speak. You

464
00:23:29,160 --> 00:23:32,880
Speaker 5: get me that wanted to destroy. I don't think there

465
00:23:33,040 --> 00:23:37,920
Speaker 5: was a was a plot to disrupt, you know, or

466
00:23:38,200 --> 00:23:43,600
Speaker 5: positive influences or positive influences in the rap game, where

467
00:23:43,600 --> 00:23:48,240
Speaker 5: we had dudes like Public Enemy, we had poor righteous teachers,

468
00:23:48,840 --> 00:23:53,480
Speaker 5: we had people like ex Clan. So I don't want

469
00:23:53,520 --> 00:23:56,920
Speaker 5: to say that it was a plot to destroy them.

470
00:23:57,520 --> 00:24:01,080
Speaker 5: It's just that the situations with music as a voice.

471
00:24:01,320 --> 00:24:04,480
Speaker 5: You feel me, and it was strong back in our time,

472
00:24:04,640 --> 00:24:05,280
Speaker 5: in our day.

473
00:24:05,440 --> 00:24:05,960
Speaker 1: You give me.

474
00:24:06,720 --> 00:24:10,879
Speaker 5: You've seen niggas. You've seen niggas wearing you know you

475
00:24:11,119 --> 00:24:15,400
Speaker 5: wasn't no motherfucking pro black motherfucker, but you've seen half

476
00:24:15,480 --> 00:24:19,600
Speaker 5: the niggas who enjoyed rap music or whatever. You've seen

477
00:24:19,680 --> 00:24:22,320
Speaker 5: all the kids wanting to wear the little atter, the

478
00:24:22,480 --> 00:24:25,840
Speaker 5: medallions with the African shit in it. We all had

479
00:24:25,920 --> 00:24:27,600
Speaker 5: them shits at one time.

480
00:24:27,880 --> 00:24:30,639
Speaker 1: You feel me. It was a movement. You give me

481
00:24:31,280 --> 00:24:32,000
Speaker 1: and nigga.

482
00:24:32,040 --> 00:24:34,879
Speaker 5: We was in counct and gang banged out, but I

483
00:24:35,040 --> 00:24:37,159
Speaker 5: still had me an African medallion.

484
00:24:37,359 --> 00:24:42,240
Speaker 4: You feel me. So I just think that.

485
00:24:43,680 --> 00:24:48,280
Speaker 5: I just think that with the the more acceptance of

486
00:24:48,680 --> 00:24:53,800
Speaker 5: being able to control what you're able to control, because shit,

487
00:24:53,920 --> 00:24:58,040
Speaker 5: even me as an artist, places that they wouldn't accept

488
00:24:58,119 --> 00:24:58,760
Speaker 5: my music.

489
00:24:59,080 --> 00:24:59,600
Speaker 1: You give me.

490
00:25:00,040 --> 00:25:04,760
Speaker 5: You think of now. If you think of now, shit

491
00:25:04,880 --> 00:25:08,359
Speaker 5: is accepted everywhere. You feel me, there is no you

492
00:25:08,520 --> 00:25:12,359
Speaker 5: get me. It's the control of who the ear and

493
00:25:12,440 --> 00:25:16,000
Speaker 5: the masses of the music. The young generation won't stay

494
00:25:16,040 --> 00:25:18,240
Speaker 5: here that shit I don't want to hear.

495
00:25:18,240 --> 00:25:19,320
Speaker 4: No mother, you get me.

496
00:25:19,640 --> 00:25:22,640
Speaker 5: It probably was a point in time where I didn't

497
00:25:22,680 --> 00:25:26,080
Speaker 5: want to hear no motherfucking preaching and brought up pro

498
00:25:26,280 --> 00:25:29,479
Speaker 5: black shit. I want to hear about the dope dealers

499
00:25:29,520 --> 00:25:32,040
Speaker 5: and the niggas in the streets and who was popping

500
00:25:32,200 --> 00:25:35,399
Speaker 5: and woot the won't. So it took time for me

501
00:25:35,520 --> 00:25:40,720
Speaker 5: to be able to mature and appreciate that music. You

502
00:25:40,880 --> 00:25:47,680
Speaker 5: get me, So I think, you know, go ahead, I'm

503
00:25:47,680 --> 00:25:50,200
Speaker 5: gonna tell you. I'm gonna think, hey, I'm gonna tell

504
00:25:50,200 --> 00:25:51,000
Speaker 5: you not to cut you off.

505
00:25:51,040 --> 00:25:51,240
Speaker 1: Brum.

506
00:25:51,320 --> 00:25:53,639
Speaker 4: Sorry, I think we got a little delayed. But this

507
00:25:53,800 --> 00:25:55,600
Speaker 4: is what I think do I think it was some

508
00:25:55,800 --> 00:25:58,680
Speaker 4: guy in the room they said, hey, we are going

509
00:25:58,760 --> 00:26:02,160
Speaker 4: to destroy all black music by doing this or doing that, right.

510
00:26:02,240 --> 00:26:04,000
Speaker 4: I don't think it was so much of that, bro,

511
00:26:04,640 --> 00:26:07,359
Speaker 4: But what I do think happened was that it was

512
00:26:07,440 --> 00:26:12,320
Speaker 4: a concentrated effort to say, you know what, this kind

513
00:26:12,400 --> 00:26:15,080
Speaker 4: of music is more exciting and engaging to the masses.

514
00:26:15,320 --> 00:26:17,359
Speaker 4: We're gonna push this right here instead of that right

515
00:26:17,359 --> 00:26:19,720
Speaker 4: here that's that's played out. We're gonna start pushing this

516
00:26:19,880 --> 00:26:21,400
Speaker 4: right here. And I think it got to the point

517
00:26:21,480 --> 00:26:25,840
Speaker 4: to where they started kind of manufacturing gangsters, and I

518
00:26:25,920 --> 00:26:28,000
Speaker 4: think that's where everything went left. I think once you

519
00:26:28,080 --> 00:26:32,000
Speaker 4: got guys that actually wasn't from the streets doing street music,

520
00:26:32,640 --> 00:26:35,240
Speaker 4: they just embellished the worst of the worst. You feel

521
00:26:35,240 --> 00:26:37,159
Speaker 4: what I'm saying, the worst, the worst aspects of just

522
00:26:37,200 --> 00:26:40,600
Speaker 4: street life, just murder, murder, kill, killed, because you start

523
00:26:40,640 --> 00:26:42,119
Speaker 4: having a lot of that coming, and if you look

524
00:26:42,200 --> 00:26:44,520
Speaker 4: at it now years later, a lot of them guys

525
00:26:44,560 --> 00:26:47,080
Speaker 4: that were talking about murder, murder, kill, kill wasn't exactly

526
00:26:47,160 --> 00:26:47,960
Speaker 4: real gangsters.

527
00:26:49,600 --> 00:26:54,040
Speaker 3: No America is about never, you know what I mean.

528
00:26:55,720 --> 00:26:58,720
Speaker 3: We're not on special cas. You know what I'm saying.

529
00:26:58,760 --> 00:27:01,200
Speaker 3: They see anything that they can make the money off of,

530
00:27:01,560 --> 00:27:04,920
Speaker 3: exploit it and use it to their advantage.

531
00:27:05,160 --> 00:27:08,520
Speaker 2: That's what's gonna happen. So we can't take it personally.

532
00:27:09,320 --> 00:27:13,000
Speaker 3: What had is saying, which I agree with, is that

533
00:27:13,520 --> 00:27:16,320
Speaker 3: we gotta take some He's saying real ship, you know

534
00:27:16,359 --> 00:27:16,919
Speaker 3: what I'm saying, And.

535
00:27:17,000 --> 00:27:19,520
Speaker 2: I and I have to learn that here from the movement.

536
00:27:20,760 --> 00:27:22,920
Speaker 2: You can't just like what you like.

537
00:27:23,600 --> 00:27:26,800
Speaker 3: You gotta you gotta take some time understand where people.

538
00:27:27,520 --> 00:27:30,639
Speaker 3: That's where art, that's where what it really is, you

539
00:27:30,680 --> 00:27:32,879
Speaker 3: know what I'm saying. And so you gotta go with

540
00:27:33,000 --> 00:27:37,840
Speaker 3: your heart and see what you gravitate to the problem

541
00:27:38,040 --> 00:27:42,960
Speaker 3: is is that you know, it got oversaturated like anything else.

542
00:27:43,480 --> 00:27:45,840
Speaker 3: You know what I'm saying, That's that's what Americas go through.

543
00:27:46,000 --> 00:27:50,040
Speaker 3: Any go to some mom and pop restaurant. It's good

544
00:27:50,160 --> 00:27:53,159
Speaker 3: when to go corporate. Don't take it, you know what

545
00:27:53,200 --> 00:27:57,480
Speaker 3: I'm saying. Don't have to say so they do that

546
00:27:57,560 --> 00:28:03,040
Speaker 3: shit with everything. We gotta take real understand. Like I said,

547
00:28:03,080 --> 00:28:06,359
Speaker 3: I grew me being from where I'm from with the

548
00:28:06,440 --> 00:28:07,040
Speaker 3: Black movement.

549
00:28:07,240 --> 00:28:08,600
Speaker 2: I love certain kind of music.

550
00:28:08,840 --> 00:28:14,920
Speaker 3: Right, sometimes you can like something and this other ship

551
00:28:15,160 --> 00:28:17,360
Speaker 3: because it ain't you know what I'm saying. What I'm

552
00:28:17,359 --> 00:28:20,600
Speaker 3: saying is I have to come home when I got

553
00:28:20,720 --> 00:28:24,080
Speaker 3: older and I started appreciate the quest of something.

554
00:28:25,440 --> 00:28:28,240
Speaker 2: Nichgas don't talk about a lot outside of it. You

555
00:28:28,320 --> 00:28:28,880
Speaker 2: know what I'm saying.

556
00:28:30,040 --> 00:28:34,840
Speaker 4: Oh, the West Coast has a prolific underground prison, you know.

557
00:28:35,480 --> 00:28:37,120
Speaker 1: You know, of course forty is big.

558
00:28:37,320 --> 00:28:41,480
Speaker 3: Now you know these people, you know, I don't can

559
00:28:41,560 --> 00:28:45,400
Speaker 3: talk about in the same light as the other people.

560
00:28:46,480 --> 00:28:49,720
Speaker 2: Go and listen where it's stommers from, Like, oh, this

561
00:28:49,800 --> 00:28:52,320
Speaker 2: is real ship. You know what I'm saying. This is

562
00:28:52,400 --> 00:28:54,360
Speaker 2: all you're trying to get it. That's part of their

563
00:28:54,400 --> 00:28:57,200
Speaker 2: struggle because they don't you know what I'm saying.

564
00:28:57,240 --> 00:28:59,200
Speaker 1: What it is? You know what?

565
00:28:59,440 --> 00:29:03,240
Speaker 4: You know one of the underground man you founded the

566
00:29:03,320 --> 00:29:08,000
Speaker 4: Solar Collective, right, I'm one of the found the Solar panel.

567
00:29:08,400 --> 00:29:11,240
Speaker 4: That was what was that Chase Infinite and all.

568
00:29:13,080 --> 00:29:17,080
Speaker 3: J. Khalil got We got the songs out right now.

569
00:29:17,800 --> 00:29:20,160
Speaker 3: We had Scimitar, he got a song. Cool Keith, And

570
00:29:21,600 --> 00:29:25,880
Speaker 3: you're doing a project right now. Some of the dope

571
00:29:25,960 --> 00:29:30,160
Speaker 3: backs that we always wanted to do cuts with, you

572
00:29:30,240 --> 00:29:33,520
Speaker 3: know what I'm saying, trying to make some bangers, Yo,

573
00:29:34,520 --> 00:29:37,760
Speaker 3: dark Ael from Boston. I got a lot of dope

574
00:29:37,880 --> 00:29:41,200
Speaker 3: underground seasons. The dope think about collective.

575
00:29:40,920 --> 00:29:43,760
Speaker 4: You said, Keith, Right, is that the project you was

576
00:29:43,840 --> 00:29:46,040
Speaker 4: telling me that night? Was that the project that you

577
00:29:46,080 --> 00:29:48,080
Speaker 4: were telling me about that night we was with J

578
00:29:48,160 --> 00:29:49,880
Speaker 4: bar Oh yeah, and.

579
00:29:49,920 --> 00:29:50,520
Speaker 1: I showed you that.

580
00:29:50,680 --> 00:29:53,520
Speaker 2: Yeah, cool Keith Man.

581
00:29:53,560 --> 00:29:55,720
Speaker 4: That's another nation. Therey do Ultra Magnetic and.

582
00:29:55,840 --> 00:29:59,000
Speaker 2: SI's a magnetic critical beat down.

583
00:29:59,120 --> 00:30:04,320
Speaker 3: One of Dolphus hovels to me, it remade eighty eight

584
00:30:04,600 --> 00:30:07,240
Speaker 3: came out the same year It takes the Nation a million.

585
00:30:08,480 --> 00:30:12,239
Speaker 2: One of the dolphus OUs to me, you know that's

586
00:30:12,280 --> 00:30:14,880
Speaker 2: a classic, right years and really start.

587
00:30:15,000 --> 00:30:18,080
Speaker 3: That's what you don't like, So I don't get mad

588
00:30:18,120 --> 00:30:20,680
Speaker 3: at nobody is what they You know what I'm saying,

589
00:30:21,800 --> 00:30:22,920
Speaker 3: that's what I like the most.

590
00:30:23,200 --> 00:30:25,400
Speaker 1: But I can listen to everything now.

591
00:30:25,480 --> 00:30:27,640
Speaker 4: When you had your radio show, you had the panther

592
00:30:27,800 --> 00:30:30,880
Speaker 4: power all right, and you were bringing a lot of

593
00:30:30,920 --> 00:30:32,760
Speaker 4: records when you did that, man, because all of this

594
00:30:32,920 --> 00:30:35,600
Speaker 4: is pre internet. Was you on f and he was

595
00:30:35,640 --> 00:30:37,920
Speaker 4: on FM frequency three.

596
00:30:38,040 --> 00:30:42,000
Speaker 3: W r G and uh the chores and uh brother

597
00:30:42,080 --> 00:30:45,720
Speaker 3: Wattani the brother name brother Bomani got me that show

598
00:30:46,600 --> 00:30:48,880
Speaker 3: and still what At first we just did it once

599
00:30:48,960 --> 00:30:52,480
Speaker 3: a month, and then I ended up doing.

600
00:30:52,320 --> 00:30:53,720
Speaker 1: It by myself.

601
00:30:54,080 --> 00:30:57,960
Speaker 3: A brother named Fred but came on from eleven to

602
00:30:58,040 --> 00:31:00,520
Speaker 3: one on Monday nights and we could play us work.

603
00:31:00,680 --> 00:31:02,080
Speaker 2: We just have to explain it.

604
00:31:02,720 --> 00:31:06,080
Speaker 3: You can't get more underground ship we play, you know

605
00:31:06,120 --> 00:31:10,920
Speaker 3: what I'm saying. We playing album cuts no and having

606
00:31:11,040 --> 00:31:13,960
Speaker 3: a little guests on. We even did a couple of

607
00:31:14,040 --> 00:31:18,400
Speaker 3: shows in the Atlanta Ferdo Penitential otherm thetwol who.

608
00:31:18,280 --> 00:31:22,400
Speaker 4: Worked at mom that's crazy, man, Do you still have

609
00:31:22,520 --> 00:31:23,640
Speaker 4: some of those shows on tape?

610
00:31:24,480 --> 00:31:26,760
Speaker 2: We lost some buildings though we lost some.

611
00:31:27,640 --> 00:31:30,120
Speaker 4: You should put everything you got online man the archive

612
00:31:30,160 --> 00:31:31,920
Speaker 4: and like they put them online for the people.

613
00:31:32,680 --> 00:31:34,840
Speaker 2: We broke a lot of shit. Goodie mob you know

614
00:31:34,880 --> 00:31:37,400
Speaker 2: what I'm saying. You got people come from.

615
00:31:38,240 --> 00:31:40,560
Speaker 4: If you think about that class of hip hop Man

616
00:31:40,760 --> 00:31:44,360
Speaker 4: nineteen ninety one, when you start talking about the goodie

617
00:31:44,440 --> 00:31:46,760
Speaker 4: mobs that was, that was your class eight to the

618
00:31:47,120 --> 00:31:52,240
Speaker 4: cmw's Boutang Clan and all them people, that's just like

619
00:31:52,360 --> 00:31:54,360
Speaker 4: the craziest time in the hip hop ever.

620
00:31:55,000 --> 00:31:59,320
Speaker 5: Everybody has their favorites and if you've been around that's

621
00:31:59,360 --> 00:32:03,160
Speaker 5: the dopest ere is I have or some of us,

622
00:32:03,800 --> 00:32:07,960
Speaker 5: you've seen it transition into a lot of stages, so

623
00:32:08,520 --> 00:32:12,600
Speaker 5: you know, it's it's seen a lot of corners, you

624
00:32:12,720 --> 00:32:15,760
Speaker 5: feel me, it's seen a lot of hallways, it's seen

625
00:32:15,800 --> 00:32:17,959
Speaker 5: a lot of motherfucker studio rooms.

626
00:32:18,040 --> 00:32:18,880
Speaker 1: Hip hop hass.

627
00:32:19,480 --> 00:32:20,880
Speaker 4: So you would have your.

628
00:32:20,840 --> 00:32:25,840
Speaker 5: Preference of what you think or what you determine was

629
00:32:25,960 --> 00:32:30,560
Speaker 5: the golden era of hip hop, you know, and it

630
00:32:30,720 --> 00:32:33,120
Speaker 5: was just that time for me, you know, not to

631
00:32:33,280 --> 00:32:37,080
Speaker 5: discredit what's going on today or in the pozoons or

632
00:32:37,120 --> 00:32:40,640
Speaker 5: whatever people feel, but I think we had a significant

633
00:32:40,760 --> 00:32:45,200
Speaker 5: era when it came to solidifying the foundation of hip hop.

634
00:32:45,600 --> 00:32:50,000
Speaker 5: You feel me, tell you this and this is not

635
00:32:50,240 --> 00:32:52,400
Speaker 5: no knock to these young dudes, man, but there are

636
00:32:52,720 --> 00:32:55,080
Speaker 5: very few kids that you go here twenty years.

637
00:32:54,880 --> 00:32:57,840
Speaker 2: From now, well, yeah, the game change.

638
00:32:58,400 --> 00:33:01,400
Speaker 4: Well, you got records that came out during that time

639
00:33:01,480 --> 00:33:04,120
Speaker 4: that people still playing. You got catalogs from that time

640
00:33:04,200 --> 00:33:08,480
Speaker 4: that are very valuable. They're still doing a lot project.

641
00:33:09,200 --> 00:33:12,240
Speaker 3: Not to say that people don't make everything go through

642
00:33:12,320 --> 00:33:15,040
Speaker 3: its own evolution. So I'm not this or nothing, you

643
00:33:15,080 --> 00:33:17,720
Speaker 3: know what I'm saying. But back then, you know, you

644
00:33:17,880 --> 00:33:19,760
Speaker 3: was just into the first of all physics.

645
00:33:20,680 --> 00:33:22,360
Speaker 1: So that may difference.

646
00:33:22,920 --> 00:33:23,280
Speaker 2: Touch it.

647
00:33:23,520 --> 00:33:25,600
Speaker 1: See look at it. Leave the credits.

648
00:33:26,520 --> 00:33:28,240
Speaker 2: That meant something, you know what I'm saying.

649
00:33:28,360 --> 00:33:31,200
Speaker 4: Happen? Think what you just touched on No d N.

650
00:33:32,720 --> 00:33:35,280
Speaker 4: It was a physical era and people made albums. Back

651
00:33:35,320 --> 00:33:37,840
Speaker 4: then it was about making the project. Now I think

652
00:33:37,920 --> 00:33:40,120
Speaker 4: people cut in the economic to the record business. It's

653
00:33:40,120 --> 00:33:42,360
Speaker 4: a streaming model now, right, So you're getting paid a

654
00:33:42,440 --> 00:33:44,920
Speaker 4: fraction of a pinion now, right, So you have to

655
00:33:45,040 --> 00:33:48,320
Speaker 4: put out more projects. You know, you got guys not

656
00:33:48,520 --> 00:33:50,600
Speaker 4: to put out an album every month every other month, right,

657
00:33:51,200 --> 00:33:53,360
Speaker 4: whereas back then you may put out an album, you

658
00:33:53,480 --> 00:33:55,320
Speaker 4: might not get another release for another year. You know,

659
00:33:55,400 --> 00:33:57,520
Speaker 4: you put an album out, you go on the road

660
00:33:57,600 --> 00:33:59,280
Speaker 4: for about a year, year and a half, then you

661
00:33:59,360 --> 00:34:03,520
Speaker 4: start working on the second one. You feel me, now,

662
00:34:03,840 --> 00:34:06,880
Speaker 4: it's like you putting out everything is really microwaves now,

663
00:34:06,920 --> 00:34:08,960
Speaker 4: and I think that's why the music suffers. Man, You

664
00:34:09,040 --> 00:34:11,600
Speaker 4: had dudes that was really working on projects. You had

665
00:34:11,680 --> 00:34:13,560
Speaker 4: cast back then when I was in the studio. Man,

666
00:34:13,640 --> 00:34:15,160
Speaker 4: back then, when I was a and R. Back then,

667
00:34:15,560 --> 00:34:17,920
Speaker 4: you had cast that would make sixty seventy songs per

668
00:34:18,000 --> 00:34:19,680
Speaker 4: album just to pick the dopest.

669
00:34:19,320 --> 00:34:23,040
Speaker 5: Twelve nobody's effort or their work. You get me that

670
00:34:23,239 --> 00:34:25,200
Speaker 5: whatever they do today make it just.

671
00:34:25,239 --> 00:34:27,279
Speaker 4: To pick the dopest flay up songs. It wasn't no

672
00:34:28,360 --> 00:34:29,440
Speaker 4: for motherfuckers.

673
00:34:29,680 --> 00:34:32,239
Speaker 5: Like you said, I come from the era of two

674
00:34:32,360 --> 00:34:36,000
Speaker 5: inch reels and going to the studio and and you

675
00:34:36,200 --> 00:34:39,279
Speaker 5: know that type of shit. You know today niggas two

676
00:34:39,400 --> 00:34:42,040
Speaker 5: track of beat and put down some vocals and it's over.

677
00:34:42,360 --> 00:34:46,160
Speaker 5: You get me, it was, you know, and like shit

678
00:34:46,320 --> 00:34:50,360
Speaker 5: is microwave instantly today. You know fans today, you know,

679
00:34:50,640 --> 00:34:53,279
Speaker 5: you put out a project or so on today, shit

680
00:34:53,400 --> 00:34:54,520
Speaker 5: by the weekend they.

681
00:34:54,480 --> 00:34:58,440
Speaker 1: Want to hear something new, you feel me, Yeah, yeah.

682
00:34:59,360 --> 00:35:01,200
Speaker 4: And you I have to really look at it for

683
00:35:01,320 --> 00:35:04,840
Speaker 4: what it is today, right, And I think that I

684
00:35:05,040 --> 00:35:07,920
Speaker 4: remember when when the whole online stuff started, right, they

685
00:35:07,960 --> 00:35:11,720
Speaker 4: started putting sharing music files online and everything. I actually

686
00:35:11,760 --> 00:35:14,160
Speaker 4: had a record store. Man, the digital era put our

687
00:35:14,200 --> 00:35:18,040
Speaker 4: store out of business. Wow, it just was too hard

688
00:35:18,080 --> 00:35:20,239
Speaker 4: and it was already hard enough to compete. And I

689
00:35:20,440 --> 00:35:23,759
Speaker 4: tell you all of this started even before the digital era.

690
00:35:24,480 --> 00:35:26,359
Speaker 4: It was a time when you start getting the big

691
00:35:26,480 --> 00:35:30,759
Speaker 4: box stores like best Buy and kve Mark started selling records, right.

692
00:35:30,840 --> 00:35:33,879
Speaker 4: They would have CDs out there for seven ninety nine, right,

693
00:35:34,520 --> 00:35:37,200
Speaker 4: and here I got a store. I think my wholesale

694
00:35:37,239 --> 00:35:39,200
Speaker 4: cost was eight dollars and I was just be wondering, like,

695
00:35:39,320 --> 00:35:42,000
Speaker 4: how's these dude selling CDs for seven ninety nine. It's

696
00:35:42,040 --> 00:35:45,920
Speaker 4: because best body didn't care about making money off of record.

697
00:35:45,960 --> 00:35:47,720
Speaker 4: They wanted to get people to come in the store

698
00:35:48,400 --> 00:35:50,359
Speaker 4: to buy a CD and hope that you walk past

699
00:35:50,400 --> 00:35:52,759
Speaker 4: a blender TV is something you was gonna pick up

700
00:35:52,760 --> 00:35:54,680
Speaker 4: a TV on the way out. They didn't care. They

701
00:35:54,719 --> 00:35:57,279
Speaker 4: was pretty much selling the albums that costs. So that

702
00:35:57,440 --> 00:36:01,040
Speaker 4: put the flag. I had a it's labor for your ear.

703
00:36:01,160 --> 00:36:03,239
Speaker 4: Big Wine was across the street. He had this story

704
00:36:03,280 --> 00:36:06,120
Speaker 4: and he was in the swap mes too. You had

705
00:36:06,200 --> 00:36:08,160
Speaker 4: all these stories. You had the Homie Big Aid that

706
00:36:08,200 --> 00:36:12,120
Speaker 4: had Compton Underworld Records in Compton, you had VIP and

707
00:36:12,200 --> 00:36:15,520
Speaker 4: Long Beach. All of the stores eventually got put out

708
00:36:15,560 --> 00:36:19,120
Speaker 4: of business by that model. Right then when the internet

709
00:36:19,200 --> 00:36:21,600
Speaker 4: stuff came to kind of just like put the nail

710
00:36:21,640 --> 00:36:24,200
Speaker 4: in the coffin, because that was the time you had

711
00:36:24,239 --> 00:36:26,280
Speaker 4: a record store. Back then you had to start selling

712
00:36:26,320 --> 00:36:29,120
Speaker 4: T shirts and beepers to pay your rent. Because I

713
00:36:29,239 --> 00:36:31,560
Speaker 4: started going to the pager business. Then my store looked

714
00:36:31,560 --> 00:36:34,080
Speaker 4: more like a Paiger store than it did a record

715
00:36:34,120 --> 00:36:35,960
Speaker 4: store because I said, man, I got to do something

716
00:36:36,440 --> 00:36:38,560
Speaker 4: to pay the bills. I can't even pay my employees

717
00:36:40,280 --> 00:36:42,600
Speaker 4: because the costs of music just got cheaping, man. And

718
00:36:42,960 --> 00:36:45,800
Speaker 4: I think that's what we're seeing now because and I

719
00:36:45,880 --> 00:36:48,279
Speaker 4: don't want nobody to think I'm dissing young people, man,

720
00:36:48,360 --> 00:36:50,200
Speaker 4: because I got a lot of young artists that I like.

721
00:36:50,280 --> 00:36:52,000
Speaker 4: And we go get into that, because you was responsible

722
00:36:52,040 --> 00:36:54,479
Speaker 4: for breaking some of the biggest people on the planet today,

723
00:36:54,560 --> 00:36:59,680
Speaker 4: right but it was it's jacked up now, man, it's

724
00:36:59,719 --> 00:37:01,719
Speaker 4: fucked step now it is.

725
00:37:01,840 --> 00:37:05,320
Speaker 2: I mean, they succeeded in pretty much making music is background.

726
00:37:06,200 --> 00:37:09,480
Speaker 4: Background, it's not art no more. It's not considered art

727
00:37:09,560 --> 00:37:13,080
Speaker 4: no more because they've cheapened it to a fraction of

728
00:37:13,120 --> 00:37:16,080
Speaker 4: a penny. And the one thing that's still the same,

729
00:37:17,040 --> 00:37:20,400
Speaker 4: it's still a person with no talent. They're sitting up

730
00:37:20,400 --> 00:37:22,880
Speaker 4: an office making more money than anybody else is actually

731
00:37:22,880 --> 00:37:25,359
Speaker 4: doing the work, So that part has stayed the same.

732
00:37:25,440 --> 00:37:27,000
Speaker 4: You got a guy that figured out how to make

733
00:37:27,040 --> 00:37:31,160
Speaker 4: an application that says, I'm a charge motherfucker's twenty thirty

734
00:37:31,239 --> 00:37:32,880
Speaker 4: bucks a month to listen to all the music they

735
00:37:32,920 --> 00:37:35,360
Speaker 4: want to for free, and I'm gonna give them pennies

736
00:37:35,440 --> 00:37:38,319
Speaker 4: though I'm gonna partner with the record layers. Were gonna

737
00:37:38,320 --> 00:37:40,759
Speaker 4: get an artist a half a penny, dog a half

738
00:37:40,800 --> 00:37:41,560
Speaker 4: a fucking penny.

739
00:37:42,280 --> 00:37:43,640
Speaker 1: Well, it's valuable at.

740
00:37:43,640 --> 00:37:45,480
Speaker 4: That's why music is the way it is now. Man,

741
00:37:46,320 --> 00:37:49,640
Speaker 4: it's not cool now. Who have been able to have

742
00:37:49,880 --> 00:37:52,359
Speaker 4: long now cool? Now? You still got some cats making money.

743
00:37:52,440 --> 00:37:57,279
Speaker 5: Man, those songs are thirty thirty five years old. Is

744
00:37:57,840 --> 00:38:00,120
Speaker 5: now you got to play the card with them. You

745
00:38:00,239 --> 00:38:03,160
Speaker 5: give me you gotta send them cease and desist letters

746
00:38:03,200 --> 00:38:05,200
Speaker 5: and tell these motherfuckers check this out.

747
00:38:05,640 --> 00:38:08,200
Speaker 1: You no longer own my shit.

748
00:38:08,960 --> 00:38:13,040
Speaker 5: All those songs that you shooting the Spotify and you

749
00:38:13,160 --> 00:38:17,200
Speaker 5: got deals with that title and Apple Music and all

750
00:38:17,280 --> 00:38:21,080
Speaker 5: these streaming sites. You could pull my shit down or

751
00:38:21,200 --> 00:38:25,359
Speaker 5: cut me a motherfucking check for my because those are

752
00:38:25,440 --> 00:38:30,560
Speaker 5: my records. Now I own those records. So that's that's, that's,

753
00:38:30,800 --> 00:38:33,919
Speaker 5: that's the nature of the beast with this ship. Even

754
00:38:33,960 --> 00:38:36,800
Speaker 5: though you know, because back in the days, you know,

755
00:38:37,120 --> 00:38:40,319
Speaker 5: we didn't, we didn't get what a lot of these

756
00:38:40,600 --> 00:38:43,600
Speaker 5: artists you see today. You know, some of these artists

757
00:38:43,680 --> 00:38:46,520
Speaker 5: with Mega you know whatever, it was hard to get

758
00:38:46,680 --> 00:38:49,160
Speaker 5: to squeezed the limit out of some of these late

759
00:38:49,520 --> 00:38:52,520
Speaker 5: record labels, you know, these corporations, like you said, we

760
00:38:52,600 --> 00:38:57,600
Speaker 5: got pennies on Doubler for our music. I mean, you know, unfortunately,

761
00:38:57,680 --> 00:39:00,839
Speaker 5: you get locked into these contracts to where who thinking

762
00:39:00,920 --> 00:39:04,520
Speaker 5: nigga gonna see thirty forty years from from from back then,

763
00:39:04,880 --> 00:39:07,239
Speaker 5: you give me, they probably thinking they gonna be able

764
00:39:07,280 --> 00:39:07,960
Speaker 5: to own the nigga.

765
00:39:08,840 --> 00:39:09,360
Speaker 4: You feel me.

766
00:39:10,120 --> 00:39:13,359
Speaker 5: So it's unfortunate, but you just gotta play your cards

767
00:39:13,440 --> 00:39:16,560
Speaker 5: right nowadays with these motherfuckers you give me and if

768
00:39:16,560 --> 00:39:19,560
Speaker 5: you know the lesson, you've been sitting around for thirty

769
00:39:19,680 --> 00:39:23,080
Speaker 5: five years and now your music is clear, you better

770
00:39:23,160 --> 00:39:25,959
Speaker 5: go stick them, you give me stop playing my shit

771
00:39:26,040 --> 00:39:30,160
Speaker 5: on Spotify and music and stop doing this because you

772
00:39:30,239 --> 00:39:32,640
Speaker 5: don't own that shit no more. Now you can come

773
00:39:32,719 --> 00:39:35,919
Speaker 5: in and now we can talk catalog deals and shit

774
00:39:36,160 --> 00:39:38,560
Speaker 5: like that. You feel me and you have to do it.

775
00:39:42,280 --> 00:39:44,759
Speaker 4: I would say for a god like you that has

776
00:39:44,800 --> 00:39:47,360
Speaker 4: a catalog like you got you have some very important

777
00:39:47,400 --> 00:39:49,759
Speaker 4: albums to hip hop, what I would say is that

778
00:39:51,280 --> 00:39:54,160
Speaker 4: I tell kids all the time, now there's no difference

779
00:39:54,280 --> 00:39:58,960
Speaker 4: now between Sony and Empire. There's no difference between Warner

780
00:39:59,040 --> 00:40:01,440
Speaker 4: Brothers and Next Record. There's no difference between this. So

781
00:40:01,560 --> 00:40:05,080
Speaker 4: you can pretty much put your music out through any

782
00:40:05,200 --> 00:40:08,960
Speaker 4: model that you want to right and you have. Actually,

783
00:40:09,000 --> 00:40:11,280
Speaker 4: if you do it enough, if you do enough streams,

784
00:40:11,320 --> 00:40:13,360
Speaker 4: you can have someone that kind of loads you the

785
00:40:13,440 --> 00:40:15,840
Speaker 4: front end, probably shoot you some money in advance, you know,

786
00:40:15,960 --> 00:40:17,920
Speaker 4: for an album whatever. You put you on tours together

787
00:40:18,080 --> 00:40:21,360
Speaker 4: so they can make more money, but in different ways

788
00:40:21,520 --> 00:40:23,239
Speaker 4: right now, and I have a theory behind it. I

789
00:40:23,320 --> 00:40:26,600
Speaker 4: think that once guys wised up kind of to the

790
00:40:26,719 --> 00:40:29,520
Speaker 4: whole kind of scheme, always tell eight that if I

791
00:40:29,560 --> 00:40:31,879
Speaker 4: could have ran across eight and maybe in ninety three

792
00:40:32,040 --> 00:40:35,800
Speaker 4: ninety four, because I knew that independent game like a motherfucker.

793
00:40:36,680 --> 00:40:38,640
Speaker 4: If I'd have ran across him in nineteen ninety four,

794
00:40:38,640 --> 00:40:40,160
Speaker 4: he would be a billionaire right now because I'd have

795
00:40:40,160 --> 00:40:42,399
Speaker 4: been like, hey, homie, don't turn no more albums into Sony,

796
00:40:42,480 --> 00:40:44,359
Speaker 4: tell them to drop you. We about to go over

797
00:40:44,760 --> 00:40:47,839
Speaker 4: City Hall and have them distributed stuff for the whole

798
00:40:47,880 --> 00:40:49,680
Speaker 4: West Coast and the Bay. You know what I'm saying,

799
00:40:49,719 --> 00:40:51,799
Speaker 4: The old West Coast. Were gonna go to select Tho

800
00:40:51,920 --> 00:40:53,840
Speaker 4: Hits and get the South and the Midwest, and we

801
00:40:53,920 --> 00:40:55,320
Speaker 4: gonna go to the East Souse we go, we go

802
00:40:55,400 --> 00:40:58,080
Speaker 4: go to one of them distributors on the East coast,

803
00:40:58,120 --> 00:41:01,200
Speaker 4: somewhere in Navarre somewhere like that. Mess with Navar to

804
00:41:01,280 --> 00:41:04,160
Speaker 4: get the East coast right, because back then, once you

805
00:41:04,280 --> 00:41:06,560
Speaker 4: figured out the system and that these were the same

806
00:41:06,640 --> 00:41:09,080
Speaker 4: places that the major labels were selling their records at.

807
00:41:09,520 --> 00:41:12,040
Speaker 4: You know, City Hall was selling records for Sony and

808
00:41:12,080 --> 00:41:14,440
Speaker 4: all that. Two people don't know that Selector Hits were

809
00:41:14,480 --> 00:41:17,799
Speaker 4: selling records for major labels. They were Everything was regional, right,

810
00:41:18,520 --> 00:41:21,759
Speaker 4: And I got to give a shout out to Violet Brown.

811
00:41:22,280 --> 00:41:25,480
Speaker 4: Violet Brown always had an open door policy up there

812
00:41:25,600 --> 00:41:28,040
Speaker 4: at Warehouse Music. If you was an independent artist you

813
00:41:28,120 --> 00:41:29,800
Speaker 4: can go up there and talk to her in Violet.

814
00:41:30,320 --> 00:41:33,160
Speaker 4: If she ordered three or three to five thousand pieces

815
00:41:33,200 --> 00:41:34,719
Speaker 4: of your record and put them on a tower on

816
00:41:35,400 --> 00:41:37,520
Speaker 4: in the warehouse music on the West Coast, you was

817
00:41:37,560 --> 00:41:40,560
Speaker 4: gonna get a nice check ninety days later. You was

818
00:41:40,600 --> 00:41:43,120
Speaker 4: gonna get paid on everything that didn't come back and

819
00:41:43,160 --> 00:41:45,080
Speaker 4: you had. You know, they might have held your reserve

820
00:41:45,200 --> 00:41:47,279
Speaker 4: check back then. You know, based on the twenty percent,

821
00:41:47,360 --> 00:41:49,640
Speaker 4: they could return for all that stuff, you know, to

822
00:41:49,719 --> 00:41:52,160
Speaker 4: cover that. Right. But she was getting a nice check.

823
00:41:53,040 --> 00:41:56,040
Speaker 4: Eat your record labels, man. But once I started, because

824
00:41:56,040 --> 00:41:57,960
Speaker 4: I started off working on the distribution side, I was

825
00:41:58,000 --> 00:42:01,160
Speaker 4: working for ground Level Distribution in Inglewood, California, for the

826
00:42:01,200 --> 00:42:03,799
Speaker 4: homie Mark Gordon and Jeff Hir and all them dudes, right,

827
00:42:04,800 --> 00:42:07,640
Speaker 4: and I was seeing cats from the Bay. Man. I

828
00:42:07,840 --> 00:42:10,359
Speaker 4: was seeing Mac dre and them come in. Man, them

829
00:42:10,480 --> 00:42:12,239
Speaker 4: dudes was cleaning checks with one hundred and fifty two

830
00:42:12,280 --> 00:42:15,760
Speaker 4: hundre thousand dollars and selling a fraction of the units.

831
00:42:15,800 --> 00:42:18,040
Speaker 4: They may not have been as famous as an mcaight

832
00:42:18,239 --> 00:42:20,480
Speaker 4: or ice Cube or whatever, but they was coming in

833
00:42:20,560 --> 00:42:25,360
Speaker 4: and getting paid. Man. Definitely, they didn't go through the system.

834
00:42:25,400 --> 00:42:27,600
Speaker 4: They sold their own records, and I'm talking about these dudes.

835
00:42:27,680 --> 00:42:31,000
Speaker 4: Man was only selling fifteen twenty thousand records, but they

836
00:42:31,160 --> 00:42:34,000
Speaker 4: was getting eight dollars a pop and they were selling.

837
00:42:34,120 --> 00:42:36,520
Speaker 4: Then they put another one out five six months later,

838
00:42:36,920 --> 00:42:38,840
Speaker 4: that one do the same thing. Before you know it

839
00:42:39,520 --> 00:42:41,520
Speaker 4: that through that year, they don't sold. They don't put

840
00:42:41,560 --> 00:42:45,040
Speaker 4: out eight nine records and on sold anywhere from twenty

841
00:42:45,080 --> 00:42:48,279
Speaker 4: five to fifty thousand each eight dollars a pop. And

842
00:42:48,440 --> 00:42:52,000
Speaker 4: they was going to Kansas City and Oklahoma was getting

843
00:42:52,239 --> 00:42:55,960
Speaker 4: ten fifteen thousand dollars a show. They had a cracking.

844
00:42:57,239 --> 00:42:59,200
Speaker 4: That's the model that e forty of them came from,

845
00:42:59,320 --> 00:43:01,080
Speaker 4: arguing with what he was putting this stuff out.

846
00:43:01,080 --> 00:43:05,080
Speaker 5: Independent world was shown, you know, coming out of a

847
00:43:05,280 --> 00:43:10,080
Speaker 5: major label deal or watching niggas from the ground up

848
00:43:10,239 --> 00:43:11,799
Speaker 5: trunk sell shit out.

849
00:43:11,840 --> 00:43:12,400
Speaker 1: They trunk.

850
00:43:14,080 --> 00:43:18,520
Speaker 5: You were taught that. So a lot of niggas had

851
00:43:18,600 --> 00:43:22,440
Speaker 5: the independent hustle. But what happened with that was that

852
00:43:22,640 --> 00:43:27,759
Speaker 5: got oversaturated. You feel me, because now everybody wanted to

853
00:43:28,080 --> 00:43:31,320
Speaker 5: be at their own record label, so to speak. And

854
00:43:31,640 --> 00:43:34,800
Speaker 5: once the Internet was born and streaming and shit, it

855
00:43:35,000 --> 00:43:38,000
Speaker 5: just really shucked motherfuckers out. You're giving me. It's like

856
00:43:38,080 --> 00:43:41,320
Speaker 5: the podcast game. You know, everybody wanted to start the

857
00:43:41,680 --> 00:43:45,920
Speaker 5: independent labels, and the problem was what that was now

858
00:43:46,000 --> 00:43:48,799
Speaker 5: that shit started getting flooded. Then you flood and shit

859
00:43:48,880 --> 00:43:52,839
Speaker 5: with not so good music. Shit that was the same.

860
00:43:52,880 --> 00:43:56,200
Speaker 5: It's just like the podcast game right now. Everybody feel

861
00:43:56,320 --> 00:43:58,680
Speaker 5: like fuck that it's the new payday. So let me

862
00:43:58,880 --> 00:44:02,920
Speaker 5: jump in. Anything happened with the podcast he write numbers

863
00:44:03,080 --> 00:44:05,680
Speaker 5: or I could do this and whatever, and that's it.

864
00:44:05,960 --> 00:44:09,840
Speaker 5: Everybody wanted to have an independent label, just like nowadays.

865
00:44:10,040 --> 00:44:12,960
Speaker 1: It's all about everybody getting the podcast.

866
00:44:13,880 --> 00:44:16,720
Speaker 4: Exactly. And I'm gonna tell you the biggest thing about

867
00:44:16,800 --> 00:44:20,680
Speaker 4: back then why it got oversaturated, Right, You had a

868
00:44:20,760 --> 00:44:24,040
Speaker 4: whole bunch. You gotta remember that kind of parallels with

869
00:44:24,200 --> 00:44:25,680
Speaker 4: the end of the crack year. You had a lot

870
00:44:25,680 --> 00:44:28,520
Speaker 4: of dudes who was making money, right, who was in

871
00:44:28,600 --> 00:44:30,759
Speaker 4: the dope games making money, especially a lot of brothers

872
00:44:30,840 --> 00:44:32,879
Speaker 4: in the Midwest and South. They was making big money.

873
00:44:32,920 --> 00:44:34,720
Speaker 4: You see what I'm saying. They was making major money.

874
00:44:35,120 --> 00:44:37,920
Speaker 4: So you saw these guys kind of seeing other dudes

875
00:44:38,040 --> 00:44:41,080
Speaker 4: that was kind of ballers. You know, it's the statute

876
00:44:41,080 --> 00:44:43,640
Speaker 4: of limitations is over. SWA ain't s niching. But Master

877
00:44:43,719 --> 00:44:46,239
Speaker 4: Peete was a baller. He was a baller. It was

878
00:44:46,280 --> 00:44:48,680
Speaker 4: a whole bunch of dudes that made the transition from

879
00:44:48,800 --> 00:44:50,880
Speaker 4: kind of like the crack games of the rap game. Right.

880
00:44:50,960 --> 00:44:53,160
Speaker 4: They took that same hustle to the rap game. And

881
00:44:53,320 --> 00:44:56,760
Speaker 4: so if I'm a dude that's that's in Memphis somewhere,

882
00:44:58,080 --> 00:45:00,120
Speaker 4: and I'm like, I say, let's say I'm selling two

883
00:45:00,160 --> 00:45:02,319
Speaker 4: with three birds a month, right, and that hustle kind

884
00:45:02,360 --> 00:45:04,640
Speaker 4: of drying up. I'm seeing dudes go to prison and

885
00:45:04,760 --> 00:45:06,600
Speaker 4: the Feds on my back. I'm gonna say, man, you

886
00:45:06,719 --> 00:45:09,279
Speaker 4: know what, I'm gonna start me a rap layer. But

887
00:45:09,320 --> 00:45:11,640
Speaker 4: that shit look easy. That's why we start getting a

888
00:45:11,680 --> 00:45:14,560
Speaker 4: lot of that trash ass music. We started getting a

889
00:45:14,600 --> 00:45:17,479
Speaker 4: whole bunch of garbage music, man, because you had dudes

890
00:45:17,480 --> 00:45:19,440
Speaker 4: who wasn't really rappers saying, you know what, this is

891
00:45:19,520 --> 00:45:21,759
Speaker 4: gonna be my new whistle. And I'm not mad at

892
00:45:21,760 --> 00:45:23,640
Speaker 4: because some of them dudes was able to make something

893
00:45:23,680 --> 00:45:26,760
Speaker 4: they was entertaining. Some people made it. Some people didn't.

894
00:45:26,800 --> 00:45:28,520
Speaker 4: Let me ask you this, DDA. When you had your

895
00:45:28,640 --> 00:45:31,560
Speaker 4: radio show, did you ever get any independent artists coming

896
00:45:31,600 --> 00:45:33,000
Speaker 4: up there that was just so whack? You told them

897
00:45:33,040 --> 00:45:33,919
Speaker 4: you can't fuck with that shit.

898
00:45:34,080 --> 00:45:37,600
Speaker 2: We didn't really think. We used to be scared like

899
00:45:37,719 --> 00:45:40,520
Speaker 2: that because we have to really.

900
00:45:41,320 --> 00:45:44,239
Speaker 3: No, we had lyrical nfcs and we used to be

901
00:45:44,400 --> 00:45:46,960
Speaker 3: up on there talking about something, you know what I'm saying,

902
00:45:47,880 --> 00:45:50,000
Speaker 3: and everybody want to be on and think they can

903
00:45:50,080 --> 00:45:51,400
Speaker 3: get on and send itself.

904
00:45:52,160 --> 00:45:52,359
Speaker 1: Nah.

905
00:45:53,400 --> 00:45:55,880
Speaker 2: A couple of times, you know what I'm saying, Yams

906
00:45:57,239 --> 00:45:58,000
Speaker 2: No he keeping.

907
00:45:58,640 --> 00:46:00,759
Speaker 4: Man me and they had a radio show for a minute.

908
00:46:00,800 --> 00:46:00,920
Speaker 5: Man.

909
00:46:00,920 --> 00:46:02,880
Speaker 4: I used to help tell people every week, Man, I

910
00:46:02,920 --> 00:46:03,839
Speaker 4: can't play this, man.

911
00:46:04,600 --> 00:46:06,879
Speaker 2: I mean, you know the good thing we laid it down.

912
00:46:06,960 --> 00:46:10,920
Speaker 2: If people know our structure playing, we used to get

913
00:46:10,960 --> 00:46:14,080
Speaker 2: complaints that week was sewing. You know what I'm saying.

914
00:46:15,360 --> 00:46:19,279
Speaker 2: Once you're playing more sing, we're playing mixed.

915
00:46:21,160 --> 00:46:23,719
Speaker 4: I think that's what's needed now, man, because the underground.

916
00:46:23,920 --> 00:46:27,320
Speaker 4: One thing about it, the underground is still the underground.

917
00:46:27,360 --> 00:46:30,359
Speaker 4: If you are an underground rapper, man, you can build

918
00:46:30,480 --> 00:46:33,400
Speaker 4: you up a following around the world. Right, you can

919
00:46:33,480 --> 00:46:35,560
Speaker 4: go to Europe every year still and clear one hundred

920
00:46:35,560 --> 00:46:42,359
Speaker 4: and fifty two hundred thousand dollars doing shows a certain type. Yeah,

921
00:46:42,400 --> 00:46:45,160
Speaker 4: selling merchandise. You gotta treat it like a job. I know,

922
00:46:45,280 --> 00:46:48,120
Speaker 4: cats out of Detroit, Man, that they still go overseas

923
00:46:48,520 --> 00:46:50,839
Speaker 4: like damn there every month. They going somewhere. Man, they're

924
00:46:50,960 --> 00:46:53,640
Speaker 4: selling their T shirts. They going over there selling five

925
00:46:53,719 --> 00:46:56,240
Speaker 4: six hundred T shirts man, at one hundred dollars apop.

926
00:46:56,320 --> 00:46:58,920
Speaker 4: And they doing a thing. I saw. Dazz I was

927
00:46:58,960 --> 00:47:01,120
Speaker 4: the first person to take asked to Japan. I took

928
00:47:01,160 --> 00:47:05,960
Speaker 4: glasses and glasses, glasses malon and dashed to Japan for

929
00:47:06,040 --> 00:47:08,160
Speaker 4: their first time. And I was tripping because dads had

930
00:47:08,200 --> 00:47:09,960
Speaker 4: been on Death Row and had all them big records.

931
00:47:10,000 --> 00:47:12,560
Speaker 4: I was saying, bro, you ain't been in Japan, man.

932
00:47:12,640 --> 00:47:15,799
Speaker 4: They went out there, man, and it was a trip

933
00:47:15,880 --> 00:47:19,759
Speaker 4: because I told Dash to bring some CDs right and

934
00:47:19,920 --> 00:47:22,680
Speaker 4: Daz I think bought one hundred CDs. Man. I said, dudes,

935
00:47:22,760 --> 00:47:26,920
Speaker 4: that's not enough man, because he sold them CDs out

936
00:47:26,960 --> 00:47:29,560
Speaker 4: the first show. He was getting one hundred dollars a CD. Man.

937
00:47:29,800 --> 00:47:31,719
Speaker 4: People was coming with their n just to sign and

938
00:47:31,760 --> 00:47:33,680
Speaker 4: take a picture with him. From them sign they was

939
00:47:33,719 --> 00:47:37,920
Speaker 4: given one hundred dollars. And you had guys that were

940
00:47:37,960 --> 00:47:42,440
Speaker 4: a major labels in Japan that would come mcaight over here. Oh,

941
00:47:42,520 --> 00:47:45,279
Speaker 4: I give you ten thousand dollars for a verse. But

942
00:47:45,440 --> 00:47:47,400
Speaker 4: that hustle kind of got fucked up a little bit

943
00:47:47,480 --> 00:47:49,600
Speaker 4: because you had dudes over there thinking that these people

944
00:47:49,719 --> 00:47:51,919
Speaker 4: was dumb because they didn't speak English, and you would

945
00:47:51,960 --> 00:47:54,120
Speaker 4: have cats go over there and give ten fifteen different

946
00:47:54,120 --> 00:47:59,160
Speaker 4: people saying verse. He charged them all that money.

947
00:47:59,000 --> 00:48:07,040
Speaker 3: Man, Joey Slip the radio show. It was real love

948
00:48:07,320 --> 00:48:10,799
Speaker 3: and spins over there. So at a lot of our

949
00:48:10,880 --> 00:48:14,360
Speaker 3: wax be put out late nine and that.

950
00:48:14,960 --> 00:48:17,080
Speaker 4: Do you still have those? Do you still got any

951
00:48:17,080 --> 00:48:21,520
Speaker 4: of that vinyl left? Man? You know what are you

952
00:48:21,600 --> 00:48:25,560
Speaker 4: selling that vinyl? Now? Man, I'm gonna tell you man,

953
00:48:26,160 --> 00:48:28,399
Speaker 4: you put a fine old is the thing that's making

954
00:48:28,440 --> 00:48:31,839
Speaker 4: a comeback on the physical level. You got casts, man,

955
00:48:31,920 --> 00:48:34,200
Speaker 4: I forget that young cast's name. Man, it's down with

956
00:48:34,320 --> 00:48:37,200
Speaker 4: the thirty eight Special and all of them. It's a dude, man.

957
00:48:37,239 --> 00:48:39,080
Speaker 4: I think he was signed to a record label and

958
00:48:39,160 --> 00:48:41,640
Speaker 4: got dropped. I can't think of this kid's name. But

959
00:48:41,800 --> 00:48:44,160
Speaker 4: this dude is selling albums for two hundred dollars, man,

960
00:48:44,200 --> 00:48:47,160
Speaker 4: he really selling them. And don't put none of his

961
00:48:47,280 --> 00:48:49,200
Speaker 4: music on streaming platforms. You have to go to his

962
00:48:49,360 --> 00:48:53,120
Speaker 4: website and buy his work from him directly. And he's

963
00:48:53,160 --> 00:48:55,120
Speaker 4: not selling He's not. He may put one or two

964
00:48:55,239 --> 00:48:57,400
Speaker 4: songs on street. I can't remember his name for nothing,

965
00:48:57,840 --> 00:49:01,239
Speaker 4: but this dude is selling CDs for seventy five dollars

966
00:49:02,040 --> 00:49:04,080
Speaker 4: and he tell people, I'm I'm I got a thousand

967
00:49:04,120 --> 00:49:06,840
Speaker 4: of these motherfuckers. They seventy five apiece, and you want me?

968
00:49:06,960 --> 00:49:10,480
Speaker 4: He won't. That's it. So he's really treating his music

969
00:49:10,640 --> 00:49:12,200
Speaker 4: like art. That's what it should be. And I think

970
00:49:12,239 --> 00:49:14,000
Speaker 4: that's what it's going back to. Eight got an album

971
00:49:14,320 --> 00:49:16,080
Speaker 4: and if it was up to me, man, I tell he,

972
00:49:16,200 --> 00:49:18,880
Speaker 4: we'll build a website. Man, shit, man, it's one hundred

973
00:49:18,880 --> 00:49:21,520
Speaker 4: dollars a pop. It didn't go to streaming platforms. Maybe

974
00:49:21,560 --> 00:49:23,239
Speaker 4: in eighty nine months the first y'all got to get

975
00:49:23,280 --> 00:49:25,880
Speaker 4: it this way, we have all you wanted volume too.

976
00:49:25,960 --> 00:49:30,040
Speaker 4: What's happening, And that's that's the way it goes.

977
00:49:30,120 --> 00:49:30,279
Speaker 5: Man.

978
00:49:30,560 --> 00:49:33,680
Speaker 4: You was on that vinyl game early DNA. How many

979
00:49:33,760 --> 00:49:35,680
Speaker 4: vinyl releases did y'all have? Fifty?

980
00:49:35,840 --> 00:49:36,040
Speaker 1: Yeah?

981
00:49:36,200 --> 00:49:36,399
Speaker 4: Lot?

982
00:49:36,719 --> 00:49:40,279
Speaker 3: You know to think about the Solar panel groups, you know,

983
00:49:40,480 --> 00:49:41,640
Speaker 3: within the organization.

984
00:49:42,000 --> 00:49:42,719
Speaker 2: You know what I'm saying.

985
00:49:43,680 --> 00:49:47,239
Speaker 3: It wasn't all under one company. You know what I'm saying,

986
00:49:47,320 --> 00:49:50,120
Speaker 3: brother side, they own company, but not their own vinyl.

987
00:49:50,680 --> 00:49:53,359
Speaker 3: They was all Solar panels. You know what I'm saying.

988
00:49:53,480 --> 00:49:54,400
Speaker 1: Down with the crew.

989
00:49:56,239 --> 00:49:59,120
Speaker 4: Who who al was in Solar Panel? Man, I'm surprised

990
00:49:59,160 --> 00:50:01,800
Speaker 4: you didn't have DJ Khalil signs no management agreement.

991
00:50:02,080 --> 00:50:05,440
Speaker 3: No, I didn't man Dja family to me. So you

992
00:50:05,520 --> 00:50:08,920
Speaker 3: know what I'm saying, like family, I still work with Khalil.

993
00:50:09,400 --> 00:50:12,840
Speaker 3: We don't have we gotta he as a manager. We

994
00:50:12,960 --> 00:50:15,880
Speaker 3: got a grandfather situation.

995
00:50:16,560 --> 00:50:19,000
Speaker 4: You know what I'm saying, Man, tell Khalil we need

996
00:50:19,080 --> 00:50:19,920
Speaker 4: a record for eight.

997
00:50:20,040 --> 00:50:22,120
Speaker 2: I mean, we need to make that happen. Man, you

998
00:50:22,200 --> 00:50:22,799
Speaker 2: know what I'm saying.

999
00:50:23,239 --> 00:50:26,759
Speaker 4: So Leil, Man, I'm gonna tell you, I ain't gonna

1000
00:50:26,760 --> 00:50:28,200
Speaker 4: be like the rest of them people and say he

1001
00:50:28,360 --> 00:50:30,239
Speaker 4: doing all this stuff with trade. But he's a big

1002
00:50:30,320 --> 00:50:32,160
Speaker 4: part of what trade got going on for sure.

1003
00:50:32,280 --> 00:50:35,279
Speaker 3: I mean Khalil. Thing about Khalil was this, you know

1004
00:50:35,320 --> 00:50:37,719
Speaker 3: what I'm saying. We got a CD that we put out.

1005
00:50:37,920 --> 00:50:40,640
Speaker 3: He did the majority of the work. We got one

1006
00:50:40,840 --> 00:50:42,960
Speaker 3: Solar Panel CD with all a lot.

1007
00:50:42,840 --> 00:50:45,600
Speaker 2: Of songs, and he did a majority of the work.

1008
00:50:45,680 --> 00:50:47,080
Speaker 2: Khalil comes from.

1009
00:50:48,480 --> 00:50:51,880
Speaker 3: Graveness and comes from rich His His dad walk hazard

1010
00:50:52,520 --> 00:50:55,239
Speaker 3: coach U c. L A, one of the first brother

1011
00:50:55,440 --> 00:50:56,239
Speaker 3: Turns was one.

1012
00:50:56,880 --> 00:50:59,440
Speaker 2: I come from Philly and played for John Wooden out

1013
00:50:59,480 --> 00:50:59,960
Speaker 2: here on the West.

1014
00:51:00,480 --> 00:51:02,440
Speaker 1: That's his dad, resting peace.

1015
00:51:03,560 --> 00:51:05,080
Speaker 2: His mama's community leader.

1016
00:51:05,239 --> 00:51:08,880
Speaker 3: Also, he's just always been in the hip hop and

1017
00:51:09,000 --> 00:51:10,880
Speaker 3: he can make any kind of record, you know what

1018
00:51:10,960 --> 00:51:20,880
Speaker 3: I'm saying. So I was a music coordinator. I've been

1019
00:51:20,920 --> 00:51:24,320
Speaker 3: the music supervisors bored on the Wu Tang document not

1020
00:51:24,480 --> 00:51:26,640
Speaker 3: documentary serious season three.

1021
00:51:27,640 --> 00:51:30,080
Speaker 4: Y'all want to talk about that, Yeah, go go on

1022
00:51:30,200 --> 00:51:30,800
Speaker 4: to talk about that.

1023
00:51:31,600 --> 00:51:33,719
Speaker 3: We have to redo a lot of the tracks. Because

1024
00:51:33,760 --> 00:51:35,560
Speaker 3: that's why I'm gonna talk to eight about what he

1025
00:51:35,719 --> 00:51:38,919
Speaker 3: was saying. He's down wire making these helping people making

1026
00:51:38,960 --> 00:51:42,080
Speaker 3: these new masters. So we've done this always, you know

1027
00:51:42,120 --> 00:51:45,200
Speaker 3: what I'm saying. So for this movie called Rob, I'm

1028
00:51:45,200 --> 00:51:47,520
Speaker 3: gonna go back to the Wu Tang for this movie

1029
00:51:47,600 --> 00:51:49,200
Speaker 3: called Rob Peace star Mary J.

1030
00:51:49,360 --> 00:51:49,720
Speaker 2: Glad.

1031
00:51:49,840 --> 00:51:51,960
Speaker 1: It's on Netflix, Dark Story.

1032
00:51:52,680 --> 00:51:56,759
Speaker 3: We redid times up with ol Cee right to make

1033
00:51:56,800 --> 00:51:58,880
Speaker 3: a new mask and it's a killer.

1034
00:51:59,360 --> 00:51:59,960
Speaker 2: You know what I'm saying.

1035
00:52:00,200 --> 00:52:01,320
Speaker 1: We ain't working the record.

1036
00:52:01,360 --> 00:52:04,040
Speaker 2: It don't sound whack. You know, some people be going

1037
00:52:04,160 --> 00:52:05,480
Speaker 2: remix to it ain't coming out.

1038
00:52:06,080 --> 00:52:09,000
Speaker 3: You know what I'm saying. Killed all the stuff. He's

1039
00:52:09,040 --> 00:52:13,200
Speaker 3: gone great with a master sound. He's a hip hop

1040
00:52:13,360 --> 00:52:15,239
Speaker 3: or a park. You know what I'm saying, Because I

1041
00:52:15,320 --> 00:52:18,839
Speaker 3: got stuff for Leil did sampling Dick.

1042
00:52:19,440 --> 00:52:21,680
Speaker 1: You know what I'm saying. People ain't never heard.

1043
00:52:22,160 --> 00:52:25,239
Speaker 4: You know what I'm saying, Like wils a beat. We

1044
00:52:25,320 --> 00:52:26,319
Speaker 4: gotta have him on the show.

1045
00:52:26,560 --> 00:52:27,440
Speaker 2: Yeah, definitely got it.

1046
00:52:29,760 --> 00:52:32,640
Speaker 3: You know he's doing stuff with the Great Charles Estate. Right,

1047
00:52:33,000 --> 00:52:35,960
Speaker 3: He's on a whole other level of music and where

1048
00:52:35,960 --> 00:52:36,560
Speaker 3: he's learned.

1049
00:52:37,520 --> 00:52:41,680
Speaker 4: He's a monster. Khalil is a monster because you know,

1050
00:52:41,760 --> 00:52:43,880
Speaker 4: I produce, so I appreciate him. I know what it

1051
00:52:44,040 --> 00:52:45,799
Speaker 4: is he do. He is that guy.

1052
00:52:47,000 --> 00:52:49,760
Speaker 3: We got a lot of stuff when somebody we believed earlier.

1053
00:52:49,760 --> 00:52:52,160
Speaker 3: I was really trying to get him to do some

1054
00:52:52,239 --> 00:52:57,279
Speaker 3: shit with Poppy DJ. Khalil had a partner named Jay Tiger.

1055
00:52:57,400 --> 00:52:59,920
Speaker 2: Super Nasty, too super nasty to do something.

1056
00:53:00,080 --> 00:53:00,399
Speaker 4: M see.

1057
00:53:01,080 --> 00:53:06,480
Speaker 3: He's on their album Self Science. Check Self scientifics album

1058
00:53:07,040 --> 00:53:08,360
Speaker 3: that's Lil Chase.

1059
00:53:08,840 --> 00:53:12,279
Speaker 2: It's on Spotify and all that. Jay Tiger got first on.

1060
00:53:12,360 --> 00:53:15,240
Speaker 3: There and get to be cut off the Self Science

1061
00:53:16,040 --> 00:53:19,480
Speaker 3: ridiculous producer. Check out this go to YouTube or check

1062
00:53:19,560 --> 00:53:21,440
Speaker 3: out this track called the Brigs.

1063
00:53:22,680 --> 00:53:26,720
Speaker 2: That's Russell Don Jay Tiger playing from ninety eight.

1064
00:53:28,320 --> 00:53:32,480
Speaker 4: Dick No Plan. Man. When you start talking about self

1065
00:53:32,560 --> 00:53:36,000
Speaker 4: scientific and all that, it's like they were stables on

1066
00:53:36,040 --> 00:53:36,719
Speaker 4: the wake Up Show.

1067
00:53:37,080 --> 00:53:38,959
Speaker 1: Yes, they were. They big part.

1068
00:53:39,120 --> 00:53:41,800
Speaker 4: They were show part of the movie.

1069
00:53:41,840 --> 00:53:46,279
Speaker 3: They was inspired like by CMW Gang Star, that combination

1070
00:53:47,080 --> 00:53:50,880
Speaker 3: with DJ and you know what I'm saying. And they

1071
00:53:51,040 --> 00:53:53,840
Speaker 3: was inspired by that for sure, and they wanted.

1072
00:53:53,680 --> 00:53:58,400
Speaker 2: The main you know what, we got brothers from Boston, Chicago,

1073
00:53:59,640 --> 00:54:02,240
Speaker 2: New York or you know, we linked up with gods

1074
00:54:02,320 --> 00:54:02,759
Speaker 2: out there.

1075
00:54:03,000 --> 00:54:03,600
Speaker 1: You know what I'm saying.

1076
00:54:03,640 --> 00:54:06,720
Speaker 3: I was one of my missions linked up with the gods,

1077
00:54:09,080 --> 00:54:12,920
Speaker 3: the People's or which is based off the philosophy and

1078
00:54:12,960 --> 00:54:14,880
Speaker 3: Malcolm x Well.

1079
00:54:15,000 --> 00:54:18,800
Speaker 2: I said, ah, I said, you know, we wanted to

1080
00:54:18,880 --> 00:54:21,040
Speaker 2: push it our music. Yeah, you know what.

1081
00:54:21,440 --> 00:54:23,880
Speaker 4: I want to go back into that whole thing about

1082
00:54:24,000 --> 00:54:29,799
Speaker 4: remaking the Masters, right. Oh yeah, I was talking to yeah,

1083
00:54:30,160 --> 00:54:33,040
Speaker 4: you know, me and Jabari was talking to an artist.

1084
00:54:33,120 --> 00:54:34,560
Speaker 4: You know, it's one of my boys. I ain't gonna

1085
00:54:34,560 --> 00:54:36,239
Speaker 4: put his business out there, but one of my good

1086
00:54:36,320 --> 00:54:40,120
Speaker 4: friends who's a prominent Southern artist, and he happens to

1087
00:54:40,239 --> 00:54:42,080
Speaker 4: be a part of a group that had one of

1088
00:54:42,120 --> 00:54:44,120
Speaker 4: the biggest records in the history of the South. Right,

1089
00:54:44,880 --> 00:54:46,880
Speaker 4: and he was explaining to him, like, man, all you

1090
00:54:47,000 --> 00:54:48,840
Speaker 4: have to do is we get somebody to remake the

1091
00:54:48,920 --> 00:54:52,439
Speaker 4: beat and you can say your verse. He told dude,

1092
00:54:52,440 --> 00:54:54,479
Speaker 4: he said you could make probably two or three million

1093
00:54:54,520 --> 00:54:58,640
Speaker 4: dollars a year just doing that. Is that is that accurate?

1094
00:55:00,040 --> 00:55:00,719
Speaker 2: I don't you know.

1095
00:55:01,360 --> 00:55:04,399
Speaker 3: I haven't put nothing out for streaming. We just made

1096
00:55:04,480 --> 00:55:06,200
Speaker 3: new masters, mainly for movies.

1097
00:55:06,880 --> 00:55:08,920
Speaker 4: I'm talking about, like for the movie sink stuff. I'm

1098
00:55:08,920 --> 00:55:10,400
Speaker 4: not talking about for release. I'm talking about for the

1099
00:55:10,440 --> 00:55:11,480
Speaker 4: sink stuff business.

1100
00:55:11,960 --> 00:55:14,120
Speaker 3: Like everything else is in the weird space for me,

1101
00:55:14,920 --> 00:55:17,279
Speaker 3: you know what I'm saying. Like everything like we was

1102
00:55:17,360 --> 00:55:21,520
Speaker 3: just talking about, like podcasts. Man, they you know, they

1103
00:55:21,680 --> 00:55:24,439
Speaker 3: only dreenlight certain movies, you know what I'm saying.

1104
00:55:24,760 --> 00:55:27,960
Speaker 2: But it could be a writer striker. They might bring

1105
00:55:28,080 --> 00:55:29,440
Speaker 2: out a whole lot shit, you know.

1106
00:55:29,440 --> 00:55:29,959
Speaker 1: What I'm saying.

1107
00:55:30,440 --> 00:55:31,200
Speaker 4: But right now.

1108
00:55:34,000 --> 00:55:34,680
Speaker 2: It's it's.

1109
00:55:36,800 --> 00:55:39,799
Speaker 3: That's it's the new radio. That's how everybody making their

1110
00:55:39,880 --> 00:55:42,080
Speaker 3: money sense, you know what I'm saying.

1111
00:55:42,360 --> 00:55:43,759
Speaker 2: Unless you got a name and.

1112
00:55:43,840 --> 00:55:46,320
Speaker 3: Doing shows, you ain't making no money off streaming for me.

1113
00:55:46,440 --> 00:55:50,080
Speaker 3: So people trying to get the ship in movies and television.

1114
00:55:50,200 --> 00:55:51,560
Speaker 3: That's the business I'm in now.

1115
00:55:51,760 --> 00:55:55,520
Speaker 2: And that shit crowd. But I got some advice here, everybody.

1116
00:55:56,400 --> 00:55:59,920
Speaker 3: We gotta start building together again with these independent filmmakers.

1117
00:56:00,080 --> 00:56:02,960
Speaker 3: Anybody pitching they shit to the same old people. They oh,

1118
00:56:03,040 --> 00:56:06,719
Speaker 3: you ship that's already and they published in catalog that

1119
00:56:07,040 --> 00:56:08,560
Speaker 3: universe are already owns.

1120
00:56:09,320 --> 00:56:14,400
Speaker 2: You know what I'm saying, Paramount you down. Well, so

1121
00:56:14,560 --> 00:56:17,040
Speaker 2: we gotta start getting independent filmmakers.

1122
00:56:19,800 --> 00:56:22,560
Speaker 4: Those things pay too. Those things pay too.

1123
00:56:23,360 --> 00:56:25,920
Speaker 2: Least get on a QUE sheet. Least get on a

1124
00:56:26,000 --> 00:56:26,479
Speaker 2: qu sheet.

1125
00:56:27,560 --> 00:56:28,279
Speaker 1: You know what I'm saying.

1126
00:56:29,400 --> 00:56:32,200
Speaker 4: Well, I'm gonna tell you I got a homeboy man

1127
00:56:32,280 --> 00:56:33,840
Speaker 4: that does movies. He do a lot of them to

1128
00:56:33,960 --> 00:56:35,640
Speaker 4: be movies. He probably put out eighty nine too B

1129
00:56:35,760 --> 00:56:39,400
Speaker 4: movies every year. His artist man actually gets some pretty

1130
00:56:39,520 --> 00:56:42,000
Speaker 4: nice publishing checks man just from being on the Q

1131
00:56:42,200 --> 00:56:45,040
Speaker 4: sheet from all the movies he released me because he

1132
00:56:45,080 --> 00:56:48,280
Speaker 4: got he got the whole. He got twelve thirteen songs

1133
00:56:48,320 --> 00:56:49,000
Speaker 4: in these movie.

1134
00:56:50,000 --> 00:56:52,440
Speaker 2: You know my thing about this, This is what I

1135
00:56:52,560 --> 00:56:56,280
Speaker 2: mean by being I've seen it coming from the movie.

1136
00:56:57,040 --> 00:57:01,600
Speaker 3: Everybody can't rout everybody, can You know what I'm saying, Oh,

1137
00:57:02,560 --> 00:57:04,919
Speaker 3: I dibble in some production, you know what I'm saying,

1138
00:57:06,000 --> 00:57:08,359
Speaker 3: And help me put the records together. But I really

1139
00:57:08,400 --> 00:57:12,960
Speaker 3: got on just trying to build something division for everything

1140
00:57:13,040 --> 00:57:13,359
Speaker 3: we need.

1141
00:57:14,120 --> 00:57:16,360
Speaker 2: We need our all radio show. You know what I'm saying,

1142
00:57:17,360 --> 00:57:18,680
Speaker 2: We need all radio station.

1143
00:57:19,320 --> 00:57:19,480
Speaker 4: You know.

1144
00:57:19,640 --> 00:57:22,840
Speaker 3: That's what I was about, having a radio show, build

1145
00:57:22,920 --> 00:57:27,240
Speaker 3: Street Pressure dot Com. Not by myself but my cousin

1146
00:57:27,400 --> 00:57:29,840
Speaker 3: got the self a long beach and the community.

1147
00:57:30,360 --> 00:57:33,520
Speaker 1: My older brother trained and my younger brother. That was about.

1148
00:57:35,160 --> 00:57:38,240
Speaker 3: Now, Solar Panel was about inclusion in them seeds, having

1149
00:57:38,240 --> 00:57:40,880
Speaker 3: a certain staff Street Pressure, like, you know what, we

1150
00:57:40,960 --> 00:57:41,760
Speaker 3: need our on media.

1151
00:57:42,520 --> 00:57:47,600
Speaker 2: Let's put anything moving from black people all over mainly music.

1152
00:57:47,720 --> 00:57:48,640
Speaker 1: We just doing Mick.

1153
00:57:48,560 --> 00:57:52,320
Speaker 4: Seedon and on the top of them. Was keeping you

1154
00:57:52,440 --> 00:57:56,480
Speaker 4: flooded over there with me, you know TD top Dog

1155
00:57:56,600 --> 00:57:58,040
Speaker 4: punching the hall in glory.

1156
00:57:58,360 --> 00:58:00,720
Speaker 1: You know, related to j Rock You feel me?

1157
00:58:00,800 --> 00:58:04,000
Speaker 3: So they trying to push it, getting his song and

1158
00:58:04,120 --> 00:58:07,800
Speaker 3: pushing you feel me for me being me and God

1159
00:58:07,880 --> 00:58:10,880
Speaker 3: b Sel being who he is from LB. We started

1160
00:58:10,880 --> 00:58:14,160
Speaker 3: saying like, what's go to the next move? Definitely pushing

1161
00:58:14,280 --> 00:58:19,480
Speaker 3: j Rockie Man, you know what I'm saying, We've been

1162
00:58:19,560 --> 00:58:22,600
Speaker 3: trying to beat I'm from the backpack tool, you know

1163
00:58:22,640 --> 00:58:26,240
Speaker 3: what I'm saying, So lad pardon me. That's how we

1164
00:58:26,400 --> 00:58:28,880
Speaker 3: just looked at you know what I'm saying. So I'm

1165
00:58:28,920 --> 00:58:30,640
Speaker 3: seeing what was gona happen with kend.

1166
00:58:31,640 --> 00:58:34,960
Speaker 2: Yeah, man, I think a show with him, no leavin

1167
00:58:35,960 --> 00:58:39,160
Speaker 2: on town Gy with some brothers, some Carson, you know

1168
00:58:39,200 --> 00:58:39,720
Speaker 2: what I'm saying.

1169
00:58:40,280 --> 00:58:43,840
Speaker 3: We said we need to start throwing shows introducing it's

1170
00:58:43,920 --> 00:58:47,280
Speaker 3: new because draving them finally did it. Finally was like,

1171
00:58:47,320 --> 00:58:49,400
Speaker 3: all right, we finally go do this after having the

1172
00:58:49,560 --> 00:58:51,240
Speaker 3: long wall with all kinds of music.

1173
00:58:51,600 --> 00:58:53,400
Speaker 2: They dabbled a little bit with Rath.

1174
00:58:53,440 --> 00:58:54,200
Speaker 1: They didn't finished.

1175
00:58:55,480 --> 00:58:58,120
Speaker 3: I said, they finally go do it. Our new chants

1176
00:58:58,160 --> 00:59:01,160
Speaker 3: for so go. So we threw show but out betting

1177
00:59:01,280 --> 00:59:05,160
Speaker 3: early that people know we can choose who we like.

1178
00:59:05,400 --> 00:59:06,320
Speaker 3: It's on the machine.

1179
00:59:06,400 --> 00:59:09,200
Speaker 2: Don't have to tell us what we like. We can't.

1180
00:59:09,520 --> 00:59:10,680
Speaker 2: Everything come from us.

1181
00:59:10,840 --> 00:59:13,080
Speaker 1: That's what sweet person like.

1182
00:59:13,440 --> 00:59:16,400
Speaker 2: All this shit come from us. So why we don't have.

1183
00:59:16,480 --> 00:59:21,680
Speaker 3: These big buildings like MCA and Universe Capital because we

1184
00:59:21,720 --> 00:59:22,600
Speaker 3: ain't working together.

1185
00:59:22,840 --> 00:59:25,000
Speaker 1: We're going after the wrong shit, That's true.

1186
00:59:25,080 --> 00:59:28,440
Speaker 3: Gotta be some people to put ship down and get

1187
00:59:28,520 --> 00:59:30,240
Speaker 3: them to the other shit, you know what I'm saying.

1188
00:59:31,200 --> 00:59:32,480
Speaker 2: Gotta be a mix of.

1189
00:59:33,360 --> 00:59:37,680
Speaker 4: Yeah, the major record label, thank you, the major record

1190
00:59:37,760 --> 00:59:40,400
Speaker 4: labels are like an oligarchy, man, because if you look

1191
00:59:40,440 --> 00:59:44,360
Speaker 4: at it, they keep making money regardless. A lot of

1192
00:59:44,440 --> 00:59:48,000
Speaker 4: people don't really realize that their Spotify's partners. So they

1193
00:59:48,080 --> 00:59:50,360
Speaker 4: gonna make that thirty dollars that they getting every month

1194
00:59:50,400 --> 00:59:51,640
Speaker 4: for the feet, they getting a piece of that. So

1195
00:59:51,840 --> 00:59:54,080
Speaker 4: don't they not really tripping but they getting some money

1196
00:59:54,120 --> 00:59:56,280
Speaker 4: from the music and stuff like that. But they getting

1197
00:59:56,280 --> 00:59:58,440
Speaker 4: their money anyway. They just figure a way to cut

1198
00:59:58,480 --> 01:00:03,560
Speaker 4: the artists out even more. And I'm gonna tell you this,

1199
01:00:03,960 --> 01:00:05,760
Speaker 4: and I'm gonna tell you this before we go and

1200
01:00:05,880 --> 01:00:07,920
Speaker 4: before we go up. I'm gonna leave everybody with this.

1201
01:00:08,800 --> 01:00:11,920
Speaker 4: You have to remember, man, the music industry is like Vegas.

1202
01:00:12,000 --> 01:00:14,720
Speaker 4: The house is always go win. You gonna have that

1203
01:00:14,880 --> 01:00:16,880
Speaker 4: dude every every once in a while in the casume

1204
01:00:16,960 --> 01:00:19,000
Speaker 4: they hit for ten million or whatever like that, that's

1205
01:00:19,040 --> 01:00:21,400
Speaker 4: pennies for them because they've already made it. They let

1206
01:00:21,480 --> 01:00:24,080
Speaker 4: somebody win ten to fifteen million dollars. That mean they

1207
01:00:24,120 --> 01:00:26,200
Speaker 4: don't already made a one hundred and fifty billion already.

1208
01:00:26,600 --> 01:00:28,640
Speaker 4: You gotta know how to play that. They're not tripping

1209
01:00:28,640 --> 01:00:31,560
Speaker 4: because they are not tripping, bro, they go always win.

1210
01:00:31,920 --> 01:00:34,880
Speaker 5: So but you gotta learn how to get the fuck

1211
01:00:35,000 --> 01:00:37,320
Speaker 5: up and get on out and get yours and get

1212
01:00:37,400 --> 01:00:40,680
Speaker 5: out instead of trying to play argain with a motherfucker.

1213
01:00:40,840 --> 01:00:43,720
Speaker 5: Because if you keep going around with a motherfucker, eventually

1214
01:00:43,800 --> 01:00:45,800
Speaker 5: they gonna learn how to fuck you and you're gonna

1215
01:00:45,840 --> 01:00:49,880
Speaker 5: be back to square one. So you gotta learn how

1216
01:00:50,000 --> 01:00:53,000
Speaker 5: to play the game with them, and when you get up,

1217
01:00:53,800 --> 01:00:55,720
Speaker 5: let me grib my shit and get the fuck up

1218
01:00:55,760 --> 01:00:58,160
Speaker 5: out of here. I ain't playing with you niggas, because

1219
01:00:58,240 --> 01:01:00,919
Speaker 5: y'all gonna trying to take my shit back. So that's

1220
01:01:01,000 --> 01:01:04,240
Speaker 5: where it comes to. Like I said, for niggas who

1221
01:01:04,400 --> 01:01:08,920
Speaker 5: owning their masters and the publishing game is rolling back around,

1222
01:01:09,560 --> 01:01:13,240
Speaker 5: motherfuckers need to hit them and y'all gonna work this out,

1223
01:01:13,760 --> 01:01:14,280
Speaker 5: you feel me.

1224
01:01:15,040 --> 01:01:17,960
Speaker 4: I'm gonna tell you most of those deals now have

1225
01:01:18,200 --> 01:01:20,240
Speaker 4: to be at this point, because how can you have

1226
01:01:20,400 --> 01:01:23,280
Speaker 4: a deal with something that wasn't the It's like me

1227
01:01:23,440 --> 01:01:26,800
Speaker 4: signing somebody to a con crack unlessay, they start transmitting

1228
01:01:26,920 --> 01:01:30,120
Speaker 4: music just through the air. I have no rights through

1229
01:01:30,200 --> 01:01:32,440
Speaker 4: that because I didn't I didn't know that technology was

1230
01:01:32,480 --> 01:01:34,440
Speaker 4: gonna be around, So how can I sign you to

1231
01:01:34,520 --> 01:01:37,080
Speaker 4: a contract to something that I don't know I can't

1232
01:01:37,120 --> 01:01:38,760
Speaker 4: sign you to something that's going on in the future.

1233
01:01:38,760 --> 01:01:40,720
Speaker 4: I don't know how music is gonna be transmitting one

1234
01:01:40,800 --> 01:01:41,560
Speaker 4: hundred years from now.

1235
01:01:41,720 --> 01:01:47,120
Speaker 1: You give me how is that even feasible today? How

1236
01:01:47,200 --> 01:01:47,640
Speaker 1: do you what?

1237
01:01:48,040 --> 01:01:50,880
Speaker 5: You stick that on the back of a motherfucking contract

1238
01:01:51,000 --> 01:01:54,640
Speaker 5: you already had and say, well, we own this shit

1239
01:01:54,760 --> 01:01:56,120
Speaker 5: so we can do what we want.

1240
01:01:56,800 --> 01:01:58,560
Speaker 1: That's basically what they're saying.

1241
01:01:59,320 --> 01:02:02,080
Speaker 4: Oh, this is what they do. I'm gonna give you.

1242
01:02:02,440 --> 01:02:04,200
Speaker 4: I'm gonna give you the whole play of what they do.

1243
01:02:04,440 --> 01:02:08,200
Speaker 4: Right when somebody finally do wires up and say, hey,

1244
01:02:08,240 --> 01:02:11,000
Speaker 4: I want to get my stuff back, right if it's

1245
01:02:11,040 --> 01:02:17,240
Speaker 4: something significant, Oh well, I was thinking, we have some

1246
01:02:17,360 --> 01:02:18,960
Speaker 4: people that want to do this. We just need you

1247
01:02:19,040 --> 01:02:21,400
Speaker 4: to sign this so we can give you a check

1248
01:02:21,480 --> 01:02:22,960
Speaker 4: for this, and they sign you to a whole nother

1249
01:02:23,000 --> 01:02:25,640
Speaker 4: agreement to put you back into the same stuff that

1250
01:02:25,720 --> 01:02:27,400
Speaker 4: you've been in before. You know how many people I've

1251
01:02:27,440 --> 01:02:29,200
Speaker 4: found out that it don't been a game of people

1252
01:02:29,280 --> 01:02:31,840
Speaker 4: don't feel for OK, you don't like that. Man, Hey,

1253
01:02:31,960 --> 01:02:33,760
Speaker 4: we have some vinyl we want to release on you.

1254
01:02:33,880 --> 01:02:36,000
Speaker 4: You just gotta sign this, and we got to check

1255
01:02:36,080 --> 01:02:39,120
Speaker 4: for ten thousand dollars for you. Yeah, can you just

1256
01:02:39,360 --> 01:02:41,480
Speaker 4: people sign that and this gym. Oh, by the way,

1257
01:02:42,600 --> 01:02:46,160
Speaker 4: we want to re release this on vinyl. We want

1258
01:02:46,200 --> 01:02:49,919
Speaker 4: to re release this record on vinyl. And then there's

1259
01:02:50,000 --> 01:02:52,640
Speaker 4: no talk of money. All this talk of is a

1260
01:02:52,760 --> 01:02:56,080
Speaker 4: signature and a permission to give them the okay to

1261
01:02:56,200 --> 01:02:58,920
Speaker 4: do it. Then they talking about we want to license

1262
01:02:59,040 --> 01:03:01,480
Speaker 4: the shit. That's how they try. We want to.

1263
01:03:01,600 --> 01:03:05,120
Speaker 5: License and release this record. And I ain't a g

1264
01:03:06,480 --> 01:03:11,800
Speaker 5: They ain't talking no answers. Well usually man, they ain't

1265
01:03:11,840 --> 01:03:12,960
Speaker 5: talking no advances.

1266
01:03:13,000 --> 01:03:15,440
Speaker 4: They just well with a licensing thing usually comes to

1267
01:03:15,440 --> 01:03:16,320
Speaker 4: a heavy advance.

1268
01:03:16,640 --> 01:03:19,880
Speaker 5: They come at you with that ball, I know, man,

1269
01:03:20,640 --> 01:03:23,320
Speaker 5: And that's it. We just want to be release it

1270
01:03:23,840 --> 01:03:26,400
Speaker 5: and it will cut you a license and feet and

1271
01:03:26,480 --> 01:03:28,240
Speaker 5: then they probably ain't gonna try to give you but

1272
01:03:28,320 --> 01:03:29,760
Speaker 5: a couple of thousand dollars.

1273
01:03:29,960 --> 01:03:34,560
Speaker 4: Like you said, crazy man, don I know you? Are

1274
01:03:34,600 --> 01:03:36,200
Speaker 4: you on social media at all? Man?

1275
01:03:38,000 --> 01:03:40,160
Speaker 2: Will be when the solo finel Instagram?

1276
01:03:41,040 --> 01:03:44,080
Speaker 4: Man, this went too fast, man, We definitely have to

1277
01:03:44,160 --> 01:03:46,360
Speaker 4: have you back on again. Man. I appreciate you coming

1278
01:03:46,360 --> 01:03:48,160
Speaker 4: to sit down with you. Boy. Man, we're gonna have

1279
01:03:48,200 --> 01:03:51,760
Speaker 4: to chop it up. Man, We're gonna have to chop

1280
01:03:51,800 --> 01:03:54,040
Speaker 4: it up, man. I want to you down the city,

1281
01:03:54,120 --> 01:03:57,040
Speaker 4: right down the beach right man. We we right up

1282
01:03:57,040 --> 01:03:58,880
Speaker 4: the road from each other. We're gonna have to get together, man,

1283
01:03:58,880 --> 01:04:01,000
Speaker 4: because I got some stuff going on with I mean,

1284
01:04:01,160 --> 01:04:04,200
Speaker 4: you got some stuff going on that were gonna probably

1285
01:04:04,280 --> 01:04:06,720
Speaker 4: need your help, your assistance with so so we're gonna

1286
01:04:06,720 --> 01:04:08,120
Speaker 4: be hollering, man, we canna be shopping it up.

1287
01:04:08,600 --> 01:04:10,320
Speaker 1: I want to definitely want to get it.

1288
01:04:10,440 --> 01:04:12,200
Speaker 2: A want a little cut.

1289
01:04:13,160 --> 01:04:14,800
Speaker 1: It's so large ship.

1290
01:04:16,520 --> 01:04:17,560
Speaker 2: Man, I got a homie.

1291
01:04:17,800 --> 01:04:20,320
Speaker 3: I got two homies that put me on the CMF.

1292
01:04:20,600 --> 01:04:24,680
Speaker 3: One from New York, one from San Diego. They know everything.

1293
01:04:27,160 --> 01:04:31,480
Speaker 4: That's crazy right like hip hop sh man. C m

1294
01:04:31,640 --> 01:04:32,840
Speaker 4: W was a hip hop group.

1295
01:04:32,960 --> 01:04:33,080
Speaker 2: Man.

1296
01:04:33,160 --> 01:04:35,280
Speaker 4: You know when they throw that term gainst the wrap around,

1297
01:04:35,320 --> 01:04:38,920
Speaker 4: always tell people the same people that mess with Games started,

1298
01:04:38,960 --> 01:04:41,080
Speaker 4: the same people that mess with Pete Rock and see

1299
01:04:41,160 --> 01:04:42,920
Speaker 4: us mooth mess with CMW.

1300
01:04:43,040 --> 01:04:45,959
Speaker 2: Right right right there. We considered them like the West Coast.

1301
01:04:46,000 --> 01:04:46,320
Speaker 1: Thanks.

1302
01:04:46,680 --> 01:04:50,520
Speaker 3: That's that's how my homiees in New York. You know

1303
01:04:50,560 --> 01:04:53,480
Speaker 3: what I'm saying. They their own people, but.

1304
01:04:53,640 --> 01:04:58,680
Speaker 2: They listened to it like that combination descriting it deafter

1305
01:04:58,800 --> 01:05:03,240
Speaker 2: the MCS nigga talk about the title of the song.

1306
01:05:03,360 --> 01:05:06,200
Speaker 2: They actually wrapped about five in the song.

1307
01:05:06,440 --> 01:05:14,960
Speaker 4: You know what I'm saying, crazy Man, that's crazy for sure. Man,

1308
01:05:14,960 --> 01:05:17,800
Speaker 4: anytime we will have you back over here. Man and Man,

1309
01:05:17,880 --> 01:05:20,480
Speaker 4: we appreciate y'all com We apologie. He don't send me

1310
01:05:20,600 --> 01:05:24,480
Speaker 4: no more emails. Man, My apologies not bad for last week.

1311
01:05:24,600 --> 01:05:27,720
Speaker 4: Damn they be lett the motherfucker have it. Man in

1312
01:05:27,760 --> 01:05:30,919
Speaker 4: the inbox. I'm gonna start giving y'all eight ship direct ship.

1313
01:05:30,960 --> 01:05:32,440
Speaker 4: So y'all just hit them up and get and get

1314
01:05:32,560 --> 01:05:35,600
Speaker 4: mad at him sometimes. But on that note, we out here,

1315
01:05:35,640 --> 01:05:36,680
Speaker 4: we gotta go. I'm in the whip.

1316
01:05:37,360 --> 01:05:37,520
Speaker 1: Well.

1317
01:05:37,560 --> 01:05:40,360
Speaker 4: That concludes another episode of the Gainst the Chronicles podcast.

1318
01:05:40,480 --> 01:05:42,680
Speaker 4: Be sure to download the iHeart app and subscribe to

1319
01:05:42,760 --> 01:05:45,680
Speaker 4: the Gangst the Chronicles podcast. But Apple users find a

1320
01:05:45,720 --> 01:05:47,720
Speaker 4: purple Michael on the front of your screen. Subscribe to

1321
01:05:47,800 --> 01:05:50,600
Speaker 4: the show, leave a comment and rating. Executive producers for

1322
01:05:50,640 --> 01:05:54,040
Speaker 4: The Gangster Chronicles podcast Norman Stilled, Aaron m c a Tyler.

1323
01:05:54,440 --> 01:05:57,480
Speaker 4: Our visual media director is Brian Whatt, and audio editors

1324
01:05:57,520 --> 01:06:00,760
Speaker 4: tell it Hey. The Gangster Chronicles is a production iHeartMedia

1325
01:06:00,840 --> 01:06:04,200
Speaker 4: Network and The Black Effect Podcast Network. For more podcasts

1326
01:06:04,200 --> 01:06:07,960
Speaker 4: from iHeartRadio, visit the iHeartRadio app Apple Podcasts wherever you're

1327
01:06:07,960 --> 01:06:09,000
Speaker 4: listening to your podcasts.