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Speaker 1: What's that?

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Speaker 2: Thanks? This is not your average show. You're now tuned

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Speaker 2: in to the rail.

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Speaker 1: Ain't welcome to the gangst the Chronicles podcast, the production

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Speaker 1: of iHeart Radio and Black Effect Podcast Network. Make sure

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Speaker 1: you download the iHeart app and subscribe to Against the

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Speaker 1: Chronicles For my Apple users, hit the Purple Michael on

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Speaker 1: your front screen, subscribed Against the Chronicles and leave a

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Speaker 1: five star rating and comment. Don't glad to welcome you

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Speaker 1: to another episode of Against the Chronicles podcast. It's your boy,

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Speaker 1: Big Steeal and my man MC eight is down for

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Speaker 1: the counting night, but I got somebody special holding them down.

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Speaker 1: The homeboy Tony to what's cracking? Man?

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Speaker 3: Was? I'm my brother? All you doing man? Thank you

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Speaker 3: for the invitation, bro to try and honor to be here.

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Speaker 3: Oh for sure, man, you know what I believe. Don't

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Speaker 3: letting happen by accident. This all kind of worked out

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Speaker 3: because you being one of the OG's. I ain't even

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Speaker 3: gonna say it in Chicano Rep Game. In the Rep

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Speaker 3: game here, everybody knows what you you and high and seen.

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Speaker 3: It's just legendary work together. And I think this conversation

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Speaker 3: is perfect for you. That's why when I thought up

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Speaker 3: on the day was past, and then when I found

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Speaker 3: out Age is gonna be down for the count, I said,

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Speaker 3: you know what, this would be perfect time to call Tony.

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Speaker 1: Because all good. I'm glad you called because you're a

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Speaker 1: non biased person. Absolutely, And I thought this episode was

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Speaker 1: important because I think, as you know, Man, I love

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Speaker 1: to be known. I love it. I said, I love

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Speaker 1: Mexican people, man, love the food, the culture. I appreciate

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Speaker 1: everything about them. And it kind of disheartens me because

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Speaker 1: I've seen a few people weren't cool with online telling

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Speaker 1: them about how the Brothers don't support them and how

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Speaker 1: we kind of like blocking and repeating things, and I

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Speaker 1: think that's the furthest thing from the truth, right.

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Speaker 3: No, yeah, I agree, But I think a lot of

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Speaker 3: that has started, believe it or not. And this might

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Speaker 3: sound a little controversial, but it started with a lot

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Speaker 3: of podcasters throwing that out there. You know because before

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Speaker 3: growing up, you know, me being growing up around blacks,

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Speaker 3: growing up around someone's Filipinos, we didn't have those issues,

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Speaker 3: you know. But today the two thousands, I do believe

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Speaker 3: that there are some people that do have those issues.

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Speaker 3: Blacks don't support us. And then I've also heard black

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Speaker 3: people say Mechigans don't support us, and I just think

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Speaker 3: that we all support each other, to be quite.

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Speaker 1: Honestly to you, Oh yeah, hunt on the sick, because

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Speaker 1: before I introduce our special guest, I'm gonna tell you what,

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Speaker 1: try being a rabber too on the West Coast and

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Speaker 1: looking at the audience and see who you gonna see.

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Speaker 1: Ninety five percent the audience deals Mexican people. Absolutely. I

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Speaker 1: think the public just want good music. I don't think

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Speaker 1: they get a fuck with somebody black, Mexican or whatever.

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Speaker 1: I think they just listen to good music or the

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Speaker 1: music which leads me to point. You know, this is

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Speaker 1: like we everybody we have on the show with legendary man.

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Speaker 1: But to me, I feel like this is the second

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Speaker 1: person we've had in as many weeks that's kind of

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Speaker 1: like set a whole thing off. You know, we had

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Speaker 1: Julioji last week. He set the West Coast off from kDa,

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Speaker 1: then later you know, West Side Region and all that.

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Speaker 1: This man right here, I know for a fact he

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Speaker 1: is responsible for Chicano rap, what we call Chacano rap

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Speaker 1: today actually making emergency. Yes, if this was like the Bible,

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Speaker 1: he would be like no, no checkupy a psycholgic law.

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Speaker 1: He would be the creator. He was there from the beginning.

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Speaker 1: He was there from the beginning. He actually created a

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Speaker 1: business because let me introduce it for this, Mary Broomfield,

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Speaker 1: just give a hand clut. Yeah for sure. Well we

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Speaker 1: go do tonight, man. We go go back in history, man,

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Speaker 1: and we go really tell a lot of truth. Now

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Speaker 1: this there comes a very non biased place. It's just

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Speaker 1: the facts. One thing you can't do. I see a

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Speaker 1: lot of people, like you said, it's a lot of

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Speaker 1: podcasters that want to rewrite history. Yes, you can't rewrite history.

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Speaker 1: History is what it is. Bro. You can't say that

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Speaker 1: that the South was won by the you know guys

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Speaker 1: from down here. We'll get a whole different situation right now.

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Speaker 1: Like probably wouldn't be good for none of us sitting

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Speaker 1: up here, right, you know, the Confederacy at one, I'll

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Speaker 1: see that didn't happen. Right, you can't go back, you know,

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Speaker 1: hundreds of years later. Let's say that's what happened. So

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Speaker 1: I want to get into it, man, Marry Love Familiar

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Speaker 1: Records the first to kindo wrap record label. Michael rag correct,

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Speaker 1: how did you know? How did you have the foresight

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Speaker 1: to know that this would be a multi million dollar

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Speaker 1: business that how did you see that?

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Speaker 3: Okay?

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Speaker 2: Well, at the time I had earlier had I was

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Speaker 2: a teacher and I start at Washington and I was

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Speaker 2: thinking about doing gangster rapp you know, just you know,

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Speaker 2: just can'ster act. Because I grew up in Compton. I feared,

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Speaker 2: you know, rapping about what you know, the Compton would

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Speaker 2: be a good idea. And I was at school and

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Speaker 2: uh at the school I was that Washing. It just

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Speaker 2: wasn't the right school to do it. And because earlier

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Speaker 2: were trying to really just put more more positive spem

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Speaker 2: on everything, you know, not that this would be native

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Speaker 2: because it just would have been what it.

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Speaker 1: Was, well you know what teacher talking about, they go

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Speaker 1: start against the rep you know, that might not have

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Speaker 1: went over real popular with the administration.

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Speaker 2: So uh so I kind of detected and eventually, you know,

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Speaker 2: easy did it? Why say what year was this so

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Speaker 2: we can all be this like eighty three?

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Speaker 3: Okay, so this was early on, yes, okay, And so

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Speaker 3: I was at.

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Speaker 2: Another school, at Carson High School and well actually before

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Speaker 2: that group, Spanish Fly had called me. I don't know

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Speaker 2: how I got the number but I just got a call.

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Speaker 1: So Spanish Blob was already around, he was already making music.

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Speaker 2: Yeah, they were like yeah, just yeah, getting going, imagine,

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Speaker 2: and so that that they just called me out the

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Speaker 2: clear Blue.

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Speaker 1: So at the time, because I'll see a lot of

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Speaker 1: controversy about this too online, who were the original members

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Speaker 1: of Spanish.

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Speaker 2: What because essay, Dazz, Toker and tricks okay was it

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Speaker 2: was there his Ruby rule and soda okay, okay, so.

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Speaker 3: Said rich Rock wasn't a part of it yet, and

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Speaker 3: how could say Richard.

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Speaker 1: The starting up little stuff for him r and I

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Speaker 1: had the brothers man forget.

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Speaker 2: And so that was about a year before I got

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Speaker 2: the Carson, And so when I got there, it just

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Speaker 2: so happened that they went to the school. And so

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Speaker 2: they're saying that they, you know, wrapped out. I don't

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Speaker 2: know why I took them to the studio because I

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Speaker 2: hadn't heard, you know, none other stuff, and and I

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Speaker 2: just said, okay, well i'll see, you know, I just

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Speaker 2: took a chance, you know.

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Speaker 1: Money back there.

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Speaker 3: So I took them, you know, uh.

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Speaker 2: Paramount Studios, you know, the same road that you know

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Speaker 2: ice ceam used because I had said in uh session

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Speaker 2: the certificate and uh so you know, took them to

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Speaker 2: that studio paramount.

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Speaker 3: But you know what, Marie, if you don't mind me

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Speaker 3: showing you, I think you took a big chance because

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Speaker 3: during that time, there wasn't a lot of people paying

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Speaker 3: attention to if you want to call the chee Kondo rappers,

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Speaker 3: because back then it wasn't really identified as chekond of rap. Right, okay,

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Speaker 3: you know, for you did take a big chance. Yeah, okay,

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Speaker 3: now I think about it.

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Speaker 2: Also, there was you know, some dissension between Latinos and

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Speaker 2: blacks starting to brew up, and so being you know,

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Speaker 2: the teacher everybody you know came to my class and

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Speaker 2: and at lunch and we freestyle, and so I was like,

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Speaker 2: I think I was the best rapper at the school.

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Speaker 3: That's the teacher.

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Speaker 2: That's the T shirt I could see because I never

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Speaker 2: knew he was. So So anyway, I called a meeting

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Speaker 2: with uh, you know Latino kids and black kids, and

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Speaker 2: you know, we just you know, taught me to had

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Speaker 2: everybody to give their viewpoint. We talked it all out,

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Speaker 2: and but I pointed out, I remember, you know, just

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Speaker 2: like its yesterday, there was nothing really going on with

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Speaker 2: uh the kind of uh entertainment, right, Okay, I think

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Speaker 2: maybe Chico on the Man was probably it. And so

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Speaker 2: I was saying, yeah, you know, there's there weren't a

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Speaker 2: lot of you know, I don't think they were each

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Speaker 2: kind of magazine. Maybe a couple of low writers like

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Speaker 2: or Lease and maybe low writering magazine, but there was

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Speaker 2: there was no entertainment, you know, and so really there

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Speaker 2: was no representation. And so I said, well, at the

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Speaker 2: time I was in school, I was working with PhD

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Speaker 2: in psychology, and so I happened to be you know,

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Speaker 2: studying different cultures, and I knew the presence of the

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Speaker 2: you know, of the Mexican American population and percentages, and

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Speaker 2: at the time I think it was about like maybe

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Speaker 2: thirty eight percent Latino, four percent black. And so I said,

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Speaker 2: there should be moral representation. So I told the kids,

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Speaker 2: you know that, well, at the time, I think I

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Speaker 2: started just started working with Spanish fly. So I said, well,

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Speaker 2: you know, we're going to change the world, you know,

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Speaker 2: I said, you know, well, you know, I just said

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Speaker 2: there'll be you know, Latino magazines just kind of set

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Speaker 2: up the same kind of structure that that was in

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Speaker 2: black entertainment. Okay, you know like uh, you know we

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Speaker 2: have back at the time, we had black Beat World up. Yeah,

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Speaker 2: so I was, uh, I got the name of the

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Speaker 2: magazine we were going to start with me and a

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Speaker 2: girl student at school named Linda Trres. We actually did

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Speaker 2: uh one issue and it was called Barrio Beat and

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Speaker 2: uh so she took pictures of all the kids in

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Speaker 2: the neighborhood at the kickbacks and and all that. So

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Speaker 2: it's more like a kind of like expose of what's

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Speaker 2: going around in the neighborhood. So anyway, I make a

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Speaker 2: lost story short. I uh talked to Spanish fly. They

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Speaker 2: had called me. I still know how they got the number,

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Speaker 2: but they called me and uh and they were in

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Speaker 2: my They are my students, so rich Rock dads and

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Speaker 2: Ruben which is Toker, So they are my students. Rich

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Speaker 2: Rock was uh like the sports editor for the school newspaper.

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Speaker 2: And so I just took them to the studio. So

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Speaker 2: and I think about, you know, why would a person

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Speaker 2: just take a group to the studio. Nowadays you know

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Speaker 2: you have to that them out, hear them and all

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Speaker 2: kinds of stuff.

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Speaker 1: You don't.

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Speaker 3: Mary, did let me ask you something because again during

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Speaker 3: that time, when you would taken to the studio that

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Speaker 3: you had all ever received any slack for taking some

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Speaker 3: Chicano kids and also be not taking some black kids.

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Speaker 3: Well I had okay.

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Speaker 2: At that particular time, I was dabbing. I was just

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Speaker 2: starting to get into uh music. I think when they

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Speaker 2: called me at first, because I was at Gardena High school,

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Speaker 2: they you know, I guess word is spread. It was

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Speaker 2: this teacher that was into music. It was a different

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Speaker 2: time back then, you know, there weren't teachers rapping and

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Speaker 2: stuff like that. Yeah, and so word got out there.

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Speaker 2: Yeah there's this teacher. You know, they probably say, yeah,

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Speaker 2: it's this cool teacher here, you know, doing this and that.

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Speaker 2: And at the time I started dabbling into music, I

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Speaker 2: bought a Overheim keyboard Metrics twelve, which was the best

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Speaker 2: keyboard world I had. These oneills still is now and

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Speaker 2: I got it when it came out. I saw an

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Speaker 2: article and a keyboard magazine and I saw that Commodoors

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Speaker 2: had bought one, and so I was like, well, this

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Speaker 2: is how I should start. So actually bought it when

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Speaker 2: I was at Washington. So we had a group of kids.

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Speaker 2: We were called the Reaction. So it was me teacher

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Speaker 2: and about four or five kids, and so we started

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Speaker 2: that group which is still going on now. The reaction okay,

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Speaker 2: and so that keyboard kind of became the center of

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Speaker 2: just having something professional. So she was producing the music

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Speaker 2: back then, Yeah, I was just getting into it. I

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Speaker 2: figure our best way was just to buy the best equipment.

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Speaker 1: Right.

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Speaker 3: Still, the reason why I asked that question about the trick,

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Speaker 3: were you ever criticized because for me in my early

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Speaker 3: on in my career, working with a black artists and

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Speaker 3: being a Mexican kid, I was always criticized. Always really yeah,

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Speaker 3: even with all the success you got, yes, it didn't matter.

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Speaker 3: There were people that showed love, but there was that one.

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Speaker 1: Group that just hated.

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Speaker 3: So that's why I asked you that question, that you

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Speaker 3: ever get criticized by your own people for helping another ethnicity.

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Speaker 1: Before you answer that, I'm just curious, why was they

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Speaker 1: made excues you was putting on for the for the

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Speaker 1: Mexican people. It's kind of people you allays out there

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Speaker 1: doing big things, your big records, and back then that

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Speaker 1: was a different thing. I thought that was tightest foot

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Speaker 1: when I first saw the album, cause I said, man,

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Speaker 1: DJ a Mexican dude, and I thought this.

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Speaker 3: It was hard, you know what I mean. I was

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Speaker 3: like that, that's some la ship. Yes, the majority of

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Speaker 3: my head came for my own city. It really came

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Speaker 3: for my own city. Everywhere I went and I traveled,

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Speaker 3: I received loved but from my own city. Believe it

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Speaker 3: or not, people that I knew, they didn't like the

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Speaker 3: fact that I was working with Black Harness.

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Speaker 1: So what would they as you do, go get somebody

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Speaker 1: else who maybe not had a deal, but stay down

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Speaker 1: with the homie from the hood and not go get

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Speaker 1: that big situation and y'alls on the major labl I

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Speaker 1: signed the Disney record.

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Speaker 3: Was signed the Disney.

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Speaker 1: Yes.

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Speaker 3: Now, hey, you know what, I never got that question answered.

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Speaker 3: And the reason why I say it because I told people.

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Speaker 3: People told me you never put anybody on back then.

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Speaker 3: So here's my question. Please define what do you mean

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Speaker 3: by putting somebody on me? Produce for them for free,

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Speaker 3: DJ for them for free, shot the record for free,

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Speaker 3: shoot the video free. What exactly do you mean by

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Speaker 3: putting somebody on? You know, because we weren't looking for

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Speaker 3: a record deal, we ended up getting a record, y'all.

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Speaker 1: Y'all got a record deal because y'all was putting out

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Speaker 1: tight shit and they had to looking for y'all.

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Speaker 3: Yeah, so in the early nineties, and I said this

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Speaker 3: when I was a last show, and I got criticized

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Speaker 3: for it. I said, when I worked with black artists

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Speaker 3: early on in the nineties, I was getting paid because

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Speaker 3: they had record deals, they had budgets.

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Speaker 1: In the late.

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Speaker 3: Nineties, when I started working with Chicata rappers, I wasn't

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Speaker 3: getting paid from those individuals. And I want to be specific,

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Speaker 3: because somebody made a video was saying Tony is saying

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Speaker 3: that Lassa doesn't pay or Lassa's broke. I never said that.

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Speaker 3: I said those individuals that I was working with weren't

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Speaker 3: paying me. They were like, I'll give you a few

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Speaker 3: hundred dollars, you'll get the rest later. And I was

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Speaker 3: just like, I'm good with that, you know.

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Speaker 1: So, man, first of all, I'm gonna say this, man,

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Speaker 1: a lot of people for doing stuff nowadays to get

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Speaker 1: clicks and views and so controversy obviously fuse about it.

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Speaker 1: This stuff and people thinking, well, I'm gonna say this,

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Speaker 1: you know, to get a reaction. The whole thing. Trust me,

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Speaker 1: people started off initially doing music for fun, for the

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Speaker 1: love of the culture. So when you are growing ass

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Speaker 1: man and got bills and got kids, got mortgage to

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Speaker 1: pay for you know, cardins and shit. We got to

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Speaker 1: get paid for your job any other If you know

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Speaker 1: that homeboy that's a painter. I got homeboys to paint

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Speaker 1: put floor in when I had this dude, can I

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Speaker 1: paint my crib and put floor in for me? I

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Speaker 1: paid them, yes, because that's what it is. That's what

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Speaker 1: he do. I didn't say because he the homie, just

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Speaker 1: a little oh man, come and do this shit for

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Speaker 1: free for me. Yeah. No, I paid it, just like

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Speaker 1: I wanted somebody else. And as a matter of fact,

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Speaker 1: I would rather pay one of my friends then go

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Speaker 1: out to pay somebody I don't know. But I guess

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Speaker 1: that's the era we in. This is just stranger driven now.

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Speaker 3: Yeah, And like I said, I got criticized because of

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Speaker 3: what I said, but I just wanted to clear that up.

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Speaker 3: Not that I have to, because I stand by what

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Speaker 3: I said. Those individuals that I was working with weren't

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Speaker 3: trying to pay me. I was charging twenty five hundred

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Speaker 3: a beat in the late nineties. They would give me

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Speaker 3: a thousand is I'll get you later, never pay me.

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Speaker 3: It got to the point where I had to roll

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Speaker 3: up there give me my money. You know, I never

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Speaker 3: had to do that when I was working with artists

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Speaker 3: that were signed. You know, these weren't now independent artists anyways.

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Speaker 3: But back to what you My question was, did you

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Speaker 3: ever get criticized once again for opening up a Chicano

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Speaker 3: rap label?

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Speaker 2: Okay? At the same time I was working with those artists,

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Speaker 2: I also had some other artists I was working with.

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Speaker 3: Okay.

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Speaker 2: So I was working with a lot of Inglewood artists

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Speaker 2: group called First Amendment and that group Mac Tim was

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Speaker 2: in the group, Okay, a lot of you know, the

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Speaker 2: Inglewood underground rap scene. And I also had a rapper,

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Speaker 2: rock Slinger, out of South Central.

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Speaker 1: When the Rockslinger wand up becoming a producer.

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Speaker 3: Yeah, I know, he was on.

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Speaker 2: Easy Easy eas video game and that's as soon we

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Speaker 2: put out.

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Speaker 1: And I think that was the same rock Slinger that

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Speaker 1: was producing for Glasses when Glasses first started. It was

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Speaker 1: a dude named rock Slinger.

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Speaker 2: Yeah, yeah, so softly uh huh yeah, So I'm sure

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Speaker 2: it's the saying.

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Speaker 1: Guy that's nickname rock Slinger.

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Speaker 2: Okay, And so you know we were working together. We

340
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Speaker 2: put out, uh, you know, a couple of songs, and

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Speaker 2: so when I started working with Spanish Fly grew in

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Speaker 2: the studio and so I said, you know, let's let's

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Speaker 2: hear uh you know what you got.

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Speaker 3: So the first scene I heard, you know, was he

345
00:18:54,520 --> 00:18:58,920
Speaker 3: was like, or let's see, let's load the shopgun up there.

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Speaker 1: I just.

347
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Speaker 2: Stopped to take and I saw the whole vision of

348
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Speaker 2: Chicino rap right there. So I said, you know, this

349
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Speaker 2: is it. I don't even think people around he was

350
00:19:11,040 --> 00:19:14,959
Speaker 2: even yeah thinking that, but I was thinking that, Yu,

351
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Speaker 2: I saw. I saw the whole The whole thing just flashed,

352
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Speaker 2: you know before me.

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Speaker 3: You know, that kind of reminds me of the story

354
00:19:22,640 --> 00:19:24,960
Speaker 3: uh that Steve Youiano rest in peace. When he signed

355
00:19:25,000 --> 00:19:28,520
Speaker 3: Proper Those, he had first heard a song called Mechican Power.

356
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Speaker 3: And to be quite honest with you, I always believe it.

357
00:19:32,960 --> 00:19:35,720
Speaker 3: I thought Proper Those was a really dope group, but

358
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Speaker 3: I also knew that it was regional, you know, and

359
00:19:40,320 --> 00:19:44,000
Speaker 3: it's but Steve, being a Japanese man, saw the vision

360
00:19:44,040 --> 00:19:47,159
Speaker 3: as well like you did, and invested and that was

361
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Speaker 3: pretty much the beginning of Chicano Rap begin to flourish

362
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Speaker 3: in the nineties early nineties. I second.

363
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Speaker 2: Just let you know some of the people who you know,

364
00:19:55,880 --> 00:20:00,359
Speaker 2: were who we were all just stirring. But you know

365
00:20:00,440 --> 00:20:03,840
Speaker 2: Brian dos So, he was you know, my right hand

366
00:20:03,880 --> 00:20:06,840
Speaker 2: producer Curve. So you know he was before he was

367
00:20:06,880 --> 00:20:09,720
Speaker 2: the man before he's the man he is you know today.

368
00:20:11,080 --> 00:20:12,040
Speaker 3: You know, he did Coolio.

369
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Speaker 2: So we'd be in Bland's garage and you know, rass

370
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Speaker 2: Casts will be there, ras cast uh, true Blue, you're

371
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Speaker 2: familiar with the True Blue he wrote. You know Kiki

372
00:20:27,920 --> 00:20:32,680
Speaker 2: lo So was me Doves, you know, Rascas being there,

373
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Speaker 2: little Kicky Loco and so we just for you know,

374
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Speaker 2: they're just vibing.

375
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Speaker 3: And so.

376
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Speaker 2: You know, we did the song eighteen of the Bullet.

377
00:20:45,040 --> 00:20:48,520
Speaker 2: We did about three songs the first time and then

378
00:20:48,560 --> 00:20:51,520
Speaker 2: we went back in and played instruments and just get

379
00:20:51,520 --> 00:20:55,960
Speaker 2: the right song. And so since we're talking about Spanish flub,

380
00:20:56,040 --> 00:20:59,200
Speaker 2: we put that album, the single out eighteen with a Bullet.

381
00:21:00,240 --> 00:21:04,879
Speaker 2: So when I hit the street, that was like, you know,

382
00:21:04,920 --> 00:21:07,720
Speaker 2: it just hit it hit hard.

383
00:21:07,960 --> 00:21:08,440
Speaker 3: I mean.

384
00:21:10,840 --> 00:21:13,800
Speaker 2: People just you know, just grabbing or i you know,

385
00:21:13,920 --> 00:21:16,560
Speaker 2: drive down the street out here people bumping it. It

386
00:21:16,600 --> 00:21:17,000
Speaker 2: was yah.

387
00:21:17,119 --> 00:21:20,000
Speaker 3: Yeah. People came up to me and you'll say.

388
00:21:19,840 --> 00:21:23,520
Speaker 2: Man, you blew out my speakers. Many then they'd be

389
00:21:23,560 --> 00:21:26,040
Speaker 2: happy that their speakers blew, you know, because he loved

390
00:21:26,040 --> 00:21:29,160
Speaker 2: the song. And so we probably made that song about

391
00:21:29,200 --> 00:21:31,800
Speaker 2: ten different times to get the base record.

392
00:21:32,240 --> 00:21:35,560
Speaker 3: Well, I'll tell you what that record. That single, especially

393
00:21:35,640 --> 00:21:39,359
Speaker 3: the cossette single, was really selling because I remember Steve

394
00:21:39,440 --> 00:21:42,320
Speaker 3: Youano was selling out the road you Swami, and he

395
00:21:42,359 --> 00:21:44,080
Speaker 3: would tell me he pick it up. He goes this

396
00:21:44,160 --> 00:21:46,880
Speaker 3: right here, it's taking off. This right here is really

397
00:21:46,920 --> 00:21:49,280
Speaker 3: really selling. I was like, okay, I know those guys,

398
00:21:49,640 --> 00:21:52,280
Speaker 3: so you know what. It was nothing but love that

399
00:21:52,359 --> 00:21:54,480
Speaker 3: I have to those guys, knowing that they were making noise.

400
00:21:55,200 --> 00:21:58,040
Speaker 1: Yeah. See that's the old air. I had a record

401
00:21:58,080 --> 00:22:01,480
Speaker 1: store called Flavor for Your Ear Record in Pariodmont, California,

402
00:22:02,040 --> 00:22:05,080
Speaker 1: and I actually started that record store at mat Flotham

403
00:22:05,160 --> 00:22:08,960
Speaker 1: Law owned some property on the corner of Somerset Boulevard

404
00:22:08,960 --> 00:22:11,359
Speaker 1: in Indiana, Okay, and he had this It had a

405
00:22:11,400 --> 00:22:13,840
Speaker 1: retail location like on the corner. It was an odd spot.

406
00:22:13,880 --> 00:22:16,320
Speaker 1: This was in the middle of neighborhood. So I opened

407
00:22:16,400 --> 00:22:18,440
Speaker 1: up a record story and at that time I had

408
00:22:18,480 --> 00:22:21,359
Speaker 1: Tony Jonie there paid me a bunch of sponsor money

409
00:22:21,440 --> 00:22:23,720
Speaker 1: to put a bunch of signs on the side. City

410
00:22:23,840 --> 00:22:25,919
Speaker 1: Pair of Mind came and shut that down, like they

411
00:22:26,040 --> 00:22:27,600
Speaker 1: was like, oh, you can't have this up here. They

412
00:22:27,640 --> 00:22:30,919
Speaker 1: you know, tripped out on a butt. I started selling

413
00:22:30,960 --> 00:22:33,199
Speaker 1: a lot of different rep in there, you know, a

414
00:22:33,200 --> 00:22:35,160
Speaker 1: lot of different REP tapes, and I would get people

415
00:22:35,160 --> 00:22:39,639
Speaker 1: coming in and asking me, Hey, do you have this record?

416
00:22:39,680 --> 00:22:42,840
Speaker 1: Eighteen with a bullet? They kept asking for all these records,

417
00:22:42,840 --> 00:22:44,480
Speaker 1: and I was like, what the hell is this stuff?

418
00:22:44,480 --> 00:22:47,160
Speaker 1: You know, I was going to uh, the one stops

419
00:22:47,160 --> 00:22:49,000
Speaker 1: and didn't nobody know what I was talking about, right,

420
00:22:49,480 --> 00:22:50,800
Speaker 1: you know, I would go to one stop to buy

421
00:22:50,880 --> 00:22:52,240
Speaker 1: my stuff for the week and didn't nobody know what

422
00:22:52,280 --> 00:22:54,880
Speaker 1: I was talking about. Then I met this guy right

423
00:22:54,920 --> 00:22:56,800
Speaker 1: here and he started bringing them by the store and

424
00:22:56,800 --> 00:22:59,280
Speaker 1: they started really selling. I started seeing the power of

425
00:22:59,320 --> 00:23:01,560
Speaker 1: that stuff. It was a lot of keyds from the

426
00:23:01,600 --> 00:23:05,240
Speaker 1: high school coming because finally they add somebody that was

427
00:23:05,280 --> 00:23:09,320
Speaker 1: the thing that's about, you know, the Mexican audience again.

428
00:23:09,440 --> 00:23:12,040
Speaker 1: They music that they relate to, good music. I don't

429
00:23:12,040 --> 00:23:13,920
Speaker 1: think they're tripping off, oh it is, but I think

430
00:23:13,960 --> 00:23:16,760
Speaker 1: the fact that somebody looked like them, now now they

431
00:23:16,800 --> 00:23:18,879
Speaker 1: can say, okay, you know what I identify with this.

432
00:23:19,160 --> 00:23:24,399
Speaker 2: Yeah, yes, that's what I was thinking, you know, to uh,

433
00:23:24,840 --> 00:23:27,800
Speaker 2: you know, people see themselves in the cover, just like

434
00:23:28,560 --> 00:23:32,120
Speaker 2: when h rap music came up. You know, we see

435
00:23:32,119 --> 00:23:34,800
Speaker 2: ourselves in the cover, right, you know that's us doing

436
00:23:34,800 --> 00:23:40,320
Speaker 2: it before, which is your normal, you know, supergroups.

437
00:23:40,880 --> 00:23:41,080
Speaker 3: You know.

438
00:23:41,119 --> 00:23:43,320
Speaker 2: It was almost like you know, I mean, you can

439
00:23:43,359 --> 00:23:47,520
Speaker 2: see yourself, but you may be dressed so crazy. It

440
00:23:47,760 --> 00:23:50,760
Speaker 2: wasn't like you just see yourself in your natural things.

441
00:23:50,800 --> 00:23:53,480
Speaker 2: I think when rap came, you know, you could see

442
00:23:53,880 --> 00:23:56,680
Speaker 2: you know, your neighbor. It could be us on the cover.

443
00:23:56,760 --> 00:24:04,280
Speaker 2: You So, yeah, people dreamed uh more about it. So

444
00:24:04,280 --> 00:24:07,480
Speaker 2: so when I put the eight the eight two of

445
00:24:07,480 --> 00:24:12,000
Speaker 2: the bullet out, so well, I first read I read

446
00:24:12,040 --> 00:24:14,200
Speaker 2: a book called how to Make a Record, because I really,

447
00:24:14,400 --> 00:24:18,399
Speaker 2: you know, I hadn't put anything out, so I read

448
00:24:18,440 --> 00:24:21,480
Speaker 2: that book. I read a book on this Business of music,

449
00:24:21,920 --> 00:24:25,920
Speaker 2: and I read a book on how to Succeed in

450
00:24:25,960 --> 00:24:28,960
Speaker 2: the music business without selling your soul was also a

451
00:24:29,040 --> 00:24:32,560
Speaker 2: good one. So I read those three books. So uh

452
00:24:33,800 --> 00:24:37,320
Speaker 2: so we you know we made uh you know, the song,

453
00:24:38,280 --> 00:24:43,280
Speaker 2: so you take it to get the artwork and all that,

454
00:24:43,960 --> 00:24:47,920
Speaker 2: and so I was literally going through the book how

455
00:24:47,960 --> 00:24:51,080
Speaker 2: to make a record Okay, first you do this. You know,

456
00:24:51,160 --> 00:24:54,040
Speaker 2: I had my tea at the school. You know, it

457
00:24:54,160 --> 00:24:58,640
Speaker 2: was a school event. Everybody was kind of buying it.

458
00:24:59,400 --> 00:25:03,639
Speaker 2: I had my a, you know, racking the gluing the

459
00:25:04,600 --> 00:25:06,879
Speaker 2: you know, the singles had the the wrap.

460
00:25:07,240 --> 00:25:09,800
Speaker 3: The tree was yeah, it was seagle was just one

461
00:25:10,000 --> 00:25:11,880
Speaker 3: piece of paper that was voted.

462
00:25:12,200 --> 00:25:13,480
Speaker 2: And he had to glue it.

463
00:25:13,520 --> 00:25:14,240
Speaker 3: So you know.

464
00:25:14,359 --> 00:25:17,480
Speaker 2: So so I was trying to get the record out

465
00:25:18,480 --> 00:25:22,399
Speaker 2: on uh. I took well, it was October thirty first

466
00:25:22,840 --> 00:25:24,639
Speaker 2: when it was all done. But I was just I

467
00:25:24,680 --> 00:25:26,280
Speaker 2: was just trying to hear up and get the record out.

468
00:25:26,800 --> 00:25:29,840
Speaker 1: Did you have any ideas you have distribution at that time?

469
00:25:29,960 --> 00:25:32,280
Speaker 1: What was it all just right hand and hand like

470
00:25:32,280 --> 00:25:32,840
Speaker 1: you was doing?

471
00:25:33,000 --> 00:25:35,399
Speaker 2: Okay, Like I said, I read the book, so I

472
00:25:35,400 --> 00:25:39,359
Speaker 2: didn't know any structure of how the business worked. And

473
00:25:39,480 --> 00:25:43,160
Speaker 2: so the book was talking about one stops and this man,

474
00:25:43,200 --> 00:25:46,840
Speaker 2: it took me about two weeks just to understand what

475
00:25:46,920 --> 00:25:49,880
Speaker 2: the one stop was. It was like just a mystery.

476
00:25:49,800 --> 00:25:52,119
Speaker 1: Yeah, because it all the one stop was literally what

477
00:25:52,200 --> 00:25:55,760
Speaker 1: it was somewhere all the independent retailers would go distance,

478
00:25:56,000 --> 00:25:57,719
Speaker 1: you know, grab what it was, what it was new

479
00:25:57,800 --> 00:26:00,440
Speaker 1: that way, the releases and read them on that may

480
00:26:00,440 --> 00:26:03,840
Speaker 1: have been selling right at They rode downtown in different places.

481
00:26:04,359 --> 00:26:06,719
Speaker 3: But it was a messity to me because you know

482
00:26:06,760 --> 00:26:08,520
Speaker 3: some of the stories say yeah I'm going to one

483
00:26:08,560 --> 00:26:10,520
Speaker 3: step man, I steak man, what is it one?

484
00:26:10,600 --> 00:26:13,159
Speaker 1: It was like, well, you ain't a certain start of

485
00:26:13,200 --> 00:26:16,040
Speaker 1: the new hustle. And I believe inadvertently you created a

486
00:26:16,080 --> 00:26:19,919
Speaker 1: new hustle because what you created was an era of

487
00:26:19,920 --> 00:26:22,679
Speaker 1: hand and hand cats going around to the swap meets,

488
00:26:23,000 --> 00:26:25,199
Speaker 1: instill the stuff from the swap me spround here. Like

489
00:26:25,240 --> 00:26:27,639
Speaker 1: you know, you had the uh where Steve Jon then

490
00:26:27,640 --> 00:26:30,639
Speaker 1: will be posting at the rod him. You had the

491
00:26:30,640 --> 00:26:33,320
Speaker 1: accomplish swap meet. You had all these different swap meets

492
00:26:33,359 --> 00:26:37,399
Speaker 1: and after a while that was the same route the

493
00:26:37,400 --> 00:26:41,120
Speaker 1: easy e took initially, remember going the same way. And

494
00:26:41,160 --> 00:26:43,120
Speaker 1: that's how you kind of got the streets first because

495
00:26:43,160 --> 00:26:45,240
Speaker 1: with us started seeing people do what they would drop

496
00:26:45,280 --> 00:26:47,840
Speaker 1: these stuff on the streets first the swap meets and

497
00:26:47,840 --> 00:26:49,600
Speaker 1: all the other stuff. Then they would put it like

498
00:26:49,640 --> 00:26:52,359
Speaker 1: in the one stops and they distributors or whatever. You

499
00:26:52,400 --> 00:26:55,719
Speaker 1: had round level distribution. You had cats. That's how Violet

500
00:26:55,760 --> 00:26:56,880
Speaker 1: Brown knew what was at.

501
00:26:57,119 --> 00:27:02,240
Speaker 2: Yeah, yeah, well I did first was say, okay, I

502
00:27:02,280 --> 00:27:03,080
Speaker 2: got this record.

503
00:27:03,560 --> 00:27:04,720
Speaker 3: You know what do I do with it?

504
00:27:05,240 --> 00:27:09,320
Speaker 2: So I said, well, what I'm gonna do is I'm

505
00:27:09,320 --> 00:27:13,320
Speaker 2: gonna give CDs the tapes out. Get no CDs and

506
00:27:13,400 --> 00:27:16,600
Speaker 2: I would give I'll give the tapes out. So I said,

507
00:27:16,640 --> 00:27:18,880
Speaker 2: let me go to where I know there's a big

508
00:27:18,920 --> 00:27:24,480
Speaker 2: concentration of you know, latinos. And so I said, you

509
00:27:24,480 --> 00:27:28,119
Speaker 2: know what, I'll go to, uh, Santa Anna. So I

510
00:27:28,160 --> 00:27:34,000
Speaker 2: went Santa Ana and h so like about fifteen guys

511
00:27:34,040 --> 00:27:37,760
Speaker 2: you know, walking down the street. And so I said, well,

512
00:27:38,840 --> 00:27:40,800
Speaker 2: let me give them a tape.

513
00:27:41,119 --> 00:27:42,720
Speaker 1: Yeah, we want some pump feedback. Yeah.

514
00:27:43,119 --> 00:27:46,480
Speaker 2: So you know, I get out the car, I walked

515
00:27:46,520 --> 00:27:49,040
Speaker 2: to him, you know, say hey, I got this new record.

516
00:27:49,640 --> 00:27:52,159
Speaker 2: I want you to check it out. So one of

517
00:27:52,200 --> 00:27:53,119
Speaker 2: the dudes looked at her.

518
00:27:53,119 --> 00:27:55,600
Speaker 3: He said, oh man, you know feed me.

519
00:27:55,800 --> 00:27:56,439
Speaker 1: Oh you know.

520
00:27:56,520 --> 00:27:59,000
Speaker 2: It was like just like to see themselves in the cover,

521
00:27:59,480 --> 00:28:04,280
Speaker 2: right and and uh so I was just you know, okay,

522
00:28:04,320 --> 00:28:07,480
Speaker 2: here man, you know, take this. And then the guy

523
00:28:07,600 --> 00:28:11,760
Speaker 2: said how much you want? For as long as like,

524
00:28:11,800 --> 00:28:15,360
Speaker 2: oh okay, I hadn't even you know, thought about selling it.

525
00:28:15,600 --> 00:28:18,679
Speaker 2: I just was trying to get a buzz going. And

526
00:28:18,720 --> 00:28:23,000
Speaker 2: then so I said, oh, yeah, it's two dollars. So

527
00:28:23,880 --> 00:28:26,679
Speaker 2: you know, so I was selling it like that and

528
00:28:26,720 --> 00:28:30,760
Speaker 2: then I well, I grew up in confidence, so you know,

529
00:28:30,880 --> 00:28:33,439
Speaker 2: right down the street from the swap meat, so of

530
00:28:33,480 --> 00:28:39,400
Speaker 2: course I went there, uh yeah and uh sleeve bottom.

531
00:28:39,960 --> 00:28:47,880
Speaker 2: And then I went to Lenwood swam and then I

532
00:28:47,960 --> 00:28:52,680
Speaker 2: went to Vince. Vince is over there in Linwood, and

533
00:28:52,720 --> 00:28:55,280
Speaker 2: then I went to uh because I was teaching at

534
00:28:55,320 --> 00:28:57,840
Speaker 2: Carson and I there was a Swami right around the corner,

535
00:28:58,520 --> 00:29:01,440
Speaker 2: so I went there. And when I went there, I

536
00:29:01,480 --> 00:29:05,960
Speaker 2: fed all the kids at the school and so so

537
00:29:06,000 --> 00:29:07,760
Speaker 2: I said, okay, that's a good thing. You know, they

538
00:29:07,800 --> 00:29:12,239
Speaker 2: can go get the record. And then I started just

539
00:29:12,240 --> 00:29:18,240
Speaker 2: branching out. I went to like Paramount Swamis, Santa Fe Springs, a.

540
00:29:20,040 --> 00:29:23,520
Speaker 3: Peko Indoor and ruply, about what year was this?

541
00:29:23,520 --> 00:29:25,360
Speaker 2: This is like ninety one of them.

542
00:29:25,640 --> 00:29:28,520
Speaker 3: Okay, yeah, so not even one of the Donner kings

543
00:29:28,520 --> 00:29:30,040
Speaker 3: to rep And.

544
00:29:30,000 --> 00:29:34,840
Speaker 2: So I started developing relationships with all the you know,

545
00:29:34,960 --> 00:29:37,800
Speaker 2: the people who sold records, because you know, nobody sold

546
00:29:37,880 --> 00:29:40,920
Speaker 2: chikon wrap because it really wasn't like you said, it

547
00:29:40,960 --> 00:29:48,479
Speaker 2: wasn't right. And so so my my biggest hurdle. So

548
00:29:48,520 --> 00:29:51,280
Speaker 2: I say, okay, you know I have something here, so

549
00:29:52,360 --> 00:29:55,200
Speaker 2: I think you know it's going to be big. So

550
00:29:56,280 --> 00:30:00,000
Speaker 2: the competition for Chicano rap back then was house music.

551
00:30:01,480 --> 00:30:04,720
Speaker 2: So you know, so all you hear you know, cakebacks,

552
00:30:05,000 --> 00:30:08,920
Speaker 2: you know, gangsters, you know, just you know that's all.

553
00:30:08,960 --> 00:30:11,600
Speaker 2: I listened to his house music, right, you know, it's nothing,

554
00:30:11,680 --> 00:30:16,000
Speaker 2: nothing else. And so I went to Santa Fe Springs,

555
00:30:16,040 --> 00:30:19,560
Speaker 2: which was like Swami, which was like the uh the

556
00:30:19,600 --> 00:30:22,680
Speaker 2: mecca of house music. So I'm you know, it probably

557
00:30:22,720 --> 00:30:26,720
Speaker 2: had about fifteen different stands, you know, selling house music

558
00:30:26,800 --> 00:30:30,040
Speaker 2: and that was I mean, that was it. Yeah, And

559
00:30:30,120 --> 00:30:35,000
Speaker 2: so I said, well, how can I get these people

560
00:30:35,800 --> 00:30:40,320
Speaker 2: to listen to Chicano rap? So so I went to

561
00:30:40,360 --> 00:30:45,520
Speaker 2: Swami and it was uh things name well I think

562
00:30:45,520 --> 00:30:49,280
Speaker 2: it was Jerry, but anyway, he had he's just starting

563
00:30:51,640 --> 00:30:53,600
Speaker 2: and so he just had you know, like a few

564
00:30:53,880 --> 00:30:56,720
Speaker 2: few CDs, well not to a few tapes, you know,

565
00:30:56,840 --> 00:31:00,719
Speaker 2: just trying to start. So I said, you know, uh,

566
00:31:00,840 --> 00:31:03,000
Speaker 2: play this so that.

567
00:31:03,280 --> 00:31:05,120
Speaker 3: You know, doom do do do?

568
00:31:05,880 --> 00:31:09,400
Speaker 2: Everybody's looking around next thing, you know, it's just like

569
00:31:10,080 --> 00:31:13,400
Speaker 2: about thirty people around the stand right right. Yeah, okay,

570
00:31:13,600 --> 00:31:16,840
Speaker 2: So I was like, oh, Okay, so you knew.

571
00:31:16,640 --> 00:31:19,640
Speaker 3: You have a little buzz, now you Yeah, I just

572
00:31:19,720 --> 00:31:21,640
Speaker 3: knew I had to h little House.

573
00:31:22,600 --> 00:31:24,640
Speaker 2: You know, I think I'm the one that killed House

574
00:31:25,640 --> 00:31:28,880
Speaker 2: because I turned all the vendors Insigne Face Spring, I

575
00:31:28,920 --> 00:31:32,680
Speaker 2: turned them to Chicano rap. Really yeah, oh it's okay,

576
00:31:32,960 --> 00:31:35,880
Speaker 2: you know, I turned turned all the vendors to Chicano rap,

577
00:31:36,880 --> 00:31:41,560
Speaker 2: and and then you know, they perst you know, didn't know.

578
00:31:42,360 --> 00:31:44,200
Speaker 2: But then the thing was all you had to do

579
00:31:44,280 --> 00:31:48,000
Speaker 2: was play it, yeah, and then they'd be like, oh,

580
00:31:48,600 --> 00:31:50,760
Speaker 2: you know, it always would get a big crowd.

581
00:31:51,000 --> 00:31:51,400
Speaker 1: Yeah.

582
00:31:51,960 --> 00:31:54,520
Speaker 2: And so I said, well, okay, I just have to

583
00:31:54,600 --> 00:31:59,560
Speaker 2: keep on, you know, and eventually we'll take over House.

584
00:32:00,920 --> 00:32:04,520
Speaker 2: And so so, as I said, I was dealing with

585
00:32:04,560 --> 00:32:08,840
Speaker 2: the people selling House, Joseph and all those guys.

586
00:32:09,400 --> 00:32:10,680
Speaker 3: H and so.

587
00:32:12,720 --> 00:32:17,560
Speaker 2: Then I came up with the idea, Okay, I'll trade

588
00:32:17,600 --> 00:32:24,120
Speaker 2: you Chicino wrap for House, so that way to make

589
00:32:24,160 --> 00:32:28,360
Speaker 2: it easier for them, and uh and then I can

590
00:32:28,400 --> 00:32:32,120
Speaker 2: get more more CDs and well tapes in the store.

591
00:32:32,720 --> 00:32:34,320
Speaker 2: So we was doing that. So I was, you know,

592
00:32:34,360 --> 00:32:39,240
Speaker 2: I was selling House music and and Chicano rap and

593
00:32:39,320 --> 00:32:47,080
Speaker 2: so then uh see I dropped that single and then

594
00:32:47,120 --> 00:32:51,840
Speaker 2: we dropped another single, uh called Spanish Fly, and we

595
00:32:51,920 --> 00:32:56,280
Speaker 2: dropped tequila and so by then we were like getting

596
00:32:56,280 --> 00:32:57,600
Speaker 2: the nice buzz.

597
00:32:58,240 --> 00:32:59,160
Speaker 3: Yeah okay.

598
00:32:59,360 --> 00:33:06,640
Speaker 2: Then I, uh I met night Out. So so night

599
00:33:06,680 --> 00:33:09,400
Speaker 2: I was always coming to you're talking about night Out

600
00:33:09,400 --> 00:33:16,680
Speaker 2: from San Diego yea Resturan beach. So uh so, uh,

601
00:33:17,760 --> 00:33:20,560
Speaker 2: night I was just always coming to l A, you know,

602
00:33:20,640 --> 00:33:23,720
Speaker 2: looking for me. But you know he didn't know where

603
00:33:23,760 --> 00:33:26,240
Speaker 2: to find, but he was coming to l A. So

604
00:33:26,280 --> 00:33:29,880
Speaker 2: he met a guy who was the DJ that knew me,

605
00:33:30,800 --> 00:33:33,680
Speaker 2: and so, uh that guy said, yeah, this guy in

606
00:33:34,040 --> 00:33:37,000
Speaker 2: night Out, you know he's looking for you, you know,

607
00:33:37,280 --> 00:33:39,560
Speaker 2: so I said, so he gave me, he gave me

608
00:33:39,600 --> 00:33:43,920
Speaker 2: his info. So me and night Out met uh s

609
00:33:43,960 --> 00:33:50,080
Speaker 2: with with his uh his uncle and so we.

610
00:33:51,560 --> 00:33:52,160
Speaker 1: You know we met.

611
00:33:53,200 --> 00:33:55,640
Speaker 2: So he's like saying he wrapped and this and that.

612
00:33:55,880 --> 00:34:00,160
Speaker 2: So I said, you know, okay, yeah, So I took

613
00:34:00,200 --> 00:34:02,320
Speaker 2: him in the studio and.

614
00:34:02,600 --> 00:34:03,760
Speaker 1: Uh, so.

615
00:34:05,360 --> 00:34:10,319
Speaker 2: Me a producer named sam Man, so he brought him

616
00:34:10,360 --> 00:34:14,840
Speaker 2: with him and then uh we uh you know, produced

617
00:34:15,560 --> 00:34:16,080
Speaker 2: the first.

618
00:34:16,000 --> 00:34:20,040
Speaker 3: Night Out album. Really, the first night album was produced

619
00:34:20,080 --> 00:34:22,120
Speaker 3: by you guys, or we'll put out by you guys

620
00:34:22,320 --> 00:34:23,080
Speaker 3: know it. Uh.

621
00:34:23,719 --> 00:34:28,000
Speaker 2: Sand Man was official producer. But uh but I'd say we,

622
00:34:28,520 --> 00:34:31,960
Speaker 2: you know, did it together. Okay, but came I had you,

623
00:34:32,040 --> 00:34:34,440
Speaker 2: I had it already. I had a good even though

624
00:34:34,640 --> 00:34:36,680
Speaker 2: I had a good ear for chiconrap for some reason.

625
00:34:38,320 --> 00:34:40,920
Speaker 3: Sorry know that so crazy history, right though?

626
00:34:41,560 --> 00:34:45,080
Speaker 2: So you know we we uh you know we produced

627
00:34:45,080 --> 00:34:48,239
Speaker 2: the album. Yeah, Manny Manny is his uncle house Manny

628
00:34:48,320 --> 00:34:49,080
Speaker 2: Lopez hitment.

629
00:34:53,239 --> 00:34:53,400
Speaker 1: You know.

630
00:34:53,840 --> 00:34:56,200
Speaker 3: I want to share something still, and I do think

631
00:34:56,320 --> 00:34:59,320
Speaker 3: that maybe you could elaborate a little bit more because

632
00:34:59,320 --> 00:35:02,200
Speaker 3: I remember when Rasa first came out of nineteen ninety. Okay,

633
00:35:02,320 --> 00:35:05,719
Speaker 3: kid frost from a Rassa and it explodes on the streets. Okay,

634
00:35:07,800 --> 00:35:11,000
Speaker 3: this is if I can say it this way. This

635
00:35:11,360 --> 00:35:15,600
Speaker 3: was a negative thing of Chicao rap brought by the

636
00:35:15,760 --> 00:35:18,800
Speaker 3: people on the streets that played the whole politics. T

637
00:35:19,440 --> 00:35:20,759
Speaker 3: Let me give you an example of what I mean.

638
00:35:21,880 --> 00:35:23,440
Speaker 3: Me and my friends were drumming it to East La

639
00:35:23,560 --> 00:35:24,439
Speaker 3: La Rasa just dropped.

640
00:35:24,480 --> 00:35:25,359
Speaker 1: We're pumping it in the car.

641
00:35:27,360 --> 00:35:30,400
Speaker 3: The song ends, my boy turns it down and I

642
00:35:30,480 --> 00:35:31,799
Speaker 3: was like, there's a dope song. Honey goes.

643
00:35:31,880 --> 00:35:32,040
Speaker 1: Yeah.

644
00:35:32,440 --> 00:35:35,359
Speaker 3: The first question that they asked was where's that fu from?

645
00:35:36,920 --> 00:35:38,919
Speaker 3: It wasn't even like about that it was a dope

646
00:35:38,960 --> 00:35:41,239
Speaker 3: song to a lot of my homies. It was where

647
00:35:41,440 --> 00:35:44,520
Speaker 3: was he from? And I knew at that moment, I'm like, Okay,

648
00:35:45,320 --> 00:35:48,520
Speaker 3: we're opening the door for us here, but we're too

649
00:35:48,600 --> 00:35:51,719
Speaker 3: worried about not the door, but where's he from the

650
00:35:51,800 --> 00:35:55,279
Speaker 3: street thing? And I remember I interviewed Tony g Tony

651
00:35:55,320 --> 00:35:59,759
Speaker 3: Gouzalz whu produced Lassa and Mintirosa for Melomannase, and he

652
00:35:59,840 --> 00:36:03,759
Speaker 3: told me we needed a voice. We released that song

653
00:36:03,920 --> 00:36:06,399
Speaker 3: and it gave us a voice, you know, And I said,

654
00:36:06,640 --> 00:36:08,200
Speaker 3: you're right, you didn't give us a voice. It did

655
00:36:08,320 --> 00:36:11,279
Speaker 3: open up doors, same thing like Spanish Fly did, but

656
00:36:11,480 --> 00:36:14,320
Speaker 3: you also did have that bad element that was attached

657
00:36:14,360 --> 00:36:16,839
Speaker 3: to it, where people are those fools for real?

658
00:36:17,840 --> 00:36:18,000
Speaker 1: You know?

659
00:36:18,560 --> 00:36:21,719
Speaker 3: For an example, Quick drops his first album. We start

660
00:36:21,800 --> 00:36:25,600
Speaker 3: touring up norths had a lot of dudes approach me, Hey,

661
00:36:25,640 --> 00:36:29,719
Speaker 3: it's Quick a real blood like that just comes with

662
00:36:29,800 --> 00:36:32,120
Speaker 3: the territory. I guess, oh yeah, did any of your

663
00:36:32,280 --> 00:36:39,840
Speaker 3: artists ever get I guess asked harassed or I guess approached?

664
00:36:40,480 --> 00:36:41,200
Speaker 3: Where are you from?

665
00:36:41,680 --> 00:36:41,840
Speaker 1: You know?

666
00:36:41,920 --> 00:36:47,759
Speaker 3: Where's you know that you can recall? Okay, but is

667
00:36:47,840 --> 00:36:50,200
Speaker 3: going back to rich Rod? Okay?

668
00:36:50,239 --> 00:36:54,400
Speaker 2: He did eighteen believe he wasn't from eighteen Streets, you know, Okay,

669
00:36:54,640 --> 00:36:57,480
Speaker 2: I think it was more human being eighteen, right, but.

670
00:36:57,800 --> 00:37:01,200
Speaker 3: Also having the imagination. Okay, so I knew that that

671
00:37:01,440 --> 00:37:04,160
Speaker 3: was like the first like kind of gangster, you.

672
00:37:04,200 --> 00:37:06,719
Speaker 1: Know, like, okay, you know you're telling me some I

673
00:37:06,800 --> 00:37:10,319
Speaker 1: always thought that was some eighteenth Street stuff, and I'm

674
00:37:10,320 --> 00:37:11,279
Speaker 1: glad to clarify here.

675
00:37:12,840 --> 00:37:17,000
Speaker 3: Yeah. So so it wasn't eighteenth Street, no, okay, more

676
00:37:17,000 --> 00:37:19,520
Speaker 3: of him being eighteen you.

677
00:37:19,560 --> 00:37:22,640
Speaker 1: Know, that was actually pretty brilliant. Yeah, it's actually pretty brilliant.

678
00:37:22,640 --> 00:37:24,719
Speaker 1: He was really eighteen years old and talk about a

679
00:37:24,760 --> 00:37:26,279
Speaker 1: guy eighteen with a bullet. Yeah.

680
00:37:26,560 --> 00:37:31,480
Speaker 2: Yeah. And so I mean I would take the flag

681
00:37:31,560 --> 00:37:34,160
Speaker 2: in the sense because I was the one out there

682
00:37:34,360 --> 00:37:39,640
Speaker 2: from alling music. And I think that helped because just

683
00:37:39,760 --> 00:37:42,839
Speaker 2: like what you said, if you give the eighteenth if

684
00:37:42,960 --> 00:37:47,160
Speaker 2: they say, if it was kind of gave the eighteenth

685
00:37:47,200 --> 00:37:50,279
Speaker 2: Street guy the CD, or I gave it right enough

686
00:37:50,800 --> 00:37:54,040
Speaker 2: set to CD, then yeah he was he would get

687
00:37:54,120 --> 00:37:57,240
Speaker 2: hit up. Okay, right, Yeah, So I think what happened

688
00:37:57,239 --> 00:38:01,000
Speaker 2: I was neutral because for some reason, I mean I

689
00:38:01,040 --> 00:38:03,120
Speaker 2: don't know, I just kind of got a pass to

690
00:38:03,560 --> 00:38:05,319
Speaker 2: I would go That's how I moved it. I went

691
00:38:05,360 --> 00:38:10,360
Speaker 2: to you know, every neighborhood. Yeah so, but but you

692
00:38:10,440 --> 00:38:11,120
Speaker 2: know what Murray did.

693
00:38:11,200 --> 00:38:15,040
Speaker 3: That's the thing that rap brought because there were doves

694
00:38:15,080 --> 00:38:18,400
Speaker 3: out there that were looking for any reason to start something.

695
00:38:18,800 --> 00:38:23,840
Speaker 3: For an example, uh steal. Steve Piano sold a mixtape

696
00:38:24,200 --> 00:38:28,359
Speaker 3: and he called it FTP MMB and the tape where

697
00:38:28,400 --> 00:38:30,480
Speaker 3: he wrote that FTP just happened to be a piece

698
00:38:30,520 --> 00:38:33,920
Speaker 3: of red tape. Okay. Well, grips used to go and

699
00:38:34,040 --> 00:38:37,240
Speaker 3: buy that tape. I just want me tear it off, okay.

700
00:38:37,760 --> 00:38:41,480
Speaker 3: And what would happen was, uh Steve would ask him,

701
00:38:41,719 --> 00:38:43,080
Speaker 3: why do you tear it off? And he goes you

702
00:38:43,160 --> 00:38:46,560
Speaker 3: over here promoting food time piru and it was really

703
00:38:46,600 --> 00:38:47,880
Speaker 3: for the police.

704
00:38:48,719 --> 00:38:49,000
Speaker 1: Hm hm.

705
00:38:49,560 --> 00:38:53,160
Speaker 3: But again, I think that's the element that some rap

706
00:38:53,280 --> 00:38:56,279
Speaker 3: songs or some rap wos wrong, you know. But I

707
00:38:56,360 --> 00:38:59,840
Speaker 3: know you got even Chicao rappers today today when he

708
00:39:00,080 --> 00:39:02,600
Speaker 3: come out and they just wrapped, they still get hit up.

709
00:39:02,760 --> 00:39:06,040
Speaker 3: Where's he from? And I think that's attached to what

710
00:39:06,120 --> 00:39:08,520
Speaker 3: you gotta rap? And I think that's kind of not

711
00:39:08,640 --> 00:39:10,880
Speaker 3: the necessarily of the music, but the whole street politics

712
00:39:11,000 --> 00:39:12,879
Speaker 3: is kind of what gave it a black eye.

713
00:39:14,280 --> 00:39:17,480
Speaker 1: But you know what, I remember one thing specific, Man,

714
00:39:17,680 --> 00:39:23,840
Speaker 1: that really had a lot of people mad man and

715
00:39:23,920 --> 00:39:25,560
Speaker 1: I don't have both of these cats from the show.

716
00:39:25,560 --> 00:39:27,759
Speaker 1: I had Spanky Local on the show where I had

717
00:39:28,200 --> 00:39:31,080
Speaker 1: you know, not I was the homie. Yeah, now I

718
00:39:31,200 --> 00:39:33,239
Speaker 1: was my home boy. I told you the story of

719
00:39:33,280 --> 00:39:36,960
Speaker 1: Big Psych rest in peace, you know, from the Outlaws.

720
00:39:37,840 --> 00:39:41,440
Speaker 1: He introduced me to Night Out originally, and I remember

721
00:39:41,440 --> 00:39:43,759
Speaker 1: people telling, Man, you got to meet my Mexican homie. Man.

722
00:39:43,840 --> 00:39:47,160
Speaker 1: He hard man, you know, like psych was really in him,

723
00:39:47,360 --> 00:39:50,440
Speaker 1: like so much so that I remember him saying distinctly.

724
00:39:50,520 --> 00:39:52,800
Speaker 1: He was like, man, I was going to try to

725
00:39:52,840 --> 00:39:54,680
Speaker 1: introduce him and try to make him be one of

726
00:39:54,680 --> 00:39:57,080
Speaker 1: the Mexican momies be you know, for the Outlaws stuff.

727
00:39:57,080 --> 00:39:58,680
Speaker 1: But that never happened, you know, it never even got

728
00:39:58,719 --> 00:40:01,080
Speaker 1: that bit that was a conversation having with me right,

729
00:40:01,840 --> 00:40:03,919
Speaker 1: and he had a lot of love for him man,

730
00:40:04,239 --> 00:40:07,279
Speaker 1: and not that I was hard man. Yeah you can

731
00:40:07,320 --> 00:40:09,040
Speaker 1: wrap not I could wrap like a mother.

732
00:40:09,160 --> 00:40:09,680
Speaker 3: I didn't.

733
00:40:09,920 --> 00:40:10,120
Speaker 1: Yeah.

734
00:40:11,640 --> 00:40:13,759
Speaker 3: I met him in nineteen Natyoars. We were supposed to

735
00:40:13,800 --> 00:40:15,800
Speaker 3: work because of the distance was at Diego and me

736
00:40:15,880 --> 00:40:18,759
Speaker 3: living in Womington. It was really really tough. So we

737
00:40:19,000 --> 00:40:20,920
Speaker 3: more have of a phone relationship.

738
00:40:21,320 --> 00:40:23,360
Speaker 1: But he was a spinner.

739
00:40:23,680 --> 00:40:26,279
Speaker 3: I really really liked the way he spent There was

740
00:40:26,280 --> 00:40:28,160
Speaker 3: a lot of guys out there that you know, that

741
00:40:28,239 --> 00:40:31,440
Speaker 3: could really really wrap. But I will say this, and

742
00:40:31,520 --> 00:40:34,600
Speaker 3: I think somebody could take something positive away from what

743
00:40:34,640 --> 00:40:35,359
Speaker 3: I'm about to say.

744
00:40:35,920 --> 00:40:36,400
Speaker 1: A lot of the.

745
00:40:36,440 --> 00:40:39,640
Speaker 3: Guys, the reason why I didn't work with them being

746
00:40:39,760 --> 00:40:43,120
Speaker 3: Chicao rappers was because many of them were a liability.

747
00:40:43,440 --> 00:40:45,400
Speaker 3: I'll give you an example. They were active off there

748
00:40:45,440 --> 00:40:48,480
Speaker 3: in the streets. Still I would tell them, look, bro,

749
00:40:48,640 --> 00:40:51,720
Speaker 3: you want me to invest in you, and I want to, Okay,

750
00:40:52,239 --> 00:40:55,200
Speaker 3: I really really do, I said, but you tell me

751
00:40:55,280 --> 00:40:58,040
Speaker 3: you drive around l at night drunk as hell, high

752
00:40:58,080 --> 00:41:02,080
Speaker 3: as hell with a nine milimeter on your that how

753
00:41:02,160 --> 00:41:04,520
Speaker 3: am I going to invest money in my timing you,

754
00:41:04,640 --> 00:41:06,239
Speaker 3: my production in you. And when you can wind a

755
00:41:06,320 --> 00:41:08,920
Speaker 3: thing zail or dead that with jail were dead. So

756
00:41:09,080 --> 00:41:10,440
Speaker 3: a lot of times when a lot of people said, oh,

757
00:41:10,480 --> 00:41:13,000
Speaker 3: Tony didn't miss with Chicono rappers, well you know.

758
00:41:13,040 --> 00:41:14,600
Speaker 1: What, that was part of the reason.

759
00:41:15,520 --> 00:41:17,320
Speaker 3: That was part of the reason. I'll give you example

760
00:41:17,360 --> 00:41:19,879
Speaker 3: another example. I won't make sure the name, but I'll

761
00:41:19,920 --> 00:41:20,680
Speaker 3: mentioned Gritty Greg.

762
00:41:20,760 --> 00:41:22,880
Speaker 1: I know you know Griddy Greg. He had a group.

763
00:41:23,520 --> 00:41:25,080
Speaker 3: He told me, should I take a chance on him?

764
00:41:25,120 --> 00:41:29,400
Speaker 3: I said, dere dope as hell, he goes butter Spiel active, it's.

765
00:41:29,320 --> 00:41:29,640
Speaker 1: Up to you.

766
00:41:29,840 --> 00:41:31,680
Speaker 3: He took a chance on him, both of them, in

767
00:41:31,760 --> 00:41:33,200
Speaker 3: and out of jail, in and out of jail, in

768
00:41:33,239 --> 00:41:34,759
Speaker 3: and out of jail. He couldn't promote the record.

769
00:41:35,760 --> 00:41:40,600
Speaker 1: And that's what happened. Yeah, that's what happened. Man. You know, well,

770
00:41:42,000 --> 00:41:45,160
Speaker 1: I know we only got so much time, right, but

771
00:41:45,320 --> 00:41:47,640
Speaker 1: it's a lot of people because you put it wasn't

772
00:41:47,719 --> 00:41:51,640
Speaker 1: just Night Out missed the little one Rob La Rob,

773
00:41:51,719 --> 00:41:53,400
Speaker 1: who I would like to say is kind of like

774
00:41:53,520 --> 00:41:57,920
Speaker 1: the James Dean Or of Chicano rap. That motherfucker's big,

775
00:41:58,000 --> 00:42:00,600
Speaker 1: you know what I mean? Was the man?

776
00:42:00,920 --> 00:42:04,000
Speaker 2: Yeah, well, like going back to Night Out, you know,

777
00:42:04,120 --> 00:42:07,680
Speaker 2: we did, uh here comes the Night Off. Yes, and

778
00:42:08,080 --> 00:42:13,239
Speaker 2: so Mike was first single and I think, you know,

779
00:42:13,320 --> 00:42:16,080
Speaker 2: I think maybe we put the single out for the album,

780
00:42:17,400 --> 00:42:21,120
Speaker 2: but uh maybe not. But we put that out that

781
00:42:21,680 --> 00:42:25,440
Speaker 2: you know, it was blowing up good, and uh then

782
00:42:25,920 --> 00:42:29,000
Speaker 2: we kind of had to fall out a little, yeah,

783
00:42:30,440 --> 00:42:35,520
Speaker 2: right when after we recorded that, and then uh so

784
00:42:35,719 --> 00:42:38,800
Speaker 2: we was kind of like stand off, you know, and

785
00:42:39,040 --> 00:42:42,799
Speaker 2: so but I'll tell you I love the song Brown

786
00:42:42,880 --> 00:42:46,000
Speaker 2: to the Ball, you know, I just love that song.

787
00:42:46,080 --> 00:42:48,120
Speaker 1: What did y'all fall? Just to go back? Not to

788
00:42:48,239 --> 00:42:50,640
Speaker 1: really bring dale on that too much, because night all

789
00:42:50,760 --> 00:42:53,000
Speaker 1: is no longer here? What y'all get into it about?

790
00:42:55,040 --> 00:42:57,719
Speaker 1: Let's see, I don't know. I don't tell it was

791
00:42:57,719 --> 00:43:00,279
Speaker 1: about no paper because it couldn't have been no paper.

792
00:43:01,440 --> 00:43:04,840
Speaker 2: Nah, we was, I don't know.

793
00:43:05,040 --> 00:43:09,920
Speaker 3: We just we had like you know, it was like

794
00:43:10,080 --> 00:43:11,279
Speaker 3: kind of a kind of.

795
00:43:11,280 --> 00:43:16,320
Speaker 2: A big deal in the studio. So, uh I guess,

796
00:43:16,640 --> 00:43:20,840
Speaker 2: uh right, a king Gary, I guess brought San Diego

797
00:43:20,960 --> 00:43:27,520
Speaker 2: people and uh then you know I was there, you know, uh.

798
00:43:29,320 --> 00:43:33,319
Speaker 3: H, well my friends Rick. So it's just like more like.

799
00:43:34,960 --> 00:43:39,879
Speaker 2: You know, yeah, I guess it's just one of those

800
00:43:39,880 --> 00:43:42,719
Speaker 2: things la San Diego stuff. No, it wasn't that.

801
00:43:42,800 --> 00:43:43,279
Speaker 1: It was just.

802
00:43:45,280 --> 00:43:49,080
Speaker 2: Eagles wells I think at that time. And maybe there's

803
00:43:49,120 --> 00:43:52,960
Speaker 2: something you try to say, what was it? Concur It

804
00:43:53,120 --> 00:43:56,520
Speaker 2: was just rap business, you know, I don't I don't

805
00:43:56,560 --> 00:43:59,960
Speaker 2: think it was. Major labels had advantage where their deals

806
00:44:00,080 --> 00:44:03,480
Speaker 2: pretty much for a clean of course, but independent it's

807
00:44:03,960 --> 00:44:06,840
Speaker 2: you know, it's street right.

808
00:44:07,200 --> 00:44:08,879
Speaker 1: So you ain't have them on a paperwork or nothing.

809
00:44:08,880 --> 00:44:12,560
Speaker 1: Like that, oh yeah, everything so.

810
00:44:14,120 --> 00:44:16,200
Speaker 3: That he deserved more or he should be getting more,

811
00:44:16,320 --> 00:44:17,080
Speaker 3: or where's my money?

812
00:44:17,160 --> 00:44:17,680
Speaker 1: Top of deal.

813
00:44:19,080 --> 00:44:24,239
Speaker 2: No, it's just uh uh, it's just you know some

814
00:44:24,760 --> 00:44:26,680
Speaker 2: I actually don't really exactly, but it.

815
00:44:26,760 --> 00:44:28,960
Speaker 1: Was there was some sort so what so it was

816
00:44:28,960 --> 00:44:29,720
Speaker 1: about a famerli.

817
00:44:30,080 --> 00:44:32,160
Speaker 2: So we were kind of like separated for a minute,

818
00:44:32,880 --> 00:44:37,680
Speaker 2: you know, you know, I had the album, help get

819
00:44:37,920 --> 00:44:41,719
Speaker 2: the album, and then uh, I was like, man, I

820
00:44:41,840 --> 00:44:46,680
Speaker 2: really love Brown to the Boat, and so I was like,

821
00:44:46,840 --> 00:44:51,640
Speaker 2: you know, let's just let's just go forward. So so

822
00:44:51,960 --> 00:44:54,400
Speaker 2: you know, we did the album, came on. Then we

823
00:44:54,480 --> 00:45:00,719
Speaker 2: did another album, uh, Wicked West and a Shot Collar.

824
00:45:01,520 --> 00:45:03,759
Speaker 1: And let me ask you this, at what point did

825
00:45:03,840 --> 00:45:07,560
Speaker 1: you really start like did you start seeing the financial

826
00:45:07,640 --> 00:45:10,879
Speaker 1: and the financial results of doing these records at this point?

827
00:45:10,960 --> 00:45:12,239
Speaker 3: Now you good, good question.

828
00:45:14,200 --> 00:45:18,080
Speaker 2: My budgets were as big as the majors because I

829
00:45:18,239 --> 00:45:20,560
Speaker 2: was using the same studios.

830
00:45:21,440 --> 00:45:23,440
Speaker 1: Y'all, So they were usual. Y'all was recording, y'all was

831
00:45:23,480 --> 00:45:24,640
Speaker 1: doing it big. We were.

832
00:45:24,960 --> 00:45:28,600
Speaker 2: I recorded night Out, Night to Pyramount. We recorded that out.

833
00:45:29,760 --> 00:45:33,400
Speaker 2: So he spent a lot of money. Yeah, yeah, fifty.

834
00:45:33,880 --> 00:45:35,560
Speaker 1: You know, I got to ask this man, and I

835
00:45:35,640 --> 00:45:38,040
Speaker 1: got to ask this man, because you're a low key dude. Man,

836
00:45:38,120 --> 00:45:42,680
Speaker 1: you're real smooth for some shit, right, You was paying

837
00:45:42,719 --> 00:45:46,440
Speaker 1: for top flight studios back in the day, putting rappers out.

838
00:45:46,480 --> 00:45:47,920
Speaker 1: I know you have to be because if I know,

839
00:45:48,040 --> 00:45:51,720
Speaker 1: dealing with artists them from temperamental motherfuckers, are you probably

840
00:45:51,800 --> 00:45:54,000
Speaker 1: feeding them, giving them money and ship, you know, helping

841
00:45:54,000 --> 00:45:55,960
Speaker 1: them pay their bills and stuff. You know, as y'all

842
00:45:56,040 --> 00:45:58,759
Speaker 1: go on this grind, how was you doing all that

843
00:45:58,840 --> 00:46:00,480
Speaker 1: on the teacher salary? Was you all the ball and

844
00:46:00,600 --> 00:46:01,200
Speaker 1: back in the day.

845
00:46:02,480 --> 00:46:06,320
Speaker 2: Well, it came from Okay, when I was working Spanish

846
00:46:06,360 --> 00:46:10,600
Speaker 2: fly albums, I just took a chance. Okay, I was teaching, Yeah,

847
00:46:11,040 --> 00:46:16,600
Speaker 2: but I was putting money in tax shelterednody stuff like that.

848
00:46:17,120 --> 00:46:18,840
Speaker 1: Oh so you have some legal shit going on.

849
00:46:19,280 --> 00:46:23,120
Speaker 2: Yeah, so I was putting probably max in that. And

850
00:46:23,200 --> 00:46:26,560
Speaker 2: then I said, well, let me take a chance on this.

851
00:46:27,200 --> 00:46:32,800
Speaker 2: I think I was asking it. I was asking certain

852
00:46:32,840 --> 00:46:37,120
Speaker 2: people and stuff. You know, I guess for investment, they

853
00:46:37,200 --> 00:46:41,160
Speaker 2: get it best. But already knew you know, the wh.

854
00:46:42,920 --> 00:46:45,640
Speaker 1: Put nobody had it for insight.

855
00:46:46,400 --> 00:46:48,759
Speaker 2: Yeah, so I believed, you know, I believed in it,

856
00:46:48,920 --> 00:46:52,560
Speaker 2: you know. So so I had about I think about

857
00:46:52,640 --> 00:46:56,120
Speaker 2: seventy grand in that, and so I took that, did

858
00:46:56,200 --> 00:46:57,439
Speaker 2: the Spanish flyout.

859
00:46:58,320 --> 00:47:01,080
Speaker 1: And did you make your money back? Yeah?

860
00:47:01,120 --> 00:47:03,480
Speaker 2: I think yeah, you know you.

861
00:47:03,440 --> 00:47:05,600
Speaker 1: Said I did it. No, you said you said that

862
00:47:05,600 --> 00:47:07,239
Speaker 1: would that wouldn't have made no more records if I

863
00:47:07,280 --> 00:47:09,160
Speaker 1: didn't make my money back, you know what I mean.

864
00:47:09,280 --> 00:47:12,719
Speaker 2: But but but what it did because at first, just

865
00:47:12,840 --> 00:47:14,960
Speaker 2: like you guys said, I really wasn't. And I think

866
00:47:15,040 --> 00:47:18,800
Speaker 2: that's the beauty of the early Chicano rap. You know,

867
00:47:18,960 --> 00:47:22,320
Speaker 2: nobody was doing it for the money, because you know,

868
00:47:22,640 --> 00:47:25,200
Speaker 2: any money that came in was going back to the studio.

869
00:47:25,520 --> 00:47:28,520
Speaker 1: Yeah, you know, yeah, was like for the money back then.

870
00:47:28,560 --> 00:47:29,440
Speaker 1: But I'm pretty sure you.

871
00:47:29,480 --> 00:47:31,000
Speaker 2: Saw it for a while that she will lower to

872
00:47:31,080 --> 00:47:33,759
Speaker 2: this business in terms of I make some money and

873
00:47:33,880 --> 00:47:37,279
Speaker 2: I put it back, like with Spanish fly put it back,

874
00:47:38,400 --> 00:47:40,640
Speaker 2: you do night? Like I said, we did ten versions

875
00:47:40,640 --> 00:47:44,640
Speaker 2: of eighteen of the Bullets and then the album and

876
00:47:44,719 --> 00:47:48,040
Speaker 2: then you know, uh, that's that's the money out to

877
00:47:48,080 --> 00:47:51,600
Speaker 2: the end of the night out. Uh yeah, they I

878
00:47:51,680 --> 00:47:53,880
Speaker 2: put it in the brown fright. Oh, all these are

879
00:47:53,920 --> 00:47:55,040
Speaker 2: big studio albums.

880
00:47:55,320 --> 00:47:57,399
Speaker 1: Yeah, So let me ask you this. So after night

881
00:47:58,040 --> 00:48:00,600
Speaker 1: you had people beating down your doors, I remember back

882
00:48:00,600 --> 00:48:02,080
Speaker 1: in the day when we was kids, we would look

883
00:48:02,120 --> 00:48:04,000
Speaker 1: on the back of the tapes and shit to see

884
00:48:04,239 --> 00:48:06,319
Speaker 1: where the labels was at. You actually send your demo

885
00:48:06,400 --> 00:48:08,320
Speaker 1: out to the labels to call the number. Yes, you

886
00:48:08,400 --> 00:48:10,120
Speaker 1: know what I mean. And I'm pretty sure you had

887
00:48:10,120 --> 00:48:12,080
Speaker 1: a whole bunch of people blowing you up because you

888
00:48:12,200 --> 00:48:14,000
Speaker 1: had that one phone number on the back of your shit.

889
00:48:14,040 --> 00:48:15,520
Speaker 1: That's why I was trying to find you the order

890
00:48:15,600 --> 00:48:18,520
Speaker 1: to thing. This motherfucker had a and I ain't realize

891
00:48:18,560 --> 00:48:20,799
Speaker 1: that later on it was just a voice mail service whatever.

892
00:48:21,200 --> 00:48:23,880
Speaker 2: I was only thinking it's probably flat three phones.

893
00:48:24,040 --> 00:48:25,920
Speaker 1: Yeah, this dude, don't never answer this phone. Man. I

894
00:48:26,000 --> 00:48:27,640
Speaker 1: was leaving the met say, man, I'm trying to buy

895
00:48:27,719 --> 00:48:30,359
Speaker 1: some tapes, and he popped up at the store one bay.

896
00:48:30,760 --> 00:48:33,520
Speaker 2: Oh, okay, okay. I had had three cell phones at

897
00:48:33,560 --> 00:48:36,239
Speaker 2: the time. Man, you had cell phones back then, Yeah,

898
00:48:36,239 --> 00:48:38,400
Speaker 2: I had private I got the cell phone when they

899
00:48:38,480 --> 00:48:40,000
Speaker 2: first it was coming.

900
00:48:40,040 --> 00:48:42,520
Speaker 1: See, this motherfucker was low feetball and Marion volume because

901
00:48:42,520 --> 00:48:44,120
Speaker 1: he hasked some shit, he had the buds, he had

902
00:48:44,160 --> 00:48:46,200
Speaker 1: the cell phones. I don't even know what the fucking

903
00:48:46,280 --> 00:48:49,480
Speaker 1: cell phone was back right, you know, I wanted to

904
00:48:49,520 --> 00:48:52,000
Speaker 1: ask you something, okay, pretending to what you kind of rap?

905
00:48:52,320 --> 00:48:54,480
Speaker 1: And I think it's important because if you look at

906
00:48:54,520 --> 00:48:56,000
Speaker 1: a lot of people like to say, and I know

907
00:48:56,440 --> 00:48:59,400
Speaker 1: we had the discussion when we did the interview, like

908
00:48:59,520 --> 00:49:00,319
Speaker 1: to say that Kid.

909
00:49:00,280 --> 00:49:02,439
Speaker 3: Frost started Chicino rap. That's what they like to say. Okay,

910
00:49:03,200 --> 00:49:06,640
Speaker 3: and so let's just go with the popular opinion. Kid Frost,

911
00:49:07,400 --> 00:49:10,759
Speaker 3: you had a lighter shade of brown. And then even

912
00:49:10,800 --> 00:49:12,920
Speaker 3: though he's not Mexican, but it appealed to the Mexican

913
00:49:12,920 --> 00:49:15,919
Speaker 3: people with Mintirosa metal mayonnaise. Then you had a song

914
00:49:16,000 --> 00:49:18,839
Speaker 3: that was somewhat Chicano rap. Remember hell of A by

915
00:49:18,880 --> 00:49:20,440
Speaker 3: Brotherhood Creed Nick.

916
00:49:20,680 --> 00:49:22,880
Speaker 2: It's funny you have those songs by Brothers.

917
00:49:23,160 --> 00:49:26,759
Speaker 3: Yes, that's just that just you know, yeah, Camra rap.

918
00:49:27,239 --> 00:49:28,480
Speaker 1: Right, then you having.

919
00:49:28,320 --> 00:49:34,360
Speaker 3: Proper those Okay, Now I mentioned ground Side. Now I

920
00:49:34,480 --> 00:49:37,360
Speaker 3: mentioned a lot of those groups only because during that

921
00:49:37,520 --> 00:49:39,520
Speaker 3: time we had a radio play when he came to

922
00:49:39,640 --> 00:49:45,200
Speaker 3: Chicano's or Spanish rap like Mellows Ladder Shade with Sunday

923
00:49:46,040 --> 00:49:49,920
Speaker 3: in the Park. Yeah, we had videos that were being played.

924
00:49:50,360 --> 00:49:53,120
Speaker 3: We had record deals with its independent on Major's. Okay,

925
00:49:54,280 --> 00:49:57,560
Speaker 3: here comes the two thousands, Now I just mentioned the nineties,

926
00:49:57,880 --> 00:50:00,320
Speaker 3: here comes the two thousands. What I realized there was

927
00:50:00,400 --> 00:50:04,520
Speaker 3: no more major record deals. Videos weren't being played, and

928
00:50:04,640 --> 00:50:07,320
Speaker 3: there wasn't that much chickop being played on the radio.

929
00:50:08,200 --> 00:50:10,640
Speaker 3: I think it took a turn. I keep check on

930
00:50:10,719 --> 00:50:13,240
Speaker 3: a wrap. If anything was more popular in the nineties

931
00:50:13,320 --> 00:50:16,800
Speaker 3: than it wasn't the two thousands. Two thousands became more underground.

932
00:50:16,840 --> 00:50:19,560
Speaker 3: If you will give me your opinion on that, is

933
00:50:19,600 --> 00:50:23,040
Speaker 3: that true? Is that okay, it's absolutely true. But let

934
00:50:23,080 --> 00:50:26,000
Speaker 3: me say it's one point before, Yeah, you talked about

935
00:50:26,040 --> 00:50:29,960
Speaker 3: the business. I don't think I I mean I was

936
00:50:30,080 --> 00:50:33,160
Speaker 3: doing it and just you know, just making any work

937
00:50:33,640 --> 00:50:37,120
Speaker 3: ut you know, CDs and you know. But when I

938
00:50:37,920 --> 00:50:42,240
Speaker 3: signed Little One, that was when more of the business. Okay,

939
00:50:42,480 --> 00:50:48,480
Speaker 3: because because remember we were all on the underground scene

940
00:50:48,680 --> 00:50:53,040
Speaker 3: of course, so you know, nobody was it was major

941
00:50:53,120 --> 00:50:58,440
Speaker 3: label deal type of talk our structured right, So so

942
00:50:58,800 --> 00:51:02,920
Speaker 3: Little One came and it was like more like the

943
00:51:03,120 --> 00:51:07,719
Speaker 3: major label. He wanted that structure on his deal, more

944
00:51:08,120 --> 00:51:11,200
Speaker 3: all more of that type. So so he he made

945
00:51:11,239 --> 00:51:13,920
Speaker 3: me really think about business and how I can do

946
00:51:14,080 --> 00:51:14,960
Speaker 3: this deal a Little One.

947
00:51:16,440 --> 00:51:18,680
Speaker 2: So then I really kind of was forced to be

948
00:51:18,920 --> 00:51:24,120
Speaker 2: more you know, because everybody was happening and we were

949
00:51:24,160 --> 00:51:24,960
Speaker 2: making the impact.

950
00:51:25,960 --> 00:51:29,520
Speaker 1: You know, yeah, I'm feel sartadly the most they started

951
00:51:29,520 --> 00:51:31,959
Speaker 1: doing shows back then, they started like getting actually booked

952
00:51:31,960 --> 00:51:32,440
Speaker 1: for shows.

953
00:51:33,080 --> 00:51:36,399
Speaker 2: Okay, they would get shows here and there. We would

954
00:51:36,440 --> 00:51:40,680
Speaker 2: go out of town, but it was hard for us

955
00:51:40,760 --> 00:51:43,080
Speaker 2: to get We got a bad name in the sense

956
00:51:43,160 --> 00:51:46,520
Speaker 2: that it was people looked at it his gangsterls and

957
00:51:46,560 --> 00:51:47,280
Speaker 2: gangster ship.

958
00:51:47,120 --> 00:51:48,239
Speaker 3: Back what I'm saying it was.

959
00:51:48,640 --> 00:51:52,680
Speaker 2: But uh, you know, another point like the area codes.

960
00:51:52,920 --> 00:51:55,959
Speaker 2: But I started, I think that's trending that always stayed.

961
00:51:56,000 --> 00:51:59,960
Speaker 2: Which kind of wrap is I said? Okay, even South

962
00:52:00,040 --> 00:52:04,800
Speaker 2: Sun Riders compilation, all the addresses were area codes. So

963
00:52:06,120 --> 00:52:10,480
Speaker 2: you mentioned rappers being from the gang. I think Chicano

964
00:52:10,560 --> 00:52:15,640
Speaker 2: rappers divided into area codes. So you have your rappers

965
00:52:15,719 --> 00:52:18,680
Speaker 2: coming out of eight O five, you know, yeah, two

966
00:52:18,800 --> 00:52:20,560
Speaker 2: and three, nine O.

967
00:52:20,719 --> 00:52:22,120
Speaker 3: Nine, uh.

968
00:52:24,239 --> 00:52:26,960
Speaker 2: And the nine on nine and kind of you will

969
00:52:27,040 --> 00:52:29,920
Speaker 2: kind of break it down into bits and pizza. So

970
00:52:30,000 --> 00:52:33,000
Speaker 2: it wasn't just right Chicano rapp coming. It was more like, okay,

971
00:52:33,080 --> 00:52:36,399
Speaker 2: this area code, I can support my area code right right,

972
00:52:36,719 --> 00:52:41,360
Speaker 2: And so I went to different area codes and so

973
00:52:41,480 --> 00:52:45,080
Speaker 2: we're working eight O five toms so at least eight

974
00:52:45,080 --> 00:52:51,120
Speaker 2: o five records, and so, uh so I met Tomas

975
00:52:51,200 --> 00:52:53,480
Speaker 2: and there, you know, we start working together and we

976
00:52:53,600 --> 00:52:55,200
Speaker 2: put out The County Lifestyle.

977
00:52:55,719 --> 00:52:58,279
Speaker 3: So that was like eight o five. Katie got that going.

978
00:52:59,120 --> 00:53:02,759
Speaker 3: Uh nine put out a little Blackie Okay, so.

979
00:53:02,800 --> 00:53:05,400
Speaker 2: I got nine on nine pop, you know, and then

980
00:53:05,480 --> 00:53:08,920
Speaker 2: with Spanish Fly you know, and you know Brown Pride,

981
00:53:09,760 --> 00:53:12,279
Speaker 2: we had you know, more of the local l a

982
00:53:13,000 --> 00:53:15,120
Speaker 2: right back then it was two one three, then it's

983
00:53:15,120 --> 00:53:18,759
Speaker 2: two aly switched to three one oh yeah, five six two.

984
00:53:19,800 --> 00:53:21,839
Speaker 2: So that's why all my rap that I have coming

985
00:53:21,880 --> 00:53:27,840
Speaker 2: out with still familiar Forever, Midgie Local and uh C

986
00:53:28,040 --> 00:53:33,000
Speaker 2: PEPs and uh King Blue. We have a song so

987
00:53:33,200 --> 00:53:34,960
Speaker 2: I come here, you know, I'm friend the five six

988
00:53:35,080 --> 00:53:38,440
Speaker 2: two one three one O you know.

989
00:53:40,520 --> 00:53:40,680
Speaker 1: Like that?

990
00:53:41,000 --> 00:53:44,160
Speaker 2: Then uh So, like I say that kind of Little One.

991
00:53:44,800 --> 00:53:46,640
Speaker 2: Uh I got a Little One going. That kind of

992
00:53:46,840 --> 00:53:50,600
Speaker 2: changed the attitude, Okay, a little more business, I.

993
00:53:50,640 --> 00:53:53,960
Speaker 1: Know, because the production always was good, but it seemed

994
00:53:54,000 --> 00:53:56,440
Speaker 1: like on a Little One album the production went on

995
00:53:56,520 --> 00:53:57,359
Speaker 1: to another level.

996
00:53:57,840 --> 00:53:59,640
Speaker 2: Yeah, little I mean Little One. You know, it was

997
00:53:59,719 --> 00:54:02,600
Speaker 2: dope and he brought you know, but I noticed all

998
00:54:02,680 --> 00:54:06,239
Speaker 2: my rappers were bringing in styles. Okay, you have you know,

999
00:54:06,360 --> 00:54:10,960
Speaker 2: Spanish flyer style, brown private spy, little blackie with a style. Uh,

1000
00:54:11,400 --> 00:54:14,759
Speaker 2: little robber with a style, mister Shadow with a style.

1001
00:54:15,280 --> 00:54:17,480
Speaker 1: Me and man, he did that, and you have sentgendary

1002
00:54:17,840 --> 00:54:20,840
Speaker 1: mister Shadow what's his name? You know, one thing I

1003
00:54:20,920 --> 00:54:22,360
Speaker 1: want to get into when I got to get on

1004
00:54:22,640 --> 00:54:25,719
Speaker 1: this man, you got pretty dumb, pretty bad with the

1005
00:54:25,760 --> 00:54:27,040
Speaker 1: pocals pit of local stave.

1006
00:54:27,719 --> 00:54:28,960
Speaker 3: Mm hmm, well.

1007
00:54:30,480 --> 00:54:33,200
Speaker 2: Yeah, I guess depend on what your perspective and it

1008
00:54:33,239 --> 00:54:36,360
Speaker 2: could have been better, you know, but were you at you?

1009
00:54:36,960 --> 00:54:37,160
Speaker 3: Yeah?

1010
00:54:37,239 --> 00:54:38,160
Speaker 1: Yeah, that was his ship.

1011
00:54:38,719 --> 00:54:42,200
Speaker 2: Okay, all right, elaborate place, okay.

1012
00:54:43,000 --> 00:54:44,239
Speaker 1: Kool Aid was Jerry Hiller's me.

1013
00:54:44,320 --> 00:54:46,239
Speaker 2: So I think, well the way I didn't know that

1014
00:54:46,640 --> 00:54:50,160
Speaker 2: wave all men down, okay, kool Aid?

1015
00:54:50,719 --> 00:54:53,320
Speaker 3: Okay, well just seven go back for Okay.

1016
00:54:54,000 --> 00:54:56,680
Speaker 2: Like I said, we broke everything down into sections eight

1017
00:54:56,760 --> 00:55:03,520
Speaker 2: o five, so uh another eight or five projects was

1018
00:55:04,160 --> 00:55:05,360
Speaker 2: I don't know, if you know, down.

1019
00:55:05,640 --> 00:55:12,680
Speaker 1: Get down? Yeah, down, Yeah, it was his name down.

1020
00:55:13,360 --> 00:55:19,040
Speaker 2: So so me and him were working together and uh

1021
00:55:19,440 --> 00:55:22,799
Speaker 2: so you know, somehow I think I got a letter

1022
00:55:22,840 --> 00:55:25,160
Speaker 2: from them, and then we're you know, working together. We

1023
00:55:25,200 --> 00:55:28,600
Speaker 2: would meet you know, by Pyramid Studios, you know, on

1024
00:55:28,680 --> 00:55:32,239
Speaker 2: the weekend and they be working on stuff and uh

1025
00:55:33,160 --> 00:55:35,719
Speaker 2: and then they you know, I said, yeah, it's something

1026
00:55:35,760 --> 00:55:39,480
Speaker 2: will sit and then they brought back, uh got the

1027
00:55:39,560 --> 00:55:41,480
Speaker 2: name of the song, but I was like, okay, this

1028
00:55:41,680 --> 00:55:46,000
Speaker 2: is it. And then we just ah, you know, shooes.

1029
00:55:46,640 --> 00:55:49,160
Speaker 2: We did that with Brown and Tentions. We probably did

1030
00:55:49,200 --> 00:55:52,400
Speaker 2: three or four albums and then like Sponto and just

1031
00:55:53,400 --> 00:55:55,080
Speaker 2: rest of the crew. So we did a lot of

1032
00:55:56,000 --> 00:55:57,280
Speaker 2: you know, probably ten albums.

1033
00:55:58,680 --> 00:55:59,239
Speaker 1: And uh.

1034
00:56:00,360 --> 00:56:05,240
Speaker 2: So he was from Oxnart and so kool Aid previously

1035
00:56:05,560 --> 00:56:08,640
Speaker 2: worked at a radio station at Oxnard, so they knew

1036
00:56:08,680 --> 00:56:12,160
Speaker 2: each other, you know, from that. I imagine you know,

1037
00:56:12,200 --> 00:56:15,480
Speaker 2: they weren't getting on it on the radio, but I imagine,

1038
00:56:15,960 --> 00:56:18,480
Speaker 2: you know, Dallas a hustler, so I imagine he was

1039
00:56:18,520 --> 00:56:21,520
Speaker 2: going up to the station and you know, trying to

1040
00:56:21,560 --> 00:56:29,480
Speaker 2: get something going. And so so anyway, uh, kool Aid's

1041
00:56:29,760 --> 00:56:33,480
Speaker 2: boyfriend at the time was Eat Up and so.

1042
00:56:35,000 --> 00:56:39,360
Speaker 3: Ah, so I think my first.

1043
00:56:41,000 --> 00:56:44,839
Speaker 2: I guess interaction with kool Aid, we did n PR.

1044
00:56:44,960 --> 00:56:49,880
Speaker 2: Kool Aid set up with n PR, huh, National Public

1045
00:56:50,000 --> 00:56:55,040
Speaker 2: Radio for a spotlight you know for Chicago rapp m okay,

1046
00:56:56,000 --> 00:56:58,920
Speaker 2: and so you know we did that. You know, they

1047
00:56:59,080 --> 00:57:03,920
Speaker 2: interviewed and that everything, and so, uh, I don't know

1048
00:57:03,960 --> 00:57:07,319
Speaker 2: if she was before after with kool Aids. She went,

1049
00:57:07,600 --> 00:57:13,360
Speaker 2: she asked, did you know her boyfriend, you know, do

1050
00:57:13,480 --> 00:57:16,080
Speaker 2: some production stuff? So I was like, yeah, you know,

1051
00:57:16,520 --> 00:57:21,840
Speaker 2: and so so they're asking you this, Yeah, was producing?

1052
00:57:21,880 --> 00:57:26,400
Speaker 2: Either did production okay? And uh so she was telling me, yeah,

1053
00:57:26,400 --> 00:57:30,040
Speaker 2: her boyfriend does production okay, which is see. But I

1054
00:57:30,120 --> 00:57:32,120
Speaker 2: know she was asking you can he do some production,

1055
00:57:32,200 --> 00:57:34,520
Speaker 2: I guess, and you were saying yes, oh yeah, hey

1056
00:57:36,080 --> 00:57:39,160
Speaker 2: yeah getting some work because I mean technically I was

1057
00:57:39,320 --> 00:57:42,120
Speaker 2: putting everything okay.

1058
00:57:42,200 --> 00:57:44,560
Speaker 1: So yeah, So how much was you giving the beat

1059
00:57:44,600 --> 00:57:46,400
Speaker 1: the producers a beat back? Then? Was you paying it

1060
00:57:46,480 --> 00:57:46,880
Speaker 1: for production?

1061
00:57:47,000 --> 00:57:47,160
Speaker 3: Back?

1062
00:57:47,200 --> 00:57:47,360
Speaker 1: Then?

1063
00:57:49,400 --> 00:57:49,640
Speaker 2: I was?

1064
00:57:49,920 --> 00:57:50,480
Speaker 3: I produced?

1065
00:57:50,560 --> 00:57:53,440
Speaker 1: Most like so if a dude like let's say, if

1066
00:57:53,480 --> 00:57:55,840
Speaker 1: a dude like Tony came in with a beat, let's

1067
00:57:55,840 --> 00:57:58,520
Speaker 1: say a little won't want to wrap on some tonya ship,

1068
00:57:59,120 --> 00:58:01,280
Speaker 1: was you paid Tony for his music or was it

1069
00:58:01,440 --> 00:58:02,680
Speaker 1: like a licensing type of thera?

1070
00:58:05,320 --> 00:58:08,720
Speaker 2: Well, all the production, like I said that we did

1071
00:58:09,640 --> 00:58:14,040
Speaker 2: it either was me producing, which you know that was

1072
00:58:14,200 --> 00:58:15,680
Speaker 2: just I was just doing it because it was I

1073
00:58:15,800 --> 00:58:22,120
Speaker 2: was putting it out, the group producing, you know, same thing.

1074
00:58:23,160 --> 00:58:27,880
Speaker 2: Uh we weren't like saying okay, uh, I'm sure I did,

1075
00:58:28,120 --> 00:58:30,600
Speaker 2: you know, give you know, I would give the producers

1076
00:58:31,920 --> 00:58:34,880
Speaker 2: you know. Yeah, I'm just trying because I know what

1077
00:58:35,000 --> 00:58:37,919
Speaker 2: was that saying to to that extent, I wasn't doing

1078
00:58:38,000 --> 00:58:42,240
Speaker 2: it like because we were more in house, okay, you know,

1079
00:58:43,040 --> 00:58:49,960
Speaker 2: you know, so it's more in our stuff. So back

1080
00:58:50,000 --> 00:58:52,760
Speaker 2: to the vocals locals thing, how did that come about?

1081
00:58:52,760 --> 00:58:54,280
Speaker 2: Did you go to the station and say this is

1082
00:58:54,320 --> 00:58:54,800
Speaker 2: my idea.

1083
00:58:55,320 --> 00:58:56,080
Speaker 3: I want her on it?

1084
00:58:56,320 --> 00:58:57,320
Speaker 2: Like like, how did that happen?

1085
00:58:57,600 --> 00:58:57,640
Speaker 1: No?

1086
00:58:57,840 --> 00:59:01,400
Speaker 2: Okay, So, like I said, me and the double working together,

1087
00:59:02,800 --> 00:59:06,560
Speaker 2: I think of first project. I said, you know, I

1088
00:59:06,640 --> 00:59:13,360
Speaker 2: got an idea I want I want to create a rapper,

1089
00:59:14,440 --> 00:59:15,600
Speaker 2: you know, just from scratch.

1090
00:59:16,240 --> 00:59:16,439
Speaker 3: Yeah.

1091
00:59:17,480 --> 00:59:18,600
Speaker 1: So uh.

1092
00:59:20,040 --> 00:59:21,440
Speaker 3: So I said, I want him to be like this.

1093
00:59:21,600 --> 00:59:23,520
Speaker 3: I want him to rap like this, you know, I

1094
00:59:23,600 --> 00:59:25,240
Speaker 3: want to nasal wraps.

1095
00:59:26,640 --> 00:59:27,000
Speaker 1: And so.

1096
00:59:29,160 --> 00:59:31,280
Speaker 2: So so, and I said, I want his name to

1097
00:59:31,360 --> 00:59:35,680
Speaker 2: be a little Joker. And so we did, uh that

1098
00:59:35,760 --> 00:59:38,520
Speaker 2: say a little joker okay, And that's a little joker

1099
00:59:38,760 --> 00:59:43,120
Speaker 2: was mad dog disguise, that's this rapper. So that I

1100
00:59:43,200 --> 00:59:46,200
Speaker 2: wore a bandana and then I did the same thing

1101
00:59:47,480 --> 00:59:54,080
Speaker 2: little puppet from uh eight one eight okay, and so

1102
00:59:54,600 --> 00:59:57,440
Speaker 2: you know, so we did that, and you know, I

1103
00:59:57,480 --> 01:00:00,200
Speaker 2: see little Joker had his own style and it it

1104
01:00:00,360 --> 01:00:03,800
Speaker 2: was you know, it was really you know, it was

1105
01:00:03,880 --> 01:00:07,480
Speaker 2: really a stereotypical restaurant style, but it was you know,

1106
01:00:07,800 --> 01:00:11,560
Speaker 2: it was yeah, guards they really enjoyed.

1107
01:00:11,640 --> 01:00:14,080
Speaker 3: But how did the whole better local start? That's the

1108
01:00:14,160 --> 01:00:14,920
Speaker 3: ouation that I ask.

1109
01:00:15,160 --> 01:00:19,160
Speaker 2: Okay, so, uh so I said before I was working

1110
01:00:19,240 --> 01:00:24,600
Speaker 2: with Eat Up and uh and then kool Aid said, uh,

1111
01:00:25,880 --> 01:00:29,040
Speaker 2: you know she she you know, she was on the air.

1112
01:00:29,160 --> 01:00:33,400
Speaker 2: So she said, hey, you know I'm radio trying to

1113
01:00:33,440 --> 01:00:36,920
Speaker 2: get the Chino Wrap on the radio. So yeah, it

1114
01:00:37,040 --> 01:00:42,360
Speaker 2: sounds cool. Now I thought about it, Okay, Okay, I

1115
01:00:42,480 --> 01:00:44,760
Speaker 2: wasn't one hundred percent like wow about being on the

1116
01:00:44,880 --> 01:00:50,440
Speaker 2: radio because I was you know, I was selling anyway,

1117
01:00:50,640 --> 01:00:52,600
Speaker 2: you know, right, so it.

1118
01:00:52,600 --> 01:00:53,360
Speaker 1: Didn't really matter.

1119
01:00:53,920 --> 01:00:56,720
Speaker 2: So I mean, yeah, a lot of people say yeah, radio,

1120
01:00:56,880 --> 01:00:59,840
Speaker 2: but in our case, I don't think it was good

1121
01:00:59,880 --> 01:01:03,160
Speaker 2: for which you kind of rapp okay, And so you

1122
01:01:03,200 --> 01:01:05,560
Speaker 2: know when she talked, I really had you know, I

1123
01:01:05,720 --> 01:01:08,840
Speaker 2: was like, yeah, I don't know if it's good because

1124
01:01:09,440 --> 01:01:15,000
Speaker 2: right now, the way we sell records, kids going to

1125
01:01:15,080 --> 01:01:19,400
Speaker 2: the swam meat, they'll look at the record and we

1126
01:01:19,640 --> 01:01:23,480
Speaker 2: we make sales just on the person being chic on

1127
01:01:23,640 --> 01:01:24,120
Speaker 2: the cover.

1128
01:01:25,000 --> 01:01:28,560
Speaker 3: Right, And and then you know, they tried out.

1129
01:01:28,480 --> 01:01:30,200
Speaker 2: Hey, this is dope. You know. We tried to put

1130
01:01:30,240 --> 01:01:32,840
Speaker 2: the best music, you know. So yeah, we figured all

1131
01:01:32,880 --> 01:01:35,840
Speaker 2: they gotta do is listen to it, right and so

1132
01:01:37,520 --> 01:01:40,200
Speaker 2: but that was that was our model, your kids and go.

1133
01:01:40,480 --> 01:01:46,880
Speaker 2: They and I liked it because back then people discovered music. Okay, okay,

1134
01:01:47,280 --> 01:01:49,840
Speaker 2: they discovered you know, a little rob, they discovered the

1135
01:01:49,880 --> 01:01:54,480
Speaker 2: Spanish little Blackie. Uh shout right, So who get old

1136
01:01:54,480 --> 01:01:57,080
Speaker 2: with the name for the show? Like, okay, the name

1137
01:01:57,160 --> 01:02:00,720
Speaker 2: for the show was from an album that I was

1138
01:02:00,800 --> 01:02:04,760
Speaker 2: putting out, okay, pocals per I was putting that out

1139
01:02:04,840 --> 01:02:10,000
Speaker 2: before the show was even you know, show Okay, okay,

1140
01:02:10,120 --> 01:02:15,640
Speaker 2: so I had eight o five rappers on the compilation,

1141
01:02:17,320 --> 01:02:21,160
Speaker 2: and uh so I had eight o five rappers. So

1142
01:02:23,200 --> 01:02:25,320
Speaker 2: so we're going with show everything about what's what's a

1143
01:02:25,400 --> 01:02:27,960
Speaker 2: good name for the show, right, And then they was like,

1144
01:02:28,160 --> 01:02:32,840
Speaker 2: you know, vocals, vocals because it's you. I had the

1145
01:02:32,880 --> 01:02:37,080
Speaker 2: album focused for her locals right coming out. So I said, okay, yeah,

1146
01:02:37,400 --> 01:02:40,280
Speaker 2: use that name, and I renamed that album eight o

1147
01:02:40,400 --> 01:02:44,080
Speaker 2: five Locals. Soon so he ever, you know, bought the

1148
01:02:44,160 --> 01:02:47,520
Speaker 2: eight o five Locals that was the original name for

1149
01:02:47,600 --> 01:02:54,520
Speaker 2: it was Vocals Prales, okay, and so and so she said,

1150
01:02:55,360 --> 01:02:57,880
Speaker 2: you know, give her CDs and stuff, and she was,

1151
01:02:58,040 --> 01:03:00,680
Speaker 2: you know, talk to people at the station, right, So

1152
01:03:00,800 --> 01:03:03,560
Speaker 2: I did that and then she said, well, you know,

1153
01:03:03,600 --> 01:03:05,240
Speaker 2: the people at the station wanted to talk to you.

1154
01:03:05,720 --> 01:03:08,920
Speaker 2: So I've had I had, you know, several means with

1155
01:03:09,080 --> 01:03:11,760
Speaker 2: the people, had to show them there. Hey, I just

1156
01:03:11,840 --> 01:03:14,480
Speaker 2: basically told you guys, said, I mean, you guys are

1157
01:03:14,520 --> 01:03:20,640
Speaker 2: Power sixth I respected and everything, but the Latin listeners

1158
01:03:20,720 --> 01:03:24,440
Speaker 2: that you kind of hang your hat on are listening

1159
01:03:24,520 --> 01:03:28,200
Speaker 2: to me. I mean there's no way they weren't. Yeah,

1160
01:03:29,040 --> 01:03:32,560
Speaker 2: but because number one, you know, I had to swam

1161
01:03:32,640 --> 01:03:39,280
Speaker 2: met sold up. So pretty much with the Santa Fe Springs,

1162
01:03:39,800 --> 01:03:40,760
Speaker 2: that's all you could.

1163
01:03:40,560 --> 01:03:41,400
Speaker 3: Buy is ch kind of rap.

1164
01:03:41,960 --> 01:03:42,280
Speaker 1: Okay.

1165
01:03:42,400 --> 01:03:45,600
Speaker 2: I mean you may have you a few other CDs there,

1166
01:03:45,800 --> 01:03:50,320
Speaker 2: but you know you basically you had some people sat

1167
01:03:50,400 --> 01:03:54,120
Speaker 2: on some ODI's okay, so in house music, but we

1168
01:03:54,280 --> 01:03:56,720
Speaker 2: pretty much made it so it was just all ODI's

1169
01:03:56,800 --> 01:03:57,320
Speaker 2: and Troy.

1170
01:03:57,800 --> 01:04:00,240
Speaker 3: So power stractors I did to go forward with did

1171
01:04:00,680 --> 01:04:03,240
Speaker 3: they automatically make her the holes were you're supposed to

1172
01:04:03,240 --> 01:04:04,040
Speaker 3: be the host.

1173
01:04:03,760 --> 01:04:07,320
Speaker 2: That okay, Like I said, took some meetings.

1174
01:04:07,320 --> 01:04:08,840
Speaker 3: I had to show them that, hey, you know, this

1175
01:04:09,040 --> 01:04:10,520
Speaker 3: is a viable product.

1176
01:04:10,600 --> 01:04:13,200
Speaker 2: No, I got into the warehouses already. You know, it's

1177
01:04:14,440 --> 01:04:17,880
Speaker 2: it's happened, whether you guys you know, on board or not. Yeah,

1178
01:04:18,480 --> 01:04:21,560
Speaker 2: and so, uh so, like I said, a few meetings

1179
01:04:21,640 --> 01:04:23,800
Speaker 2: and then uh you know, it's cool, they said, well,

1180
01:04:23,840 --> 01:04:27,880
Speaker 2: you know, they accepted the show and then we named

1181
01:04:27,880 --> 01:04:32,200
Speaker 2: it Pocals for Locals basically from that album, right, and

1182
01:04:32,560 --> 01:04:37,960
Speaker 2: uh so that was that was fun and uh so

1183
01:04:38,120 --> 01:04:41,400
Speaker 2: we were all me Her and Ida just you know,

1184
01:04:41,480 --> 01:04:45,520
Speaker 2: all work. Then they, uh I forgot his name. There's

1185
01:04:45,560 --> 01:04:51,800
Speaker 2: another host. They are ah pulled in Okay, okay, but

1186
01:04:51,960 --> 01:04:57,080
Speaker 2: that's your question. I was thinking, yeah, I should have

1187
01:04:57,080 --> 01:05:00,160
Speaker 2: been the host, okay, because I'm I'm one that do

1188
01:05:00,240 --> 01:05:03,360
Speaker 2: about it, Okay, Okay. So I knew all the all

1189
01:05:03,400 --> 01:05:06,760
Speaker 2: the hits because you know, I was touching the hits,

1190
01:05:06,800 --> 01:05:09,280
Speaker 2: you know, right, whenever it was hot, had it come,

1191
01:05:09,320 --> 01:05:12,360
Speaker 2: It's coming from me, right, so I can tell you

1192
01:05:12,440 --> 01:05:16,880
Speaker 2: know who's hot, who's number two's and exactly who's right?

1193
01:05:17,080 --> 01:05:17,760
Speaker 3: What was going on?

1194
01:05:18,040 --> 01:05:18,200
Speaker 1: You know?

1195
01:05:18,440 --> 01:05:20,960
Speaker 3: If I'm an interjected let me say something still. I

1196
01:05:21,160 --> 01:05:28,080
Speaker 3: interviewed pretty much predominantly all the popular Chicano rappers out there, Okay,

1197
01:05:28,720 --> 01:05:30,840
Speaker 3: a lot of them. I gave them the very first

1198
01:05:30,960 --> 01:05:35,400
Speaker 3: live podcast interview. Okay. I've always asked them the vocals

1199
01:05:35,440 --> 01:05:37,400
Speaker 3: better locals thing, the question, and I'll give it to

1200
01:05:37,400 --> 01:05:40,400
Speaker 3: you right now. The reason why I asked them because

1201
01:05:40,880 --> 01:05:43,920
Speaker 3: if I be the view three hundred Chicano rappers, it

1202
01:05:44,080 --> 01:05:45,880
Speaker 3: was divided down the middle one hundred and fifty one

1203
01:05:45,920 --> 01:05:49,720
Speaker 3: hundred and fifty. Some would say Acalstta locals helped the

1204
01:05:49,840 --> 01:05:54,040
Speaker 3: other half would say it hurt Chicago rapper. I never

1205
01:05:54,240 --> 01:05:58,320
Speaker 3: listened to act peder locals, Okay, So I would always ask,

1206
01:05:58,320 --> 01:06:00,160
Speaker 3: how did they help? Well, we finally got our us

1207
01:06:00,200 --> 01:06:04,280
Speaker 3: out there, and uh we finally, Uh people are kind

1208
01:06:04,280 --> 01:06:09,640
Speaker 3: of promoting us. People are how would you say, uh,

1209
01:06:09,720 --> 01:06:12,280
Speaker 3: finally listening to us. People know where to get our stuff,

1210
01:06:12,400 --> 01:06:14,880
Speaker 3: et cetera. And then the people will say, no, they're

1211
01:06:14,960 --> 01:06:18,280
Speaker 3: exploring our people. How come they don't put us on

1212
01:06:18,360 --> 01:06:19,360
Speaker 3: the regular radio station.

1213
01:06:19,520 --> 01:06:20,120
Speaker 1: Why did did they?

1214
01:06:20,440 --> 01:06:22,960
Speaker 3: Did they got to put us on this you know,

1215
01:06:23,160 --> 01:06:27,200
Speaker 3: this time slotch So that was happened to half my

1216
01:06:27,360 --> 01:06:29,880
Speaker 3: question that you was give you the argument for it,

1217
01:06:30,160 --> 01:06:32,440
Speaker 3: do you have okay, do you believe that it helped?

1218
01:06:33,320 --> 01:06:39,360
Speaker 2: No? Okay, okay, Before pogos for locals, man, we were breaking.

1219
01:06:39,560 --> 01:06:43,360
Speaker 2: Artists left me right, artists were selling oh okay, And

1220
01:06:43,440 --> 01:06:45,240
Speaker 2: this is why I really didn't want to do it

1221
01:06:45,280 --> 01:06:47,080
Speaker 2: in the first place. But you gotta think I got

1222
01:06:47,160 --> 01:06:50,120
Speaker 2: to think back right that time. Okay, I had artists

1223
01:06:50,280 --> 01:06:53,400
Speaker 2: that were dependent on me to keep their music. I

1224
01:06:53,480 --> 01:06:57,080
Speaker 2: had Little one night out and them. I know that

1225
01:06:57,200 --> 01:07:00,520
Speaker 2: they wanted to be on the radio, whether helped or not, right,

1226
01:07:00,640 --> 01:07:02,520
Speaker 2: they just wanted to be on the radio, which is fine,

1227
01:07:02,560 --> 01:07:02,920
Speaker 2: it's good.

1228
01:07:04,000 --> 01:07:08,800
Speaker 3: So my dilemma was, okay, you.

1229
01:07:08,840 --> 01:07:11,960
Speaker 2: Know, should we do it, which I think is it

1230
01:07:12,080 --> 01:07:15,640
Speaker 2: may not be good, but I know that they'll be

1231
01:07:15,720 --> 01:07:18,840
Speaker 2: happy with it, and I didn't. You know, the reason

1232
01:07:18,840 --> 01:07:20,760
Speaker 2: why I thought it wouldn't be good is, as I said,

1233
01:07:20,800 --> 01:07:22,600
Speaker 2: before people went and.

1234
01:07:24,360 --> 01:07:26,920
Speaker 3: Uh, they discovered their artists.

1235
01:07:27,240 --> 01:07:30,640
Speaker 2: You know, they went to the Swami and they discovered

1236
01:07:30,840 --> 01:07:35,840
Speaker 2: like I said, little okay, guys, But what vocals vocals

1237
01:07:35,920 --> 01:07:39,040
Speaker 2: did is not even I'm not blaming them, but I'm

1238
01:07:39,080 --> 01:07:42,880
Speaker 2: just saying it's what But I saw what radio deal

1239
01:07:42,960 --> 01:07:46,080
Speaker 2: with black music, okay, and I didn't want that to

1240
01:07:46,160 --> 01:07:50,800
Speaker 2: really to mess up the counter rap to you, which

1241
01:07:50,880 --> 01:07:57,000
Speaker 2: is I think what radio deal with black artists was. Okay,

1242
01:07:57,080 --> 01:08:00,160
Speaker 2: we had a lot of dope, underground black artist that

1243
01:08:00,400 --> 01:08:02,400
Speaker 2: you know that never made it to the radio.

1244
01:08:02,600 --> 01:08:04,720
Speaker 3: You talk about Chicono, I've never getting on the radio.

1245
01:08:05,600 --> 01:08:08,360
Speaker 2: There's a whole lot of artists, I feel what you

1246
01:08:08,480 --> 01:08:11,280
Speaker 2: said on the day from l A that was underground,

1247
01:08:11,960 --> 01:08:15,040
Speaker 2: that was bad, but they never could get on the radio,

1248
01:08:15,160 --> 01:08:17,800
Speaker 2: so kind of rapping. Those artists were kind of in

1249
01:08:17,880 --> 01:08:19,280
Speaker 2: the same boat, okay.

1250
01:08:19,560 --> 01:08:21,360
Speaker 1: And I think that was the start of the old

1251
01:08:21,439 --> 01:08:22,200
Speaker 1: gate keeping ship.

1252
01:08:22,439 --> 01:08:23,920
Speaker 3: Yeah, okay, that's what I was getting.

1253
01:08:23,960 --> 01:08:25,960
Speaker 1: That was the I started gate keeping with the radio

1254
01:08:25,960 --> 01:08:28,200
Speaker 1: and stuff, you know, And that's termin who I was thinking,

1255
01:08:28,240 --> 01:08:29,920
Speaker 1: determine who was go pop and who wouldn't go.

1256
01:08:30,400 --> 01:08:32,479
Speaker 2: I know if I was thinking as soon as poke

1257
01:08:32,600 --> 01:08:38,519
Speaker 2: the locals started, now we can't break them on the street.

1258
01:08:38,920 --> 01:08:41,000
Speaker 2: Now you get to work, because I would say I

1259
01:08:41,439 --> 01:08:44,679
Speaker 2: was in the record shops and I was listening to people.

1260
01:08:45,439 --> 01:08:48,120
Speaker 2: I mean that's where I spent you know, I spent

1261
01:08:48,200 --> 01:08:50,360
Speaker 2: my time. I was either one record shop or the other,

1262
01:08:51,080 --> 01:08:53,599
Speaker 2: and I knew what each one wanted, and I knew

1263
01:08:53,600 --> 01:09:00,240
Speaker 2: which people coming in, what they come in? I heard

1264
01:09:00,280 --> 01:09:01,479
Speaker 2: the song on the radio, you have that?

1265
01:09:02,080 --> 01:09:05,200
Speaker 3: Okay, oh you got the song or her new radio

1266
01:09:06,240 --> 01:09:12,439
Speaker 3: and and and so with with black artists, you know.

1267
01:09:12,439 --> 01:09:14,960
Speaker 2: If they didn't have the budget for the videos and

1268
01:09:15,640 --> 01:09:18,280
Speaker 2: all that and didn't get the plug at the radio.

1269
01:09:18,360 --> 01:09:19,240
Speaker 3: They didn't have a chance.

1270
01:09:19,360 --> 01:09:21,720
Speaker 2: It wasn't going first, they had a chance right when

1271
01:09:21,760 --> 01:09:25,599
Speaker 2: it was underground, right, because it was under ground before

1272
01:09:26,720 --> 01:09:30,040
Speaker 2: you know, it was mainstream and it was underground. So

1273
01:09:31,080 --> 01:09:34,559
Speaker 2: I felt at that point that it took the power

1274
01:09:34,640 --> 01:09:37,280
Speaker 2: away from the streets and put it in the radio

1275
01:09:37,320 --> 01:09:40,640
Speaker 2: because after that people wanted, oh let me hear what

1276
01:09:40,760 --> 01:09:44,640
Speaker 2: you that song? Even though someone was coming up, but

1277
01:09:44,800 --> 01:09:48,720
Speaker 2: still it excluded anybody that wasn't on the local show.

1278
01:09:49,320 --> 01:09:49,479
Speaker 1: Right.

1279
01:09:49,840 --> 01:09:54,160
Speaker 2: So and then you know, not knocking it, but then

1280
01:09:54,200 --> 01:10:00,240
Speaker 2: you know, the introduction of reggae tongue kind of hurt. No, no,

1281
01:10:00,439 --> 01:10:03,040
Speaker 2: they you know that was introduced on the show.

1282
01:10:03,280 --> 01:10:03,920
Speaker 1: Yeah, can see that.

1283
01:10:04,000 --> 01:10:06,880
Speaker 2: But the thing is to hurt the underground because then

1284
01:10:07,120 --> 01:10:10,600
Speaker 2: all of a sudden, uh, there was some areas, not

1285
01:10:10,760 --> 01:10:14,920
Speaker 2: all areas, but certain areas, Like I remember it distinctly

1286
01:10:14,960 --> 01:10:17,519
Speaker 2: because you know, I had all the stories with my

1287
01:10:17,640 --> 01:10:23,840
Speaker 2: stories so uh, I walked in the store and then

1288
01:10:24,479 --> 01:10:26,400
Speaker 2: they said, well we wanted some reggae talk.

1289
01:10:27,040 --> 01:10:28,720
Speaker 1: Yeah, because you know what, I'm gonna tell you what

1290
01:10:29,439 --> 01:10:31,880
Speaker 1: I'm gonna tell you where y'all messed up at y'all

1291
01:10:32,000 --> 01:10:35,000
Speaker 1: introduced the reggae tone. Shit on Locals, Poe was better.

1292
01:10:35,040 --> 01:10:37,760
Speaker 1: Locos was a gangster rap show. Yeah, that's the one

1293
01:10:37,800 --> 01:10:39,840
Speaker 1: thing about it that's like even with this show right here,

1294
01:10:39,880 --> 01:10:43,519
Speaker 1: I figured out, we don't talk about no other ship.

1295
01:10:43,560 --> 01:10:46,360
Speaker 1: We talk about gangster ship though. That's why the gangst crime,

1296
01:10:46,479 --> 01:10:48,160
Speaker 1: gangster rap, you know what I mean, gangs to wrap

1297
01:10:48,200 --> 01:10:51,200
Speaker 1: the origins of it, anything street right, because if we

1298
01:10:51,320 --> 01:10:54,280
Speaker 1: start putting you know, R and B motherfuckers on here,

1299
01:10:54,720 --> 01:10:57,040
Speaker 1: it just takes away the whole flavor for the show.

1300
01:10:57,160 --> 01:10:59,720
Speaker 1: Some ship gottap niche, you feel what I mean? Yeah,

1301
01:11:00,439 --> 01:11:02,599
Speaker 1: took away that was my vision. Yeah, it took away

1302
01:11:02,640 --> 01:11:04,680
Speaker 1: the niche. But when y'all start doing that, because of

1303
01:11:04,760 --> 01:11:07,559
Speaker 1: course now you introduced and you don't say it, fuck

1304
01:11:07,600 --> 01:11:10,080
Speaker 1: the origins of this ship, we're gonna start having some motherfuckers,

1305
01:11:10,120 --> 01:11:13,720
Speaker 1: you know, singing on this motherfighter ship. When I was

1306
01:11:13,880 --> 01:11:17,120
Speaker 1: you know, first programming it at first, and then it

1307
01:11:17,240 --> 01:11:22,280
Speaker 1: went to them. Uh my vision was, like you said,

1308
01:11:22,680 --> 01:11:25,960
Speaker 1: this is my vision in which I think it started

1309
01:11:26,040 --> 01:11:30,439
Speaker 1: with uh whatever was hot on the street, which only

1310
01:11:30,560 --> 01:11:34,040
Speaker 1: I knew because I'm the one seller and it was

1311
01:11:34,080 --> 01:11:34,840
Speaker 1: coming through you. Yeah.

1312
01:11:35,320 --> 01:11:37,879
Speaker 2: So and at that time, you know, now need distributed,

1313
01:11:37,920 --> 01:11:38,560
Speaker 2: ill distributed.

1314
01:11:38,640 --> 01:11:41,679
Speaker 1: You know, they took you out. They pretty much knocked

1315
01:11:41,720 --> 01:11:42,920
Speaker 1: you out the way there and put you out the

1316
01:11:42,960 --> 01:11:44,880
Speaker 1: way because let's hurry up and get on. Man, what

1317
01:11:44,960 --> 01:11:46,960
Speaker 1: happened with the syndication shipause I know it's a lot

1318
01:11:47,000 --> 01:11:49,200
Speaker 1: of money made from that show. Yeah, they take all

1319
01:11:49,240 --> 01:11:50,639
Speaker 1: the syndication. Yeah.

1320
01:11:50,720 --> 01:11:54,000
Speaker 2: Yeah, so you know that's probably why I probably wasn't

1321
01:11:54,120 --> 01:11:58,120
Speaker 2: part of it that you know, it's probably another plan.

1322
01:11:59,040 --> 01:11:59,840
Speaker 3: But I mean.

1323
01:12:02,160 --> 01:12:05,240
Speaker 2: I wasn't in the radio game, so you know, oh

1324
01:12:05,320 --> 01:12:05,720
Speaker 2: you know what.

1325
01:12:05,920 --> 01:12:08,720
Speaker 1: I knew kool Aid. Kool Aid was always real hospitable

1326
01:12:08,800 --> 01:12:11,240
Speaker 1: with me, man, I mean we got some little ady.

1327
01:12:11,240 --> 01:12:12,680
Speaker 1: I ain't gonna shit up here and say, you know,

1328
01:12:12,880 --> 01:12:16,040
Speaker 1: she was a terrible person or whatever. But when that

1329
01:12:16,120 --> 01:12:18,840
Speaker 1: scratch coming away, Man, people you know get acting, you

1330
01:12:18,920 --> 01:12:20,840
Speaker 1: know a certain way. Man. They don't need they don't

1331
01:12:20,880 --> 01:12:23,200
Speaker 1: need Murky no more. She got the pluck, she got

1332
01:12:23,280 --> 01:12:24,920
Speaker 1: what she wants. She said, I'm gonna bringing me into

1333
01:12:24,960 --> 01:12:26,360
Speaker 1: the radio and I'm gonna get them me.

1334
01:12:26,439 --> 01:12:32,800
Speaker 3: In fact, you know, like I said, now i'm coptent me.

1335
01:12:33,120 --> 01:12:34,599
Speaker 3: I can sometimes see stuff.

1336
01:12:35,000 --> 01:12:36,280
Speaker 1: Yeah, you saw the ball development.

1337
01:12:36,439 --> 01:12:39,800
Speaker 2: Yeah, so basically as related to me, it was just

1338
01:12:39,880 --> 01:12:43,760
Speaker 2: to show that, you know, let's just pick his arts.

1339
01:12:44,800 --> 01:12:46,600
Speaker 1: One thing I want to say, man, before we go,

1340
01:12:46,800 --> 01:12:49,680
Speaker 1: and we gotta talk more about this motherfucker. How did

1341
01:12:49,760 --> 01:12:53,000
Speaker 1: you find Little rob Okay, little Robb.

1342
01:12:53,040 --> 01:12:58,240
Speaker 2: Brother wrote me a letter, Yes, sir, Yeah, my brother.

1343
01:12:58,800 --> 01:13:02,280
Speaker 3: You know, he's raps. He's good, you know, check them out.

1344
01:13:02,520 --> 01:13:05,040
Speaker 1: And so the brother really wrokes. You still got that

1345
01:13:05,160 --> 01:13:06,840
Speaker 1: letter on the letter.

1346
01:13:06,960 --> 01:13:08,599
Speaker 2: But but he you know, he wrote me a letter,

1347
01:13:09,280 --> 01:13:12,000
Speaker 2: and uh, I said, all right, check it out.

1348
01:13:12,680 --> 01:13:14,439
Speaker 1: That's crazy. That was before back in the day. It

1349
01:13:14,600 --> 01:13:16,880
Speaker 1: wasn't no cell phones or text message email. I he

1350
01:13:16,920 --> 01:13:18,880
Speaker 1: broke you a letter. You had to write that, you

1351
01:13:18,920 --> 01:13:21,800
Speaker 1: had to write. That's how fans will writing. Yeah, you know,

1352
01:13:22,360 --> 01:13:27,680
Speaker 1: fan mail, mhm, and uh you know, and that you know,

1353
01:13:28,439 --> 01:13:31,479
Speaker 1: I needed a heart throb at the label that I

1354
01:13:31,560 --> 01:13:34,080
Speaker 1: knew the girls just gonna okay. Yeah, I saw the

1355
01:13:34,280 --> 01:13:36,360
Speaker 1: vision for the Little Rib and it went just like

1356
01:13:36,520 --> 01:13:39,280
Speaker 1: I thought, you know, yeah, he's still out that winning man.

1357
01:13:39,400 --> 01:13:40,720
Speaker 3: Yeah yeah, I mean, you.

1358
01:13:40,760 --> 01:13:46,679
Speaker 2: Know I put choose. I probably devoted that a couple

1359
01:13:46,720 --> 01:13:49,680
Speaker 2: of years of just you know, kidding him out, just

1360
01:13:49,920 --> 01:13:52,840
Speaker 2: I mean that was their first album was a classic man.

1361
01:13:52,920 --> 01:13:55,760
Speaker 2: First album was hard Yeah, because the first album was

1362
01:13:55,840 --> 01:13:58,800
Speaker 2: hard Man crazy like you know what's crazy. Later on

1363
01:13:58,960 --> 01:14:03,080
Speaker 2: Wise she came up with the same title crazy life. Hm,

1364
01:14:03,439 --> 01:14:04,240
Speaker 2: my crazy life.

1365
01:14:04,280 --> 01:14:07,519
Speaker 1: You know the Rob had Rob was the ship Man Rob.

1366
01:14:07,760 --> 01:14:10,320
Speaker 1: I'm gonna tell you Fingers one of my homeboys, and

1367
01:14:10,360 --> 01:14:12,880
Speaker 1: I remember when he did that Summer Nights record. Yeah,

1368
01:14:13,080 --> 01:14:16,080
Speaker 1: what was crazy? That beat for Summer Nights was originally

1369
01:14:16,439 --> 01:14:19,120
Speaker 1: supposed to beat the Homeboys Lunch was gonna have it

1370
01:14:19,640 --> 01:14:23,200
Speaker 1: around from Ai. This my home boy from Homeless. He

1371
01:14:23,320 --> 01:14:26,960
Speaker 1: didn't want the record, and the Rob wound up getting

1372
01:14:27,000 --> 01:14:28,400
Speaker 1: you see what that ship it is?

1373
01:14:28,479 --> 01:14:32,560
Speaker 2: I tell you a record that did that. Uh, Kohlio's

1374
01:14:32,600 --> 01:14:36,920
Speaker 2: County Line. Yeah, Kolio's County Line is supposed to speak

1375
01:14:36,920 --> 01:14:37,720
Speaker 2: for Spanish.

1376
01:14:37,360 --> 01:14:39,559
Speaker 1: Sak really wow?

1377
01:14:40,439 --> 01:14:43,720
Speaker 2: What Rich Rapp didn't go to the studio that day

1378
01:14:44,120 --> 01:14:46,760
Speaker 2: and then Coolio end up doing it because remember we

1379
01:14:46,840 --> 01:14:50,679
Speaker 2: were all with you know, Brian, and you know, Brian's

1380
01:14:50,760 --> 01:14:55,280
Speaker 2: like Kulais, I mean Koulios, you know, right hand producer,

1381
01:14:56,080 --> 01:15:01,479
Speaker 2: and uh so that was you know, and I was,

1382
01:15:01,560 --> 01:15:05,160
Speaker 2: you know, behind the scenes, uh, trying to get Coolio

1383
01:15:05,800 --> 01:15:08,599
Speaker 2: a deal with he read this guy from uh THEB

1384
01:15:08,680 --> 01:15:12,800
Speaker 2: magazine and he hooked from you know. But I mean

1385
01:15:13,000 --> 01:15:15,320
Speaker 2: in my mind at that time, I was like, hey,

1386
01:15:16,120 --> 01:15:20,840
Speaker 2: you know, put the mad circle back together. Yeah, that's

1387
01:15:20,840 --> 01:15:23,160
Speaker 2: what I was thinking. You know, hey, this is possible

1388
01:15:23,200 --> 01:15:27,280
Speaker 2: because we got Coolio here, you know. But uh and

1389
01:15:27,400 --> 01:15:30,840
Speaker 2: then you know, just before I go, I want of uh,

1390
01:15:32,720 --> 01:15:35,200
Speaker 2: there's a whole nother history of rap that you know,

1391
01:15:35,360 --> 01:15:38,920
Speaker 2: never never is told, you know, and that's like the

1392
01:15:40,000 --> 01:15:43,720
Speaker 2: period the pre death Death Growth era. Okay, that's when

1393
01:15:44,960 --> 01:15:48,320
Speaker 2: True Blue m hm you know ye had the bloods

1394
01:15:48,360 --> 01:15:54,479
Speaker 2: and cribs ah and you know like uh Ronnie ron

1395
01:15:56,200 --> 01:16:00,840
Speaker 2: tweety Bird, look mean, uh, Kiki Loco, you know me,

1396
01:16:01,040 --> 01:16:04,240
Speaker 2: we all, you know, we all uh huh you know,

1397
01:16:04,360 --> 01:16:06,600
Speaker 2: well more me and each one of them, because you know,

1398
01:16:06,640 --> 01:16:09,599
Speaker 2: there was a little a little friction between two versions

1399
01:16:09,640 --> 01:16:15,360
Speaker 2: of you. But but we all built the underground and

1400
01:16:15,520 --> 01:16:17,360
Speaker 2: I'm like, you know, a lot of the gangster and

1401
01:16:17,439 --> 01:16:24,280
Speaker 2: stuff and basically, uh, you know when the uh I

1402
01:16:24,320 --> 01:16:28,120
Speaker 2: guess said, you know, everybody else got into it. That

1403
01:16:28,360 --> 01:16:33,000
Speaker 2: formed against the inspiration I think because True Blue and

1404
01:16:33,080 --> 01:16:36,000
Speaker 2: then they were talking about gangs and right talking about it.

1405
01:16:36,200 --> 01:16:39,160
Speaker 2: That was some real street and that was an era

1406
01:16:39,360 --> 01:16:44,360
Speaker 2: where yeah, technically, ah yeah, people were scared, kind of

1407
01:16:44,400 --> 01:16:46,640
Speaker 2: scared to put a record out because you had to,

1408
01:16:47,439 --> 01:16:50,639
Speaker 2: you know, just like there's probably some you know, Chicano

1409
01:16:50,720 --> 01:16:53,320
Speaker 2: rap going on the rap because it's too much politics, right,

1410
01:16:54,000 --> 01:16:57,160
Speaker 2: So same thing then, you know, we had bluzzy cribs,

1411
01:16:58,040 --> 01:17:01,840
Speaker 2: you had a little Kiki local you know, somewhere in

1412
01:17:01,960 --> 01:17:04,160
Speaker 2: between there. You know that was that's rough.

1413
01:17:04,800 --> 01:17:09,360
Speaker 1: Yeah here yeah, man, Yeah, I was going to ask

1414
01:17:09,400 --> 01:17:12,040
Speaker 1: you a question, man, and I'm sorry for cutting you off, man,

1415
01:17:12,160 --> 01:17:15,080
Speaker 1: but the time is, you know, going what it is man.

1416
01:17:16,880 --> 01:17:20,000
Speaker 1: You sold a lot of records, man, what was your

1417
01:17:20,080 --> 01:17:22,360
Speaker 1: highest selling release? Who is your highest police?

1418
01:17:23,000 --> 01:17:24,439
Speaker 3: You know, Rob?

1419
01:17:25,920 --> 01:17:28,559
Speaker 1: How many records? You think the Robbins so you think

1420
01:17:28,600 --> 01:17:31,959
Speaker 1: the Robin Soda re million not kind of the bootlegs.

1421
01:17:32,040 --> 01:17:34,639
Speaker 1: It's a lot of bootlegs and shot out there down Yeah,

1422
01:17:35,280 --> 01:17:36,240
Speaker 1: I mean, I'm sure.

1423
01:17:36,360 --> 01:17:39,760
Speaker 2: I mean little Rock what's hot for a long time eating?

1424
01:17:39,800 --> 01:17:43,519
Speaker 2: If I dropped some money new you know, little robbers

1425
01:17:43,560 --> 01:17:45,799
Speaker 2: still eat, I mean little robbers.

1426
01:17:46,640 --> 01:17:49,280
Speaker 1: Let me ask you, did you know at one time, man,

1427
01:17:49,360 --> 01:17:51,160
Speaker 1: that she was gonna lose some of them dudes? Because

1428
01:17:51,160 --> 01:17:56,200
Speaker 1: I knew as the Chicano wrap labels. As they started

1429
01:17:56,280 --> 01:17:59,080
Speaker 1: running their own labels, you started having different labels popped up.

1430
01:17:59,400 --> 01:18:01,200
Speaker 1: I'm pretty sure you were. Their main thing of going

1431
01:18:01,240 --> 01:18:03,439
Speaker 1: after your artist was man, come over here with the loss,

1432
01:18:03,479 --> 01:18:05,680
Speaker 1: and man, don't do this with that might yet the

1433
01:18:05,880 --> 01:18:08,320
Speaker 1: man he's over there robbing, y'all come over here. And

1434
01:18:08,439 --> 01:18:10,120
Speaker 1: that was the selling point for a lot of people,

1435
01:18:10,200 --> 01:18:11,599
Speaker 1: wasn't It was that the bigges selling point.

1436
01:18:13,160 --> 01:18:20,400
Speaker 2: Okay, no, I mean yet, I'm sure yeah, there's people

1437
01:18:20,560 --> 01:18:21,320
Speaker 2: playing that game.

1438
01:18:21,800 --> 01:18:22,120
Speaker 3: Okay.

1439
01:18:23,080 --> 01:18:26,519
Speaker 2: Uh I guess what Buffer did a little bit, you know,

1440
01:18:27,720 --> 01:18:30,200
Speaker 2: I mean I was I was a label, but I

1441
01:18:30,280 --> 01:18:33,839
Speaker 2: was also a distributor, So I was distributing labels.

1442
01:18:35,120 --> 01:18:35,400
Speaker 1: M M.

1443
01:18:36,280 --> 01:18:37,320
Speaker 2: It's okay for.

1444
01:18:37,400 --> 01:18:38,080
Speaker 3: The kind of needed you.

1445
01:18:38,600 --> 01:18:40,439
Speaker 2: So they card to funk what you were just then

1446
01:18:40,479 --> 01:18:42,120
Speaker 2: they talked, you know, like they say, what kind of

1447
01:18:42,160 --> 01:18:46,000
Speaker 2: raps where else? Yeah, I'm the one mm hmm you

1448
01:18:46,080 --> 01:18:49,360
Speaker 2: know so? Uh so I didn't you know, pay for

1449
01:18:49,479 --> 01:18:54,040
Speaker 2: the placements and caps and all that ship back then

1450
01:18:54,120 --> 01:18:56,120
Speaker 2: that she said that ship used to have to pay you.

1451
01:18:56,439 --> 01:18:58,599
Speaker 2: And I'm gonna tell you this, shut off Violet Brown.

1452
01:18:58,640 --> 01:18:59,880
Speaker 2: I gotta get Violet Brown on.

1453
01:19:00,080 --> 01:19:03,840
Speaker 1: Shut up. Voler Brown never gets the credit that she deserves. Man.

1454
01:19:03,960 --> 01:19:07,240
Speaker 1: Violer Brown. She always kept her doors open for people

1455
01:19:07,360 --> 01:19:09,640
Speaker 1: or whatever thing. She didn't care if she was independent

1456
01:19:10,360 --> 01:19:12,400
Speaker 1: or from a major label. She could tell you, go

1457
01:19:12,520 --> 01:19:14,360
Speaker 1: get your ship out and I'm gonna bring in five

1458
01:19:14,439 --> 01:19:16,560
Speaker 1: thousand pieces. She was good for that. I bring in

1459
01:19:16,640 --> 01:19:18,600
Speaker 1: twenty five hundred pieces in this little area that you

1460
01:19:18,680 --> 01:19:22,840
Speaker 1: got Violet Brown. Man, It's like she helped so many people. Man.

1461
01:19:22,920 --> 01:19:24,120
Speaker 1: Shut out to Violet Brown.

1462
01:19:25,280 --> 01:19:26,240
Speaker 3: Mud from the world.

1463
01:19:26,280 --> 01:19:30,200
Speaker 2: Even she always thought that I was from Phoenix. You

1464
01:19:30,200 --> 01:19:31,200
Speaker 2: ain't know for some reason.

1465
01:19:32,960 --> 01:19:33,639
Speaker 1: I have no idea.

1466
01:19:34,120 --> 01:19:37,479
Speaker 2: She yes, she told me she thought I was from Phoenix.

1467
01:19:39,200 --> 01:19:41,519
Speaker 1: Violet was cool, man, viol You know what, I gotta

1468
01:19:41,560 --> 01:19:44,760
Speaker 1: get folowed on the show, man, Absolutely, Violet Viola Brown

1469
01:19:44,840 --> 01:19:47,040
Speaker 1: is a legend, man, because you know what, Man, we

1470
01:19:47,120 --> 01:19:48,880
Speaker 1: gonna been on here a long time. Man, So I'm

1471
01:19:48,880 --> 01:19:51,720
Speaker 1: gonna go ahead and shut it down. Man, y'all make

1472
01:19:51,800 --> 01:19:54,479
Speaker 1: sure man, y'all gonna do your research, man, and I

1473
01:19:54,640 --> 01:19:56,479
Speaker 1: know we gonna get some flack from this Man, there's

1474
01:19:56,479 --> 01:19:58,960
Speaker 1: gonna be a bunch of motherfuckers coming out with their responses,

1475
01:19:59,040 --> 01:20:01,160
Speaker 1: but that's all good. Everybody has their own opinion.

1476
01:20:01,720 --> 01:20:03,960
Speaker 3: We were there, We could talk about it because we

1477
01:20:04,040 --> 01:20:04,320
Speaker 3: were there.

1478
01:20:04,640 --> 01:20:07,559
Speaker 1: Yeah, but that's what I want to do. Man. I'm

1479
01:20:07,600 --> 01:20:09,760
Speaker 1: not in the motherfucker's rewriting history, and that's why we

1480
01:20:09,840 --> 01:20:12,680
Speaker 1: got this show. Absolutely on that note, so you know,

1481
01:20:13,560 --> 01:20:15,240
Speaker 1: the truth is the truth. On that note, we out

1482
01:20:15,240 --> 01:20:15,439
Speaker 1: of here.