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Speaker 1: No Willian, no doctor, welcome back. We uh we lost

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Speaker 1: our dear brother Maul to Iceman. He is not here

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Speaker 1: with us.

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Speaker 2: Prayers up.

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Speaker 1: Maras and I are here, and we have also two

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Speaker 1: people that I consider absolute fucking legends, and just by

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Speaker 1: proxy through Guru, we are all family. I am here

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Speaker 1: with the legendary d Dot and Tracy Lee outside crush

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Speaker 1: off an album, Big Class. Where do we want to begin?

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Speaker 1: Because I know both you guys have.

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Speaker 2: A lot to say.

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Speaker 3: I can tell you where we can start at proxy?

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Speaker 3: Can you talk to the people? Can you you know

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Speaker 3: the definition of proxy? I'm playing. I'm playing. I'm playing.

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Speaker 2: I know what it is. You don't like?

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Speaker 4: You know, well, I ain't gonna say you don't like

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Speaker 4: when we started using vocabulary.

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Speaker 2: You know, he gets a little you know what is that?

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Speaker 2: Even though I know what it is? I know, yeah, yeah,

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Speaker 2: being the smartest.

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Speaker 5: I don't even know how we even linked up. How

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Speaker 5: long ago it was. I know Guru initially introduced me

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Speaker 5: and Tracy a long.

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Speaker 2: Time ago and he was like, do you know this is?

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Speaker 2: I was like, yeah, what fun? This is? Like?

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Speaker 1: Yes, what's up? I can't remember how you're not connected?

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Speaker 1: I can't either, yeah, I smoke, so I don't it's nicely,

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Speaker 1: it's foggy at the maximum.

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Speaker 2: I don't remember. But it's been years. How in years?

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Speaker 2: How did you two connect? Who? Me and Trey? Yeah?

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Speaker 1: Oh, Howard University's that's where everything started with where everything's done.

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Speaker 1: What was in the water at that time with you guys,

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Speaker 1: Guru and we you know, I'm sure puff will end

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Speaker 1: up somewhere in the story, but we all got to

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Speaker 1: focus on puffshit law.

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Speaker 2: But what what was in the water in Howard at

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Speaker 2: that time? The fountain of youth. It was a youth movement.

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Speaker 3: When I got there in nineteen eighty six, hip hop

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Speaker 3: was you know, uh we had to wop ever being

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Speaker 3: rock Kim, you know, it was, it was.

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Speaker 2: It was special.

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Speaker 3: So and when I got to Howard University, it was

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Speaker 3: a New York really a New York regional thing. It spread,

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Speaker 3: obviously it was in other places, but New York was

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Speaker 3: at the time we were ruling the dance hall.

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Speaker 2: So if you were.

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Speaker 3: From New York, then you had a little bit of

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Speaker 3: extra cachet, you know what I'm saying. As far as

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Speaker 3: that scene went, and So and me coming already being

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Speaker 3: a rapper, coming on campus rapping to a certain degree,

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Speaker 3: having all the tapes that were exclusive, the Kid Capris,

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Speaker 3: the Brucey Be's and all these type of tapes, they

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Speaker 3: were exclusives to the campus. So hip hop was it

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Speaker 3: was like seed and you could just see the roots

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Speaker 3: playing in it so firmly in the ground and getting

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Speaker 3: ready to grow.

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Speaker 1: So was there three different movements where because we've seen

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Speaker 1: photos of like Big Redman Pot everybody at Howard at

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Speaker 1: that naughty by Nature out there was everyone moving within

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Speaker 1: that what would be bad boy time?

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Speaker 5: Because I've talked with Guru about this as well.

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Speaker 1: He was like, yo, we were doing something completely separate,

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Speaker 1: but we would still work with them at the same time.

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Speaker 5: Was that an actual movement with everyone that early?

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Speaker 2: Do you think Guru was much younger than me? Not much,

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Speaker 2: but he was ninety He came in ninety two. Yeah,

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Speaker 2: he was like four years after Yeah I was.

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Speaker 3: I was there eighty six, So Gurus grus movement. Yeah,

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Speaker 3: so his vision, even my.

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Speaker 2: Movement was different than him. Yeah. I came two years

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Speaker 2: after him. Yeah. Yeah, hip hop has changed that fast

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Speaker 2: from eighty six to eighty eight. You know what I'm saying.

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Speaker 3: The artists that were coming in the style of rapping

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Speaker 3: that was coming in. So by the time the ninety hit,

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Speaker 3: we was in a whole nother you know area. So

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Speaker 3: in eighty six, eighty seven, eighty eight, there was a

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Speaker 3: learning movement like we're listening and we're just all just

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Speaker 3: absorbing this thing, like what is this. By the time

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Speaker 3: Trey got there in eighty eight, me, Ron and and

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Speaker 3: Harve and a little bit of puff. At the time,

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Speaker 3: we moving towards what we've been hearing. Harve is rapping,

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Speaker 3: I'm rapping. We already moving towards it. Probably like him

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Speaker 3: when he got there in eighty eight. Of course he's rapping,

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Speaker 3: but we focus on school. Yeah, we're here for school.

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Speaker 3: So when he touches down, lo and behold for him,

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Speaker 3: it's there. It's in his face, like, oh so if

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Speaker 3: he had the bug, it was right there as soon

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Speaker 3: as he touched down. Soon as he touched down, and

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Speaker 3: was like, oh shit, they got mics.

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Speaker 2: In their hand.

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Speaker 4: And that's exactly what happened. Like, I don't mean to

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Speaker 4: cut you off, exactly what happened. Because when I got

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Speaker 4: to Howard, I have been trying to get a deal

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Speaker 4: when I was in high school, you know, much like

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Speaker 4: in eighty six, you know, that was a bit of

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Speaker 4: a renaissance period. But then when I got there, I decided,

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Speaker 4: you know what, I'm gonna just get my education, go

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Speaker 4: ahead and become a sports broadcaster because that's another one

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Speaker 4: of my passions, just sports in general. But I saw

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Speaker 4: this guy Roman in front of this place we called

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Speaker 4: Blackburn Center, which is like the central location of where

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Speaker 4: everybody goes for you.

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Speaker 2: Know what I mean. You know all that, you know

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Speaker 2: what I'm saying.

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Speaker 5: So I've been Howard homecoming times as well.

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Speaker 4: Yeah right right, yeah, So when he talks about the bug,

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Speaker 4: I immediately because it was right there. It's like, oh,

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Speaker 4: I can't stop this ship now because it's here, you

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Speaker 4: know what I mean. I thought it disappeared because we

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Speaker 4: were going to be on a college campus.

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Speaker 3: And we were in d C. And d C was

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Speaker 3: a go go town, you know what I'm saying. So

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Speaker 3: when I first got there, I had never been to DC.

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Speaker 3: So when I got there, it was a black, black

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Speaker 3: and he black town.

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Speaker 2: I loved it, but it was dungle doore everywhere you went.

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Speaker 3: It wasn't bad, but it was like I want now,

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Speaker 3: you know, I want my hip hop. I need that.

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Speaker 3: So the tapes became the records, the wax became like.

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Speaker 2: Gold and you had them, you know what I'm saying. Yeah, yeah,

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Speaker 2: that was what was in the water.

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Speaker 1: Also at that time was the rich Porter Alpo thing

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Speaker 1: with Howard and everything going on with.

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Speaker 2: What was it Rafel Edmunds.

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Speaker 1: What was that energy like where music wasn't dominating. Who

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Speaker 1: was controlling the area at the time more or less.

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Speaker 3: Well, they were there, music was you know, you know,

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Speaker 3: you go to those clubs. It was just like being

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Speaker 3: in the you know, you go to those clubs. It

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Speaker 3: was just like being in a New York club. The

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Speaker 3: drug dealers, the pretty girls, the people that was there.

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Speaker 3: But they did mostly they heard the go go. Hip

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Speaker 3: hop was like, you know, they throw it in there

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Speaker 3: because it was popular, but it didn't take over the

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Speaker 3: town yet. It wasn't a full takeover yet. So yeah,

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Speaker 3: but at those times I lived right around the corner

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Speaker 3: from them. To try to tell you, I lived right

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Speaker 3: around the corner from right for em in Northeast. So

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Speaker 3: the alley I lived in, my back alley was their

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Speaker 3: back alley to their block.

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Speaker 2: That's crazy, right.

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Speaker 3: So and then I hooked up with I'm sure you

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Speaker 3: heard of the Madness Connection. They were the clothing line

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Speaker 3: right on Georgia Avenue. Shout out to my big brother Larry.

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Speaker 3: He ran the Madness Connection and that was like the

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Speaker 3: hub for unity, meaning go go hip hop artists.

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Speaker 2: He was one of those people that embraced it all

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Speaker 2: he sold.

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Speaker 3: So I was able to go inside there. And now

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Speaker 3: I'm learning that they just like us, like they like

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Speaker 3: what we like. It's just this is their culture, you

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Speaker 3: know what I mean. So the Madness Connection was a

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Speaker 3: big part of DC's culture for us to see, like

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Speaker 3: you said, what was in the water and see what

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Speaker 3: how that water we can throw it on some seas

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Speaker 3: and where it was going to go.

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Speaker 4: But also to bring it back to when I came in,

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Speaker 4: just to show you the difference. Like let's just say

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Speaker 4: he was and there's you know that the eighty six

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Speaker 4: era and those people that came in there, and they

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Speaker 4: were like the roots.

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Speaker 2: So we began the trunk of the tree.

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Speaker 4: And I would say we were the beginning stages of

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Speaker 4: a renaissance because you had like you know, Anthony Anderson there, you.

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Speaker 2: Had Marlan Wings there.

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Speaker 4: You had the group Shied there, you had Annanda Luis there,

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Speaker 4: you had Taraji p Henson there, you had Mark Pitchteare

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Speaker 4: you had all of these you know what I'm saying.

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Speaker 3: Started the Oka, Yeah, all the news, yes, and guests,

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Speaker 3: all of them, the noontime guys that ended up going

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Speaker 3: down South and doing all that stuff with them at

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Speaker 3: the same time at the same time, puff me Harf Trey.

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Speaker 2: So if you later yeah, so.

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Speaker 4: If you could just imagine that, you know what I'm saying,

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Speaker 4: Like so in the entrepreneurial spirit, right, it was the

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Speaker 4: entrepreneurial everybody had a quest, whatever that route was, they

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Speaker 4: were going to make something of themselves and become that

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Speaker 4: thing that people kind of reached for later on in

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Speaker 4: lib Planet biggable planets at the same time.

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Speaker 1: Right, I just feel like from eighty five to ninety

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Speaker 1: five needs to be a doctor just on Howard University

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Speaker 1: in itself where every everything you.

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Speaker 3: Got, Lawrence I forgot, were you guys there for bigs

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Speaker 3: first performance?

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Speaker 5: I was what please walk us through? That stepped over.

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Speaker 2: Of them?

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Speaker 3: Yeah, I mean it was simple Howard University as a circuit.

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Speaker 2: On hip hop, well, let's start there.

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Speaker 3: When you're doing your promos that then you had to

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Speaker 3: hit Howard at all the HBCUs Howard was the one

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Speaker 3: you had to hit one.

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Speaker 2: It was in DC two.

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Speaker 3: It was the most convergence of hip hop and an

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Speaker 3: HBCU from all places. Yep, so and so we knew

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Speaker 3: so and Big new that I went there, Puff went there.

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Speaker 2: So we made a movie out of it.

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Speaker 1: You know.

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Speaker 3: We had cameras following us and all types of stuff

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Speaker 3: went on stage. And that's when Howard first really started

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Speaker 3: letting people perform on campus like that.

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Speaker 2: So we were one of the first that they allowed

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Speaker 2: for that to happen.

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Speaker 1: What was one of your first memories of Big, like

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Speaker 1: when y'all first connected.

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Speaker 2: When I first met him.

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Speaker 3: The day I met him, I went to reach my

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Speaker 3: hand out to shake your saint, saying, I know who

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Speaker 3: you are, like how you just did with Trey you

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Speaker 3: I watched your video music box.

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Speaker 2: You know, I was trying to be humble and shit.

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Speaker 3: You smoked like it was like you smoked. I was like,

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Speaker 3: of course, and that was it. And then you know

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Speaker 3: after why I didn't stay long because I was just

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Speaker 3: there on some meeting. But after that, you know, I remember, Uh,

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Speaker 3: he didn't necessarily ask for me, but I came one

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Speaker 3: time and he was.

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Speaker 2: Like, Yo, you ain't been around in a minute.

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Speaker 3: And I was like, yeah, you know, because at the

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Speaker 3: time I was working, I had a job. I couldn't

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Speaker 3: be at like them, up under them, So I was like, yea,

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Speaker 3: I gotta come around when I can.

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Speaker 2: He was like, yeah, man, coach spent some time, man,

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Speaker 2: fuck with you.

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Speaker 3: I knew a couple of old g's from around his way,

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Speaker 3: So and then we just we just connected like that,

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Speaker 3: smoking talking and you know, he liked the fact that

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Speaker 3: I was kind of I kind of wasn't up under them,

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Speaker 3: but when I came around, Puff showed me like a

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Speaker 3: little bit different respect than people that work for him,

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Speaker 3: you know what I'm saying.

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Speaker 2: So yeah, we clicked instantly.

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Speaker 1: Yeah gee, and like what were those sessions because we've

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Speaker 1: seen docs and movies and everything where you know, they

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Speaker 1: make Puff look like Morpheus and a VERSACEI shirt of

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Speaker 1: certain sessions of like here you go, here's juicy, Like

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Speaker 1: what were those early days of even before Hitman just

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Speaker 1: putting together that first big project and what would become

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Speaker 1: bad Boy in itself because the sound started with y'all.

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Speaker 3: Yeah, yeah, my role at the time, I wasn't really

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Speaker 3: involved with Ready to Die to that capacity.

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Speaker 2: I was there, I was around, I was in sessions.

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Speaker 3: I think everybody got to put in perspective that if

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Speaker 3: you close your eyes and envisioned this session, there's Biggie,

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Speaker 3: who's nineteen or twenty.

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Speaker 2: There's Ce's who's fourteen or fifteen.

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Speaker 3: There's a bunch of cats from Brooklyn around Big who've

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Speaker 3: never even probably been in the studio that Big before.

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Speaker 2: There's Puffy who.

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Speaker 3: Has had a certain amount of time in the business,

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Speaker 3: but not ten twenty years yet. And there's probably the producers,

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Speaker 3: like the Pete Rocks, like the of the beginnings of

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Speaker 3: what's the name.

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Speaker 2: Track Medicines and then get credit for Juice.

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Speaker 3: Beat, and all these other people were there, but at

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Speaker 3: that time, nobody was you know, Quincy Jones.

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Speaker 2: Nobody was the outs, you know.

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Speaker 3: So I understand all their things, but I sit back

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Speaker 3: and laugh because everybody was babies.

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Speaker 2: Everybody was babies.

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Speaker 3: So to act like, you know, Polk would have made

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Speaker 3: a better record than Puff or Pete Rock would have

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Speaker 3: made a better record, we don't know that. That's like

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Speaker 3: arguing championships with Jordan and Pippen. We don't know what

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Speaker 3: they would have did you know what I mean? I mean,

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Speaker 3: we know what they did without each other. They didn't win,

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Speaker 3: So we can honestly say that Puff's role in that

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Speaker 3: was probably the most experienced in record making in that studio.

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Speaker 3: So seeing him doing what he's done record making, it

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Speaker 3: was record making. It wasn't rapping, it wasn't beat making.

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Speaker 3: It was you know, take a song, an artist, a writer,

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Speaker 3: a situation. He's able to cook it and making a

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Speaker 3: nice meal. So at that moment he probably was the

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Speaker 3: most experienced at that time, at twenty three, twenty four

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Speaker 3: or twenty two whatever.

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Speaker 2: How Oldie is so all of hate and all this?

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Speaker 2: Who was supposed to do it?

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Speaker 3: If y'a say, say yourself, if he wasn't doing it,

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Speaker 3: then who would have did it?

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Speaker 2: Did he form the Hitman? It was his idea? Okay,

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Speaker 2: it was his idea? And what what was with?

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Speaker 1: Because it was three off y'all told the right four

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Speaker 1: it was I know more got at it at some point.

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Speaker 3: At the initial initiue Hitman was four of us. It

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Speaker 3: was myself, Stevie j Nasheemen wrongos. Yeah, Chucky was already

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Speaker 3: by defaul his number one hitman because of the coming

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Speaker 3: off Mary and the first thing. But at that time,

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Speaker 3: Chucky had started Chuck Life. God bless Chuck. You know

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Speaker 3: R and P R n P Chucky. He started Chuck

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Speaker 3: Life Productions, so he was ready to start his vision.

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Speaker 3: So he wasn't the main sauce anymore for Puff come

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Speaker 3: ninety five ninety six years around. So Puff decided he

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Speaker 3: needed to find a replacement for Chuck, which was Stevie,

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Speaker 3: but not a replacement a bullpen play somebody else that

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Speaker 3: can come in when Chuck ain't there, And Stevie was

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Speaker 3: very talented instrumentals, if you will.

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Speaker 2: Another musician.

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Speaker 3: We needed a musician to make some of these other

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Speaker 3: things come to life that sample producers couldn't do, and

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Speaker 3: the musician may not have had the vision to do it.

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Speaker 2: So again, all these haters.

301
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Speaker 3: Have to understand what a producer is and not a

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Speaker 3: beat maker. So Puffy was able to take musicians and say,

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Speaker 3: play this bass over for me, so we can filter

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Speaker 3: out the sample and have a more thicker base, and

305
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Speaker 3: then it I can tell you, you know, I'm gonna

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Speaker 3: skip a little bit just to give you that understanding.

307
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Speaker 3: When we tried to clear hypnotize herb Apput initially said no.

308
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Speaker 3: The cousin Randy Randy Badass, who was put co produce

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Speaker 3: on it with him and was on the song. He

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Speaker 3: heard it and convinced his cousin because he said, listen

311
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Speaker 3: to what they did to it. They didn't just loop it.

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Speaker 2: I never heard it.

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Speaker 3: They put basslines on it, they played other chords on it,

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Speaker 3: they took through and they put it throughout the whole song.

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Speaker 3: So they took hours. But listen to what they built

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Speaker 3: on it. So it's not totally just taking your creation,

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Speaker 3: mister her you know, Alpera, God, thank you, but we

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Speaker 3: added on to it, and that genius comes from the

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Speaker 3: producer that can see the vision.

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Speaker 1: It's funny mentioned that because just I think yesterday I

321
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Speaker 1: got a story to tell by Big the original one

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Speaker 1: came out It's elite, and then I didn't realize what

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Speaker 1: Chucky had done to that recordactly was absolutely insane exactly.

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Speaker 2: But it took Puff to say.

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Speaker 1: It's usually the sample version sounds better, right, I got

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Speaker 1: a story to tell. Version now to me, is better

327
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Speaker 1: than the one that leaves like Chucky replayed that shit

328
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Speaker 1: and made it ten no better than what it really was.

329
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Speaker 3: Exactly, And that took the visionary of the producer to

330
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Speaker 3: say this is what's needed in order for us to

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Speaker 3: overcome this hurdle, which was we couldn't clear the sample.

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Speaker 3: So most people would have just made a new tried

333
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Speaker 3: something else, tried another sample, but it was so infectious

334
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Speaker 3: to us as producers. Me and Puff sitting there, we can't.

335
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Speaker 3: Let's just slide. So let's figure this out.

336
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Speaker 2: D what we're gonna do? All right, Let's let's get

337
00:17:28,600 --> 00:17:31,280
Speaker 2: Chucky see what he could do. Let's go.

338
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Speaker 1: Was there immediate chemistry between the four y'all when Puff

339
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Speaker 1: brought everyone together?

340
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Speaker 2: Well?

341
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Speaker 3: Absolutely, Me, Ron and Nash already knew each other. So

342
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Speaker 3: Stevie was the new guy. So but I mean Stevie

343
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Speaker 3: could he was he could play.

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Speaker 2: I mean, he'll tell you twenty two you know what

345
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Speaker 2: I'm saying.

346
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Speaker 3: But initially when I met him, he was playing four,

347
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Speaker 3: which was more than enough than what we needed.

348
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Speaker 2: He probably played.

349
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Speaker 3: More, but he was playing keys, drums and both guitars,

350
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Speaker 3: you know what I'm saying.

351
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Speaker 1: And not not to get off where we're at here,

352
00:18:06,480 --> 00:18:10,639
Speaker 1: but the first day that Stevie j ended up on

353
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Speaker 1: love and hip hop?

354
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Speaker 2: What was your thought.

355
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Speaker 1: The first day when he showed up and say, my

356
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Speaker 1: name is Stevie jal to Loving hip Hop Atlanta to me,

357
00:18:22,280 --> 00:18:22,760
Speaker 1: he's been that.

358
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Speaker 2: Yeah.

359
00:18:24,440 --> 00:18:26,159
Speaker 3: I just laughed because I ended up managing him for

360
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Speaker 3: a second when you know while he's doing that, so

361
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Speaker 3: I know what he's doing. He's very calculated dude. He's

362
00:18:31,800 --> 00:18:34,480
Speaker 3: a scorpio too, so let's not get that twisted. You know,

363
00:18:35,640 --> 00:18:38,479
Speaker 3: very calculated dude. So it didn't surprise me at all.

364
00:18:38,520 --> 00:18:40,760
Speaker 3: I already knew what the what the rainbow that he

365
00:18:40,840 --> 00:18:42,959
Speaker 3: was looking for at the end of that one, the

366
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Speaker 3: pot that he was looking for at the end of

367
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Speaker 3: that rainbow.

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Speaker 1: I've never met STEVJ, never been around him, nothing, but

369
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Speaker 1: obviously I knew who he was because I'm a fucking nerd.

370
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Speaker 1: So but I also watched Love of Hip Hop and

371
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Speaker 1: I was sitting there with my girl at the time.

372
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Speaker 1: I said, that has to be a different STVJ. That's

373
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Speaker 1: not the same Stevie J from Hitman. I thought it

374
00:19:00,640 --> 00:19:01,800
Speaker 1: was another Stevie Jack.

375
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Speaker 3: It was the saying you know, actually you're you're right,

376
00:19:04,520 --> 00:19:07,280
Speaker 3: but in the opposite. I wanted him to go in

377
00:19:07,320 --> 00:19:09,280
Speaker 3: there and play instruments to show that part.

378
00:19:10,119 --> 00:19:11,000
Speaker 2: They almost didn't.

379
00:19:11,080 --> 00:19:12,920
Speaker 3: It was almost like they didn't want him to, but

380
00:19:13,080 --> 00:19:14,679
Speaker 3: that it took it to a whole other level if

381
00:19:14,720 --> 00:19:19,000
Speaker 3: they would have saw his him just you know what

382
00:19:19,000 --> 00:19:21,840
Speaker 3: I'm saying, like you know what I mean, and he

383
00:19:21,880 --> 00:19:25,880
Speaker 3: does it effortlessly. That's the that's the part, like it's like, wow.

384
00:19:26,080 --> 00:19:29,640
Speaker 1: What's what's some of your favorite memories of the life

385
00:19:29,640 --> 00:19:33,960
Speaker 1: after death sessions and putting that album together?

386
00:19:35,760 --> 00:19:41,919
Speaker 2: Hmm skitch uh huh, skitch Nah, I mean the more

387
00:19:41,960 --> 00:19:42,560
Speaker 2: John blazing that.

388
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Speaker 1: Yeah.

389
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Speaker 2: Yeah.

390
00:19:43,840 --> 00:19:46,720
Speaker 3: The skits were fun most believe it or not, most

391
00:19:46,760 --> 00:19:48,800
Speaker 3: of those skits were done when Biggie wasn't even in

392
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Speaker 3: you know those skits where I'm laughing I'm saying, you know,

393
00:19:51,800 --> 00:19:53,679
Speaker 3: get you all them type skits.

394
00:19:53,880 --> 00:19:56,359
Speaker 2: Biggie was in l A doing those in his truck.

395
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Speaker 3: Like like you know those phones that you have back

396
00:19:59,680 --> 00:20:01,440
Speaker 3: in the day where it's like black and you could

397
00:20:01,520 --> 00:20:04,080
Speaker 3: put if to put this, put the phone on speaker

398
00:20:04,359 --> 00:20:07,199
Speaker 3: like office phones. It's just like this. We had the

399
00:20:07,240 --> 00:20:09,720
Speaker 3: mic onto the phone. I'm on the phone with Big

400
00:20:09,760 --> 00:20:12,480
Speaker 3: on this side. He's in the truck and his voice

401
00:20:12,520 --> 00:20:13,399
Speaker 3: is coming through the speaker.

402
00:20:13,440 --> 00:20:14,000
Speaker 2: We got the mic.

403
00:20:14,040 --> 00:20:17,199
Speaker 3: Then I'm going to get you on the faith and

404
00:20:17,280 --> 00:20:20,920
Speaker 3: I just bust out the affort like all the type

405
00:20:20,960 --> 00:20:24,159
Speaker 3: of all the type of those were. Those were super funny,

406
00:20:24,400 --> 00:20:25,960
Speaker 3: But I just think the freedom of.

407
00:20:27,440 --> 00:20:27,840
Speaker 2: The free.

408
00:20:28,000 --> 00:20:30,760
Speaker 3: For me, it was the freedom of being able to

409
00:20:30,840 --> 00:20:35,400
Speaker 3: put my stamp there for me with a visionary that

410
00:20:35,760 --> 00:20:39,080
Speaker 3: kind of gave the the outline but didn't box us

411
00:20:39,080 --> 00:20:42,800
Speaker 3: in and allowed me and Big any other artist. The

412
00:20:42,840 --> 00:20:46,439
Speaker 3: locks makes all of them to just say, go for yours.

413
00:20:47,040 --> 00:20:50,520
Speaker 3: But I needed to hit this mark. I'm not gonna

414
00:20:50,520 --> 00:20:52,360
Speaker 3: tell you how to hit the mark, but it got

415
00:20:52,440 --> 00:20:54,840
Speaker 3: hit the mark. And that's kind of how anybody kind

416
00:20:54,840 --> 00:20:56,960
Speaker 3: of wants to be coached, you know what I'm saying.

417
00:20:57,040 --> 00:20:58,640
Speaker 2: I would think we're trying to get here.

418
00:20:58,920 --> 00:21:00,720
Speaker 3: I'm not gonna take you step by step to get

419
00:21:00,720 --> 00:21:02,760
Speaker 3: to it because I know you got some things, but

420
00:21:02,800 --> 00:21:04,560
Speaker 3: the goal is to get here. So if you don't

421
00:21:04,600 --> 00:21:08,280
Speaker 3: get there, then I'm gonna, you know, put some things

422
00:21:08,280 --> 00:21:09,960
Speaker 3: and tell you signs of things that can help us

423
00:21:10,280 --> 00:21:10,680
Speaker 3: get there.

424
00:21:10,920 --> 00:21:12,399
Speaker 2: That's what his role was. People.

425
00:21:12,440 --> 00:21:15,159
Speaker 4: And and if I recalled like because we had to

426
00:21:15,240 --> 00:21:18,000
Speaker 4: listen to session at Daddy's house, you know what I'm saying,

427
00:21:18,680 --> 00:21:20,600
Speaker 4: you know, drinking, and there's a lot of pictures out

428
00:21:20,600 --> 00:21:23,000
Speaker 4: there with us in the studio drinking and shy and

429
00:21:23,040 --> 00:21:23,960
Speaker 4: all some shit.

430
00:21:24,280 --> 00:21:28,160
Speaker 2: But he was super proud of the of the end product.

431
00:21:28,240 --> 00:21:30,080
Speaker 4: To me, that's the vibe that I got, you know

432
00:21:30,119 --> 00:21:32,080
Speaker 4: what I'm saying, Like you know, because every time a

433
00:21:32,160 --> 00:21:34,080
Speaker 4: song would go off, be like, Yo, trade what you think?

434
00:21:34,560 --> 00:21:37,080
Speaker 2: You know what I'm saying for another trade what you think?

435
00:21:37,200 --> 00:21:40,200
Speaker 4: Like like he was really vested, you know what I'm

436
00:21:40,200 --> 00:21:41,800
Speaker 4: saying in that in that project.

437
00:21:41,840 --> 00:21:42,400
Speaker 2: You know what I mean?

438
00:21:43,320 --> 00:21:45,480
Speaker 1: Life after Death to me, you can make a case

439
00:21:45,520 --> 00:21:48,040
Speaker 1: with all eyes on me as well. But I think

440
00:21:48,080 --> 00:21:52,359
Speaker 1: it's the only classic double disc that exists in music history.

441
00:21:53,440 --> 00:21:54,040
Speaker 2: Is Life After That.

442
00:21:54,160 --> 00:21:57,720
Speaker 1: We think about that and it's there's not a skip

443
00:21:57,760 --> 00:21:59,439
Speaker 1: on a double disc where I don't even know how

444
00:21:59,480 --> 00:22:00,920
Speaker 1: you achieved something like that.

445
00:22:02,119 --> 00:22:03,520
Speaker 2: Was outside of juicy.

446
00:22:03,640 --> 00:22:06,439
Speaker 1: Most of Ready to Die was pretty fucking grimy, like

447
00:22:06,640 --> 00:22:08,119
Speaker 1: it wasn't palatable.

448
00:22:08,600 --> 00:22:13,440
Speaker 5: The way Life After Death merged both those change.

449
00:22:13,840 --> 00:22:17,560
Speaker 1: Was that like intentional when you guys started that with

450
00:22:17,680 --> 00:22:21,320
Speaker 1: big like, bro, we're going juicy all the way on

451
00:22:21,359 --> 00:22:22,280
Speaker 1: this one.

452
00:22:23,119 --> 00:22:27,240
Speaker 3: The album starts off with previously on Life After Previously,

453
00:22:27,280 --> 00:22:30,080
Speaker 3: I'm ready to die.

454
00:22:29,320 --> 00:22:31,800
Speaker 2: Because it was almost like.

455
00:22:35,440 --> 00:22:39,040
Speaker 3: We bought it back to life like and usually when

456
00:22:39,040 --> 00:22:40,880
Speaker 3: people come back to life, they have a new take

457
00:22:40,960 --> 00:22:41,239
Speaker 3: on life.

458
00:22:41,280 --> 00:22:42,879
Speaker 5: Yeah, it's coming off suicidal thoughts.

459
00:22:43,080 --> 00:22:48,520
Speaker 2: Yeah right, that's what it's coming off of. So I

460
00:22:48,640 --> 00:22:50,119
Speaker 2: wasn't in favor of the concept.

461
00:22:50,320 --> 00:22:52,440
Speaker 3: You know, they knew that back then. That's that's been

462
00:22:52,480 --> 00:22:55,280
Speaker 3: never been. I didn't go there in photo shoots. I

463
00:22:55,280 --> 00:22:58,199
Speaker 3: didn't like all that cemetery shit. I was definitely not

464
00:22:58,240 --> 00:23:01,040
Speaker 3: in favor of it at all. But you know, it

465
00:23:01,080 --> 00:23:04,639
Speaker 3: wasn't my place at that time. So but I understood,

466
00:23:05,200 --> 00:23:09,600
Speaker 3: and I understood the magnitude because I've said on other

467
00:23:09,640 --> 00:23:11,919
Speaker 3: places we did that album.

468
00:23:12,119 --> 00:23:13,840
Speaker 2: We storyboarded that album.

469
00:23:14,080 --> 00:23:17,520
Speaker 3: So so what your comments are, it makes me feel

470
00:23:17,520 --> 00:23:21,040
Speaker 3: great because that's what movie directors and producers and execuive

471
00:23:21,040 --> 00:23:25,359
Speaker 3: producers want. We storyboard this thing because we wanted to

472
00:23:25,400 --> 00:23:29,720
Speaker 3: have this impact, and Life After Death was storyboarded like

473
00:23:29,760 --> 00:23:33,480
Speaker 3: a movie. Yeh, that's what I'm super proud of that,

474
00:23:33,800 --> 00:23:36,200
Speaker 3: you know what I mean. And they got to hear it,

475
00:23:36,560 --> 00:23:38,480
Speaker 3: that's the that's the beauty of it. He didn't die

476
00:23:38,640 --> 00:23:40,720
Speaker 3: not hearing his finished product.

477
00:23:40,840 --> 00:23:45,600
Speaker 1: Yeah yeah, And I'm I can only imagine that's like

478
00:23:45,680 --> 00:23:48,159
Speaker 1: really speaking words into existence. And I don't want to

479
00:23:48,160 --> 00:23:50,800
Speaker 1: get too dark in that, but it's crazy that you

480
00:23:50,840 --> 00:23:52,680
Speaker 1: thought that out the gate of like, I don't want

481
00:23:52,720 --> 00:23:54,679
Speaker 1: to be part of something called life after death. Like

482
00:23:55,000 --> 00:23:59,520
Speaker 1: unfortunately it manifested itself in that regard, but.

483
00:24:00,440 --> 00:24:01,840
Speaker 3: I didn't want to be a part of it. I

484
00:24:01,960 --> 00:24:06,600
Speaker 3: just conceptually, I just didn't think. You know, my mind

485
00:24:06,600 --> 00:24:09,359
Speaker 3: doesn't go that dark. I guess that's what it is. Yeah,

486
00:24:09,440 --> 00:24:11,560
Speaker 3: you know, I don't even talk death and all that.

487
00:24:11,680 --> 00:24:12,919
Speaker 3: You know, I just don't speak it up.

488
00:24:13,000 --> 00:24:15,840
Speaker 4: So but the records didn't even indicate such like you

489
00:24:15,920 --> 00:24:18,280
Speaker 4: don't look at the album Puff and then you listen

490
00:24:18,320 --> 00:24:19,200
Speaker 4: to the music.

491
00:24:19,040 --> 00:24:20,080
Speaker 2: Again, that's purposeful.

492
00:24:20,400 --> 00:24:22,720
Speaker 3: I'm sitting in there saying you ain't gonna have me talk,

493
00:24:23,000 --> 00:24:26,040
Speaker 3: ain't gonna have me and making records like this. I mean,

494
00:24:26,359 --> 00:24:28,359
Speaker 3: me and Big have had our back and forth about

495
00:24:28,640 --> 00:24:33,639
Speaker 3: verses and songs and you know, nah, aside from Puff

496
00:24:34,160 --> 00:24:37,960
Speaker 3: because nobody really wanted Puff in the studio because you know,

497
00:24:38,040 --> 00:24:41,800
Speaker 3: he's a hands on person. So those moments you talked about,

498
00:24:41,800 --> 00:24:43,400
Speaker 3: that was I was proud of when me and Big

499
00:24:43,440 --> 00:24:48,000
Speaker 3: were able to just and I was able to say, yeah,

500
00:24:48,200 --> 00:24:48,840
Speaker 3: you know what I'm saying.

501
00:24:49,359 --> 00:24:53,879
Speaker 1: Yeah, where was a big actual mind that during the

502
00:24:53,880 --> 00:24:56,440
Speaker 1: pock Then of course you got the ball of reasonable

503
00:24:56,480 --> 00:24:59,720
Speaker 1: doubt and Shoul probably have two PACs whatever, but never

504
00:24:59,720 --> 00:25:02,399
Speaker 1: got like a real I think a deal of bust rhymes.

505
00:25:02,400 --> 00:25:03,639
Speaker 2: Ship leaked.

506
00:25:05,520 --> 00:25:10,080
Speaker 1: That record is incredible and it's crazy that Big from

507
00:25:10,320 --> 00:25:15,560
Speaker 1: Diamonds on my Neck was I think you can find it.

508
00:25:15,560 --> 00:25:22,800
Speaker 1: It leaks and it gets deleted people listening, you can

509
00:25:22,880 --> 00:25:24,600
Speaker 1: find it somewhere I think in the depths of the

510
00:25:24,640 --> 00:25:26,600
Speaker 1: internet joint.

511
00:25:27,760 --> 00:25:30,200
Speaker 3: So they came off the presses, I was like, oh lord,

512
00:25:30,720 --> 00:25:31,880
Speaker 3: I have merced it.

513
00:25:32,520 --> 00:25:35,119
Speaker 1: As cool as Big played a lot of that stuff

514
00:25:35,320 --> 00:25:37,840
Speaker 1: of looking like he wasn't affected by any of it.

515
00:25:38,240 --> 00:25:41,280
Speaker 1: I can't imagine that there wasn't conversations about everything that

516
00:25:41,400 --> 00:25:42,080
Speaker 1: was going on.

517
00:25:42,200 --> 00:25:42,960
Speaker 2: Yeah, yeah, yeah.

518
00:25:42,960 --> 00:25:45,639
Speaker 3: The story real quick is you know, back in the

519
00:25:45,760 --> 00:25:48,439
Speaker 3: day's videos was getting announced. They came in the studio

520
00:25:48,440 --> 00:25:49,880
Speaker 3: one day. We happened all being.

521
00:25:49,720 --> 00:25:52,800
Speaker 2: There, you know, hit him up, that's coming on the TV.

522
00:25:53,520 --> 00:25:55,000
Speaker 3: You know that's what you tuned in, you know what

523
00:25:55,000 --> 00:26:00,000
Speaker 3: I mean, And he just was in there like, oh, Ship,

524
00:26:02,200 --> 00:26:05,480
Speaker 3: the word is like that, Like we didn't know it

525
00:26:05,520 --> 00:26:06,320
Speaker 3: was like that.

526
00:26:06,800 --> 00:26:07,760
Speaker 2: It's like that.

527
00:26:08,400 --> 00:26:10,880
Speaker 3: So of course first people heard the story about digg

528
00:26:10,960 --> 00:26:12,480
Speaker 3: him up and all of this stuff, because that was

529
00:26:12,520 --> 00:26:16,000
Speaker 3: a conversation you know what I'm saying, like, is he

530
00:26:16,080 --> 00:26:18,600
Speaker 3: really dead now? Like we're gonna you know, like, but

531
00:26:19,600 --> 00:26:22,280
Speaker 3: that was we weren't the antagonists. That's not our style.

532
00:26:23,400 --> 00:26:27,840
Speaker 3: So our bigg's response was, Wow, I'm not like that.

533
00:26:27,920 --> 00:26:30,000
Speaker 3: I gotta let this dude know that. That's not me,

534
00:26:30,240 --> 00:26:32,639
Speaker 3: you know what I'm saying, Like, what's happening here? But

535
00:26:34,840 --> 00:26:37,359
Speaker 3: this is a blood sport and I ain't no sucker

536
00:26:37,440 --> 00:26:41,760
Speaker 3: and we ain't no suckers. So chess is chess, so

537
00:26:41,760 --> 00:26:44,600
Speaker 3: we're gonna play chess. So we didn't I think was

538
00:26:44,680 --> 00:26:46,440
Speaker 3: let's just beat him with hit records. We ain't gonna

539
00:26:46,480 --> 00:26:48,920
Speaker 3: do all this. Let them do all that. Every time

540
00:26:48,960 --> 00:26:53,280
Speaker 3: they turn around, bam boom boom, upper cut. You know

541
00:26:53,320 --> 00:26:54,880
Speaker 3: what I'm saying, that's that was us.

542
00:26:55,200 --> 00:26:55,560
Speaker 2: Fuck it.

543
00:26:56,359 --> 00:26:58,800
Speaker 5: I cannot believe how mature Big was.

544
00:26:59,520 --> 00:27:01,400
Speaker 2: He didn't want to be let's not get his twisted.

545
00:27:01,560 --> 00:27:03,400
Speaker 2: He wasn't looking like gentlemen. Four year old.

546
00:27:03,440 --> 00:27:06,199
Speaker 5: To have that reaction to that is admirable to be.

547
00:27:06,960 --> 00:27:10,840
Speaker 2: The reaction was brit reaction was.

548
00:27:13,160 --> 00:27:15,600
Speaker 3: Everybody, you know, he got gutter, he got d rock,

549
00:27:15,640 --> 00:27:17,240
Speaker 3: he got banger, he got.

550
00:27:17,080 --> 00:27:17,840
Speaker 2: All these dudes.

551
00:27:17,880 --> 00:27:20,520
Speaker 3: You know what I'm saying, he got a ruger, he

552
00:27:20,560 --> 00:27:23,679
Speaker 3: got all these people that ready to you know, but

553
00:27:24,320 --> 00:27:27,560
Speaker 3: that ain't us overall. When remember there's a pot at

554
00:27:27,600 --> 00:27:29,119
Speaker 3: the end of this thing, we kind of get to

555
00:27:29,400 --> 00:27:32,040
Speaker 3: we still got a goal to achieve. And that's when

556
00:27:32,520 --> 00:27:34,840
Speaker 3: a twenty four to twenty five, twenty six year old

557
00:27:34,920 --> 00:27:37,080
Speaker 3: comes in. Twenty seven year olds come and say, I

558
00:27:37,080 --> 00:27:38,040
Speaker 3: ain't come this far.

559
00:27:37,960 --> 00:27:38,680
Speaker 2: To come this far?

560
00:27:38,840 --> 00:27:43,080
Speaker 3: Yeah, right, So think about it, we're all under thirty

561
00:27:43,440 --> 00:27:46,879
Speaker 3: making these type of decisions that critics sit back and

562
00:27:46,960 --> 00:27:48,920
Speaker 3: be looking at us like we were fifty year old

563
00:27:48,960 --> 00:27:50,520
Speaker 3: presidents of companies.

564
00:27:50,800 --> 00:27:52,359
Speaker 2: We're all in our twenties.

565
00:27:53,000 --> 00:27:58,240
Speaker 3: Children children in the business, not children because we fathers.

566
00:27:58,359 --> 00:28:01,960
Speaker 3: We we grown ass men. But these situations weren't how

567
00:28:02,040 --> 00:28:05,000
Speaker 3: to business for dummies. We didn't have these books. We

568
00:28:05,040 --> 00:28:08,320
Speaker 3: didn't have OG's guiding us like that in the community

569
00:28:08,640 --> 00:28:11,639
Speaker 3: or in the business. So I hate when these dudes

570
00:28:11,680 --> 00:28:15,000
Speaker 3: sit back with this criticism as if we were giving

571
00:28:15,080 --> 00:28:19,480
Speaker 3: these books and given this law and given these commandments

572
00:28:20,160 --> 00:28:23,480
Speaker 3: and we didn't follow them correctly. You know what I'm saying,

573
00:28:23,560 --> 00:28:27,280
Speaker 3: that's that's that's that's so when a young lady asked

574
00:28:27,280 --> 00:28:28,920
Speaker 3: what we want to talk about, we want to talk

575
00:28:28,960 --> 00:28:35,080
Speaker 3: about hip hop's creation of folklore, hip hop's creation of

576
00:28:35,119 --> 00:28:40,760
Speaker 3: opinions where they believe their opinion is so powerful that

577
00:28:40,800 --> 00:28:45,240
Speaker 3: they start to believe it to be true. So who

578
00:28:45,400 --> 00:28:49,000
Speaker 3: shatcha wasn't a group effort to citiz here said let's

579
00:28:49,000 --> 00:28:54,000
Speaker 3: make this long ass five minute record about clock, Like,

580
00:28:54,280 --> 00:28:55,960
Speaker 3: are you fucking serious?

581
00:28:58,280 --> 00:29:01,080
Speaker 2: Five minutes? We're gonna get it, dude, five minutes. We're

582
00:29:01,080 --> 00:29:03,800
Speaker 2: not doing that. Yeah, we're not doing that, So squash

583
00:29:03,840 --> 00:29:04,120
Speaker 2: all that.

584
00:29:04,200 --> 00:29:06,560
Speaker 3: So that's what I'm saying. These guys come in and

585
00:29:06,960 --> 00:29:09,280
Speaker 3: it must have been or what if? And you know,

586
00:29:09,440 --> 00:29:12,640
Speaker 3: and and I'll be like, yo, facts, if we just

587
00:29:12,760 --> 00:29:16,360
Speaker 3: talked to facts, all this would be they would be boomed.

588
00:29:16,440 --> 00:29:20,880
Speaker 3: So I mean, Big love Pop until it became time

589
00:29:21,040 --> 00:29:24,400
Speaker 3: was evident that it was just a game we're in.

590
00:29:24,440 --> 00:29:29,880
Speaker 3: So that's when you start realizing that these relationships are temporary,

591
00:29:30,960 --> 00:29:33,280
Speaker 3: necessary and temporary.

592
00:29:33,600 --> 00:29:35,120
Speaker 2: And it's outside.

593
00:29:35,160 --> 00:29:38,760
Speaker 3: So like on our new album, we explained that because

594
00:29:38,800 --> 00:29:41,959
Speaker 3: we had a moment and we decided that we couldn't

595
00:29:42,000 --> 00:29:45,960
Speaker 3: let this game change some of the things that we

596
00:29:46,000 --> 00:29:49,000
Speaker 3: went through that they had to have some meaning. So

597
00:29:49,400 --> 00:29:52,440
Speaker 3: for Big, some of those moments had meaning because you

598
00:29:52,440 --> 00:29:54,560
Speaker 3: hear Big daddy came talk about how when they brought

599
00:29:54,640 --> 00:29:57,560
Speaker 3: him together, talk about moments when they were together. You know,

600
00:29:57,720 --> 00:30:00,960
Speaker 3: he got stories about his wife, they made up stories,

601
00:30:01,000 --> 00:30:04,200
Speaker 3: whatever the stories are, but you got to deal with

602
00:30:04,240 --> 00:30:06,760
Speaker 3: that in real life. So why go through all that

603
00:30:06,800 --> 00:30:08,120
Speaker 3: if the relationship ain't real?

604
00:30:08,320 --> 00:30:12,600
Speaker 1: Yeah right, yeah, right, So you know that that was

605
00:30:12,680 --> 00:30:14,920
Speaker 1: kind of a do you feel like that it's been

606
00:30:14,960 --> 00:30:19,719
Speaker 1: a bit exploited with everything that is now like it's

607
00:30:19,800 --> 00:30:23,080
Speaker 1: it's become a whole genre in itself on YouTube when

608
00:30:23,120 --> 00:30:26,120
Speaker 1: it comes with pop and big and yeah, because everybody

609
00:30:26,720 --> 00:30:31,320
Speaker 1: they're like, they're interviewing random pedestrians that happened to be

610
00:30:31,320 --> 00:30:34,240
Speaker 1: walking by that day at this point that are giving

611
00:30:34,320 --> 00:30:36,680
Speaker 1: full narratives to what happened.

612
00:30:36,360 --> 00:30:40,080
Speaker 3: Exactly exactly, so at this point you can't change it.

613
00:30:40,880 --> 00:30:43,480
Speaker 3: What I just am going to be totally against is

614
00:30:43,480 --> 00:30:46,320
Speaker 3: when I hear someone trying to rewrite history.

615
00:30:46,480 --> 00:30:50,040
Speaker 2: Yeah there wasn't even there, that wasn't even there.

616
00:30:50,800 --> 00:30:54,959
Speaker 3: Yeah, That's when I step in and say, not that

617
00:30:55,000 --> 00:30:57,720
Speaker 3: I'm the you know, I'm the history police or nothing

618
00:30:57,760 --> 00:31:01,640
Speaker 3: like that, but if my legacy is attached to that

619
00:31:02,440 --> 00:31:04,720
Speaker 3: and it starts to get a little tarnished when I

620
00:31:04,840 --> 00:31:07,200
Speaker 3: try to keep my shit polished, and then I have

621
00:31:07,280 --> 00:31:09,760
Speaker 3: to speak up. Yeah, and that's what my issue is

622
00:31:09,760 --> 00:31:12,960
Speaker 3: with some of these stories. So Big love Park. He

623
00:31:13,040 --> 00:31:16,200
Speaker 3: wanted it to work out. It didn't work out. Unfortunately,

624
00:31:16,240 --> 00:31:20,200
Speaker 3: life took us on that crazy turn. Yeah, it was

625
00:31:20,240 --> 00:31:22,800
Speaker 3: that Trey was there to with. You know, we were

626
00:31:22,800 --> 00:31:24,040
Speaker 3: actually at the party that night.

627
00:31:24,080 --> 00:31:26,840
Speaker 2: He was there too. I had left.

628
00:31:27,800 --> 00:31:30,600
Speaker 4: We all left like together together, and I remember I

629
00:31:30,720 --> 00:31:33,320
Speaker 4: recalled and basically we left.

630
00:31:33,320 --> 00:31:34,200
Speaker 2: Big was right here.

631
00:31:34,320 --> 00:31:37,000
Speaker 4: We both left out, and I was I was feeling

632
00:31:37,120 --> 00:31:39,120
Speaker 4: kind of a I don't know what I was feeling,

633
00:31:39,160 --> 00:31:41,320
Speaker 4: but it was just awkward. And he was like, yo,

634
00:31:41,360 --> 00:31:43,640
Speaker 4: trade was the matter? I said, I don't know, man,

635
00:31:43,640 --> 00:31:45,800
Speaker 4: I just don't feel He's like, no, chill, PLAYBOYD were

636
00:31:45,800 --> 00:31:47,880
Speaker 4: about to go to the Playboard mansion. We was at

637
00:31:47,880 --> 00:31:50,520
Speaker 4: the Hugh Hefner's joint right after that. You know what

638
00:31:50,560 --> 00:31:52,719
Speaker 4: I'm saying, He goes to the right, I go to

639
00:31:52,760 --> 00:31:55,200
Speaker 4: the left. Next thing I know, Mark Pritch gets a

640
00:31:55,240 --> 00:31:59,160
Speaker 4: call two minutes later. You know what I'm saying, he

641
00:31:59,240 --> 00:31:59,720
Speaker 4: got shot.

642
00:32:01,080 --> 00:32:03,480
Speaker 1: What What did y'all do? Did y'all go right to

643
00:32:03,480 --> 00:32:06,440
Speaker 1: the hospital? Yep, yep, right out shot.

644
00:32:06,520 --> 00:32:09,160
Speaker 4: Matter of fact, I probably get because Mark went in

645
00:32:10,360 --> 00:32:12,120
Speaker 4: and Mark came out with the news.

646
00:32:11,920 --> 00:32:15,200
Speaker 3: First before it even hit the masses outside came out

647
00:32:15,240 --> 00:32:17,280
Speaker 3: first through the side of the Yeah right, seeds ran

648
00:32:17,320 --> 00:32:21,120
Speaker 3: out through the side ambalance entrant first right, screaming shirt offs,

649
00:32:21,200 --> 00:32:23,000
Speaker 3: pulling the shirt up. Everybody in the front of the

650
00:32:23,040 --> 00:32:25,920
Speaker 3: hospital's yeah, I just don't see so me and Chris

651
00:32:26,040 --> 00:32:27,920
Speaker 3: Ladham was shot to seize on that side.

652
00:32:28,000 --> 00:32:30,520
Speaker 2: Mark came with me and Mark walk front and.

653
00:32:30,440 --> 00:32:34,800
Speaker 3: Then that's why that's when everybody knew crazy.

654
00:32:34,880 --> 00:32:37,520
Speaker 2: Yeah, let's pick this up. Yeah, yeah, you got going

655
00:32:37,600 --> 00:32:41,840
Speaker 2: real quick, pick this up. It was not you know,

656
00:32:42,320 --> 00:32:47,480
Speaker 2: let's pick this up, No maul.

657
00:32:47,520 --> 00:32:49,200
Speaker 1: Your family reached out to me over the weekend. They

658
00:32:49,240 --> 00:32:53,239
Speaker 1: are very concerned. It was just just notified that you

659
00:32:53,280 --> 00:32:55,640
Speaker 1: are overpaying for your wireless right now, and your family

660
00:32:55,680 --> 00:32:58,800
Speaker 1: is very concerned because you could just unlock savings with

661
00:32:58,840 --> 00:33:02,720
Speaker 1: twenty five dollars a month forever with Boost Mobile. It's

662
00:33:02,760 --> 00:33:05,880
Speaker 1: a permanent price, it does not change, and your family.

663
00:33:05,600 --> 00:33:07,280
Speaker 2: Is sick of this. I'll keep the same number. You

664
00:33:07,320 --> 00:33:07,760
Speaker 2: can keep the.

665
00:33:07,720 --> 00:33:09,800
Speaker 1: Same number, the same phone, and someone will come and

666
00:33:09,880 --> 00:33:13,000
Speaker 1: just just do it for you. They could come right here. Yes, yes,

667
00:33:13,080 --> 00:33:15,880
Speaker 1: so stop terrifying your family. I'm tired of getting these calls.

668
00:33:15,880 --> 00:33:17,480
Speaker 1: They're concerned for you. This is an intervention.

669
00:33:17,680 --> 00:33:19,920
Speaker 6: This is an intervention based on average annual single line

670
00:33:19,920 --> 00:33:22,280
Speaker 6: payment of AT and T Verazon and T Mobile customers

671
00:33:22,280 --> 00:33:24,480
Speaker 6: compared to swelve months on the Boost Mobile Unlimited plan

672
00:33:24,640 --> 00:33:27,000
Speaker 6: as of January twenty twenty six. For full off of details,

673
00:33:27,080 --> 00:33:34,720
Speaker 6: visit boostmobile dot com.

674
00:33:34,800 --> 00:33:38,080
Speaker 5: All right, coming off a very morbid part.

675
00:33:38,200 --> 00:33:44,440
Speaker 7: Yeah, New York after Big did pass, Yeah, New York

676
00:33:44,520 --> 00:33:48,360
Speaker 7: was in a very interesting place between Na's already being

677
00:33:48,480 --> 00:33:53,680
Speaker 7: nas Hove, bubbling Wu tang, the lane was open.

678
00:33:54,240 --> 00:33:58,640
Speaker 1: What was that like in ninety seven when it was

679
00:33:58,680 --> 00:34:00,280
Speaker 1: wide open of who was going to be number one

680
00:34:00,320 --> 00:34:02,720
Speaker 1: in New York City? I mean, that was the least

681
00:34:03,000 --> 00:34:06,000
Speaker 1: They went right, went right to you. That was it

682
00:34:06,080 --> 00:34:06,920
Speaker 1: started Volume one.

683
00:34:07,040 --> 00:34:08,320
Speaker 2: That was the least of our thoughts.

684
00:34:08,480 --> 00:34:12,919
Speaker 3: Our thoughts were the person who started this, which was Puff,

685
00:34:13,040 --> 00:34:16,239
Speaker 3: was ready to quit. So you're a journalist, so you

686
00:34:16,280 --> 00:34:19,640
Speaker 3: know back in the days the Puffs album originally was

687
00:34:19,680 --> 00:34:22,400
Speaker 3: called one time it was called Hell Up in Harlem,

688
00:34:22,440 --> 00:34:24,080
Speaker 3: and one time it was called a good Fellas. You

689
00:34:24,160 --> 00:34:28,359
Speaker 3: never knew that the one I was like that shit

690
00:34:28,400 --> 00:34:31,240
Speaker 3: ain't gonna work for me, you know what I'm saying.

691
00:34:31,040 --> 00:34:31,360
Speaker 2: Why not?

692
00:34:31,840 --> 00:34:35,239
Speaker 3: Because you know, reality is that's my friend always. But

693
00:34:35,320 --> 00:34:38,319
Speaker 3: he wasn't a real rapp up, So for us to

694
00:34:38,360 --> 00:34:40,680
Speaker 3: take the approach like this is going to be a statement,

695
00:34:41,160 --> 00:34:43,040
Speaker 3: it was different. But he was ready to quit because

696
00:34:43,040 --> 00:34:45,200
Speaker 3: it was just a lot his friend, you know. So

697
00:34:45,719 --> 00:34:47,560
Speaker 3: that's when I came up with the title no Way Out.

698
00:34:48,000 --> 00:34:49,960
Speaker 3: So we were already thinking about anybody else because there

699
00:34:50,000 --> 00:34:51,400
Speaker 3: was there was no competition.

700
00:34:51,640 --> 00:34:54,440
Speaker 2: Jay was still not yeah a reasonable doll, So like

701
00:34:54,480 --> 00:34:55,279
Speaker 2: thirty thousand.

702
00:34:55,560 --> 00:35:00,239
Speaker 3: We weren't anythinking and and Park was already gone, and

703
00:35:00,320 --> 00:35:05,600
Speaker 3: no disrespect to anybody else, just there was an iconic

704
00:35:05,719 --> 00:35:08,080
Speaker 3: level that they had achieved that it was going to

705
00:35:08,160 --> 00:35:08,720
Speaker 3: take a lot.

706
00:35:08,960 --> 00:35:10,640
Speaker 2: Nas is not like nas.

707
00:35:10,400 --> 00:35:12,640
Speaker 3: Is one of those people you can't really put him

708
00:35:12,760 --> 00:35:16,560
Speaker 3: in anybody's box because his stripes have been earned through

709
00:35:16,560 --> 00:35:22,920
Speaker 3: the mud and and his his his general, his his

710
00:35:23,120 --> 00:35:26,879
Speaker 3: admiralship is earned. It can't be taken away, it can't

711
00:35:26,880 --> 00:35:29,880
Speaker 3: be boxed in. So there was enough nobody that we

712
00:35:29,880 --> 00:35:33,879
Speaker 3: were concerned with. The calls came in because they knew

713
00:35:33,880 --> 00:35:35,280
Speaker 3: that the sound.

714
00:35:36,560 --> 00:35:39,760
Speaker 2: Was still happening as they were speaking.

715
00:35:40,200 --> 00:35:43,360
Speaker 3: So even Buster Rohms came out with a record that

716
00:35:43,520 --> 00:35:48,600
Speaker 3: had a similar bop and vibe to the Benjamin. It

717
00:35:48,680 --> 00:35:52,239
Speaker 3: was dope separate, but in my humble opinion, it was

718
00:35:53,440 --> 00:35:54,840
Speaker 3: in that in that vein.

719
00:35:54,960 --> 00:35:56,040
Speaker 2: It had that boom.

720
00:35:56,320 --> 00:35:58,960
Speaker 3: And then I was telling you earlier, we get the

721
00:35:59,000 --> 00:36:02,920
Speaker 3: call from Rockefeller. Yeah, because there's a rush to get

722
00:36:03,160 --> 00:36:05,600
Speaker 3: We want y'all sound. We don't know who's going to

723
00:36:05,640 --> 00:36:10,080
Speaker 3: be the next, but we need that sound. So Rockefeller

724
00:36:10,160 --> 00:36:14,160
Speaker 3: called they that Big died in March. Rockefeller's album that

725
00:36:14,440 --> 00:36:15,960
Speaker 3: Volume one was out in December.

726
00:36:17,239 --> 00:36:21,040
Speaker 1: So can you clear up if those were throwaway big beats?

727
00:36:21,080 --> 00:36:25,759
Speaker 1: Sunshine City is Mine? Like where those throwaway big beats?

728
00:36:25,760 --> 00:36:29,799
Speaker 3: Okay, so that's already what I was talking about. Where

729
00:36:29,800 --> 00:36:36,680
Speaker 3: does the term throwaway come from? Since when does anybody

730
00:36:36,840 --> 00:36:40,000
Speaker 3: throw away anything of value?

731
00:36:40,280 --> 00:36:43,480
Speaker 2: Yeah, so that's what I'm saying.

732
00:36:43,520 --> 00:36:47,040
Speaker 3: When you guys make up terms and run with it,

733
00:36:47,800 --> 00:36:52,000
Speaker 3: there's no imagine me saying, Yo, these is my throwaway beats?

734
00:36:53,640 --> 00:36:56,360
Speaker 2: Right, throwaway beats. Now, I understand the concept.

735
00:36:56,680 --> 00:36:59,640
Speaker 3: They might not sell as much as another one may sell,

736
00:36:59,880 --> 00:37:02,640
Speaker 3: or I may give them to an artist that is

737
00:37:02,680 --> 00:37:05,680
Speaker 3: not as hot as whatever, But there was no such

738
00:37:05,719 --> 00:37:08,759
Speaker 3: thing as throwaway for nothing. First of all, Big was

739
00:37:09,200 --> 00:37:13,040
Speaker 3: a custom fitted artists, meaning you could have played Big

740
00:37:13,080 --> 00:37:15,799
Speaker 3: twenty beats. It don't mean they wasn't hot because Big

741
00:37:15,840 --> 00:37:18,520
Speaker 3: ain't take them. It just means Big ain't feel them.

742
00:37:18,520 --> 00:37:24,000
Speaker 3: Big didn't like the world is filled srange every time

743
00:37:24,800 --> 00:37:29,279
Speaker 3: the Locks didn't like the Benjamin cringe. Now because the

744
00:37:29,320 --> 00:37:31,360
Speaker 3: Locks didn't like it, it's a throw away beat.

745
00:37:32,239 --> 00:37:34,279
Speaker 2: That's idiotic. And that's what I'm saying.

746
00:37:34,320 --> 00:37:37,200
Speaker 3: The journalistic terms that people come up and run with

747
00:37:37,760 --> 00:37:40,040
Speaker 3: is where I'm like, well, you're getting throw away.

748
00:37:40,320 --> 00:37:41,920
Speaker 2: No, they were beats.

749
00:37:42,560 --> 00:37:45,160
Speaker 3: It's like a thousand other beats that Primo Mayor came

750
00:37:45,200 --> 00:37:48,479
Speaker 3: for Big, that Buck Wild might have played for Big and.

751
00:37:48,400 --> 00:37:49,360
Speaker 2: He didn't like them.

752
00:37:49,800 --> 00:37:54,640
Speaker 3: They don't become throwaway because Big didn't like them. Yeah,

753
00:37:54,719 --> 00:37:58,359
Speaker 3: they become someone else's. So there was no such thing

754
00:37:58,400 --> 00:38:00,879
Speaker 3: as throw away Bigs like, gonna use this for Big,

755
00:38:00,920 --> 00:38:02,440
Speaker 3: but it wasn't hot enough to We'll give it to

756
00:38:02,520 --> 00:38:05,359
Speaker 3: Jay Ship. Don't make no sense. It might have been

757
00:38:05,400 --> 00:38:07,040
Speaker 3: Big didn't like it, or Puff didn't like it.

758
00:38:07,280 --> 00:38:10,240
Speaker 1: Yeah, for what we were doing to fit the project,

759
00:38:10,280 --> 00:38:12,759
Speaker 1: I mean for Volume one, like I always felt it,

760
00:38:13,200 --> 00:38:17,279
Speaker 1: Volume one was the best representation of the hit Men.

761
00:38:17,360 --> 00:38:19,479
Speaker 1: To me, I know that's like not a popular take,

762
00:38:19,560 --> 00:38:22,960
Speaker 1: but if you go from the difference of a Sunshine

763
00:38:23,160 --> 00:38:26,200
Speaker 1: to Stevie j doing Lucky Me to you doing where

764
00:38:26,200 --> 00:38:31,839
Speaker 1: I'm From, that's the craziest range of musicality I've ever seen.

765
00:38:32,760 --> 00:38:34,919
Speaker 1: Sunshine where I'm from. It was like, yeah, what dog,

766
00:38:36,040 --> 00:38:37,439
Speaker 1: how do you do both of those things?

767
00:38:37,480 --> 00:38:38,360
Speaker 2: And what did do?

768
00:38:38,440 --> 00:38:41,680
Speaker 3: Didn't na do the one where he sold jokes to

769
00:38:41,719 --> 00:38:48,480
Speaker 3: his moms. Uh, he's oh uh miss miss miss miss

770
00:38:48,480 --> 00:38:49,120
Speaker 3: not missing me.

771
00:38:49,680 --> 00:38:51,279
Speaker 5: You must love me, you must love me, you must

772
00:38:51,320 --> 00:38:51,600
Speaker 5: love me.

773
00:38:51,880 --> 00:38:58,200
Speaker 2: That was not seen to me Stories Volume one is

774
00:38:58,239 --> 00:38:59,359
Speaker 2: I know he's high.

775
00:38:59,560 --> 00:39:01,960
Speaker 1: You go through everything you guys did, would marry everything

776
00:39:01,960 --> 00:39:05,839
Speaker 1: you guys did with with Big. But to me, after

777
00:39:06,080 --> 00:39:09,600
Speaker 1: total ones, everything to me volume one is the quintessential.

778
00:39:09,640 --> 00:39:11,640
Speaker 1: This is what the hit men are in the arrange.

779
00:39:13,960 --> 00:39:15,960
Speaker 1: You must love me like that? That's even crazy. I

780
00:39:16,000 --> 00:39:21,000
Speaker 1: don't even know that part like right for for for artists.

781
00:39:21,000 --> 00:39:24,399
Speaker 3: That's not bad Boy, that's not directed by Puff. That's

782
00:39:24,440 --> 00:39:27,800
Speaker 3: not y'all think it's programmed by Puff because he didn't

783
00:39:27,800 --> 00:39:29,719
Speaker 3: do that in reality, but people think so.

784
00:39:31,719 --> 00:39:35,880
Speaker 5: No, not even remotely close. But yeah, I'm it's still.

785
00:39:39,000 --> 00:39:43,840
Speaker 2: You know, I'm just poshing iOS a classic but crazy.

786
00:39:43,920 --> 00:39:47,560
Speaker 3: I don't really do list, but I've seen this out there,

787
00:39:47,920 --> 00:39:50,200
Speaker 3: and what's crazy to me is one of the songs

788
00:39:50,200 --> 00:39:52,440
Speaker 3: from off of Volume one is still one of his

789
00:39:52,600 --> 00:39:55,920
Speaker 3: top five songs out of all them albums and blueprints

790
00:39:55,960 --> 00:39:57,799
Speaker 3: and all that stuff. You're talking about Where I'm From

791
00:39:58,040 --> 00:39:59,960
Speaker 3: Rolling Stone name did his number one? So on I

792
00:40:00,040 --> 00:40:02,000
Speaker 3: to say is his, but he told me to my

793
00:40:02,080 --> 00:40:04,319
Speaker 3: face he ain't did a show where he ain't did

794
00:40:04,360 --> 00:40:04,919
Speaker 3: Where I'm from.

795
00:40:05,000 --> 00:40:05,480
Speaker 2: You got it.

796
00:40:05,560 --> 00:40:07,319
Speaker 1: I'm not saying this because you're sitting on the couch.

797
00:40:07,440 --> 00:40:09,839
Speaker 1: That's my favorite hip hop. It's either Shook One's Part

798
00:40:09,840 --> 00:40:11,800
Speaker 1: two or Where I'm From beat that are my favorite

799
00:40:11,840 --> 00:40:13,080
Speaker 1: beats I've ever had done, my.

800
00:40:13,040 --> 00:40:16,480
Speaker 2: Favorite j records Like it ain't even close. It ain't.

801
00:40:16,719 --> 00:40:17,520
Speaker 2: It's the woman to beat.

802
00:40:17,880 --> 00:40:19,560
Speaker 4: And I'm not just saying that because you're my man.

803
00:40:20,040 --> 00:40:23,240
Speaker 4: But that ain't like out of all of the records

804
00:40:23,239 --> 00:40:24,680
Speaker 4: that Jay got, and you got a lot of them,

805
00:40:24,719 --> 00:40:25,520
Speaker 4: you gotta pluck through.

806
00:40:25,520 --> 00:40:27,719
Speaker 1: That joint right then, Where I'm from? Did you have

807
00:40:27,760 --> 00:40:29,560
Speaker 1: hope in mind when you were making that?

808
00:40:29,760 --> 00:40:32,120
Speaker 2: Or No? That's my point.

809
00:40:32,400 --> 00:40:39,840
Speaker 3: No, no, how we how was the beat when it

810
00:40:39,920 --> 00:40:45,080
Speaker 3: was fresh off the Prusses. But it's it's we make

811
00:40:45,120 --> 00:40:50,239
Speaker 3: our own Stanley Steamers. If I sat around and had

812
00:40:50,239 --> 00:40:53,160
Speaker 3: to please another artist Palette, I would be broke.

813
00:40:54,600 --> 00:40:55,000
Speaker 5: It's a bar.

814
00:40:56,360 --> 00:40:59,800
Speaker 3: They have to get into our space. That's the relationship.

815
00:41:00,239 --> 00:41:07,080
Speaker 3: I play you something, my vibration cues yours, and even

816
00:41:07,080 --> 00:41:10,440
Speaker 3: if you're a rapper and you're dope, your vibration may

817
00:41:10,520 --> 00:41:14,040
Speaker 3: cue me to make something, but you still gotta love

818
00:41:14,080 --> 00:41:14,959
Speaker 3: it in.

819
00:41:14,920 --> 00:41:18,120
Speaker 2: Order for it tom to come to fruition. That's real.

820
00:41:18,400 --> 00:41:21,000
Speaker 3: I can't just make anything because I think Nahs is

821
00:41:21,040 --> 00:41:24,520
Speaker 3: gonna like it. Yeah, and then you play it for

822
00:41:24,600 --> 00:41:27,080
Speaker 3: him and he looks at you like that, ain't it so? No,

823
00:41:27,800 --> 00:41:30,239
Speaker 3: I don't know producers that you know unless actually you're

824
00:41:30,239 --> 00:41:32,800
Speaker 3: working on a project. Like if Justin Timberlake or Chris

825
00:41:32,840 --> 00:41:35,239
Speaker 3: Brown or somebody came to me and said I won't work,

826
00:41:35,400 --> 00:41:37,520
Speaker 3: then I'm doing my homework on those artists, and I'm

827
00:41:37,520 --> 00:41:40,120
Speaker 3: probably gonna cater to that artist. But if I'm just

828
00:41:40,480 --> 00:41:43,240
Speaker 3: like these average guys making beats and waking up and

829
00:41:43,280 --> 00:41:46,280
Speaker 3: getting a new NPC sample and just making a beat,

830
00:41:46,680 --> 00:41:47,360
Speaker 3: I'm sure.

831
00:41:47,200 --> 00:41:48,680
Speaker 2: They're not saying this.

832
00:41:48,640 --> 00:41:50,439
Speaker 3: Is for Drake and when I send it to him,

833
00:41:50,560 --> 00:41:51,600
Speaker 3: he's gonna love it.

834
00:41:53,520 --> 00:41:53,759
Speaker 2: Yeah.

835
00:41:54,320 --> 00:41:57,600
Speaker 3: No, I made this beat. Drake gets it, Jay gets it.

836
00:41:58,440 --> 00:41:59,719
Speaker 3: Whoever gets it?

837
00:41:59,719 --> 00:42:04,359
Speaker 2: It's are you? Yeah? Yeah? Yeah.

838
00:42:04,560 --> 00:42:07,480
Speaker 5: Did y'all think Jay was going to be what he

839
00:42:07,680 --> 00:42:08,720
Speaker 5: was at that time?

840
00:42:09,080 --> 00:42:09,799
Speaker 2: Yes? I did?

841
00:42:10,239 --> 00:42:13,920
Speaker 3: Yeah, yeah, I mean I was around it. So his work, ethic,

842
00:42:14,280 --> 00:42:17,240
Speaker 3: his study, you know, he studied. Come on, man, guys,

843
00:42:17,239 --> 00:42:20,439
Speaker 3: just he just louck up his dudents. Just don't look up.

844
00:42:21,520 --> 00:42:25,120
Speaker 3: They put in the work. Did you think I.

845
00:42:26,880 --> 00:42:27,759
Speaker 2: Did you think? Well?

846
00:42:27,800 --> 00:42:30,520
Speaker 1: I was six when reasonable talking about so I went

847
00:42:30,560 --> 00:42:31,480
Speaker 1: back the first.

848
00:42:31,280 --> 00:42:33,719
Speaker 2: The first J album I heard was like two old.

849
00:42:35,400 --> 00:42:37,400
Speaker 1: The first J album Meyer was was Volume two and

850
00:42:37,480 --> 00:42:41,719
Speaker 1: Jay was already not a star at that point. But yeah,

851
00:42:41,719 --> 00:42:44,240
Speaker 1: he was Jay by the time by the time I

852
00:42:44,280 --> 00:42:44,640
Speaker 1: heard that.

853
00:42:44,920 --> 00:42:48,120
Speaker 4: Yeah, Volume two, Yeah he was he that that's Volume

854
00:42:48,320 --> 00:42:49,000
Speaker 4: That's another thing.

855
00:42:49,040 --> 00:42:50,839
Speaker 2: So how old were you when Volume one came out?

856
00:42:51,760 --> 00:42:56,080
Speaker 1: I was seven? Okay, so yeah, ninety seven was Volume one? Right,

857
00:42:56,120 --> 00:42:59,880
Speaker 1: So think about this, So think about this. How hard

858
00:43:00,120 --> 00:43:00,520
Speaker 1: is it.

859
00:43:02,400 --> 00:43:06,439
Speaker 3: To listen to albums that predated you or predated your

860
00:43:06,520 --> 00:43:10,439
Speaker 3: ear for when you really became a fan. How can

861
00:43:10,480 --> 00:43:14,880
Speaker 3: you honestly judge that album if you weren't in that

862
00:43:15,000 --> 00:43:20,799
Speaker 3: moment of time. So I may have a love, I

863
00:43:20,840 --> 00:43:24,279
Speaker 3: may have the love for Stevie Wonder's albums. I may

864
00:43:24,320 --> 00:43:26,600
Speaker 3: think he's one of the greatest artists, which I do

865
00:43:26,960 --> 00:43:31,080
Speaker 3: of all time. But my appreciation for Stevie will never

866
00:43:31,120 --> 00:43:34,200
Speaker 3: be the same as my mother's. It will never be

867
00:43:34,239 --> 00:43:37,960
Speaker 3: the same as somebody of when it impacted. Because music

868
00:43:38,040 --> 00:43:41,920
Speaker 3: is the sign of the times, not of the future.

869
00:43:42,160 --> 00:43:45,160
Speaker 3: In most cases, and nine times out of ten, music

870
00:43:45,239 --> 00:43:48,480
Speaker 3: expresses the times that we are in. So if you

871
00:43:48,640 --> 00:43:51,319
Speaker 3: catch on to an album ten years later and are

872
00:43:51,360 --> 00:43:54,840
Speaker 3: able to criticize it and not able to put yourself

873
00:43:55,080 --> 00:43:58,200
Speaker 3: in those times, is that criticism fear.

874
00:44:00,160 --> 00:44:03,319
Speaker 1: So I agree with you, but I think that's the

875
00:44:03,360 --> 00:44:07,520
Speaker 1: definition of timeless. I was not there. I was not

876
00:44:07,719 --> 00:44:09,799
Speaker 1: there for a reasonable doubt, And this is kind of

877
00:44:09,840 --> 00:44:14,279
Speaker 1: like my I almost sound like the old man get

878
00:44:14,280 --> 00:44:17,680
Speaker 1: off my lawn in this regard, because I think that's

879
00:44:17,719 --> 00:44:20,120
Speaker 1: what's lacking in music now that I don't think this

880
00:44:20,160 --> 00:44:22,040
Speaker 1: is going to be Thomas. I was not there in

881
00:44:22,120 --> 00:44:24,560
Speaker 1: nineteen ninety six when reasonable Doubt came out. But I

882
00:44:24,600 --> 00:44:28,920
Speaker 1: can hear that and see the embodiment of genius and

883
00:44:29,000 --> 00:44:31,520
Speaker 1: classic in it. I don't need to be there for that,

884
00:44:31,600 --> 00:44:35,160
Speaker 1: because that's times I don't need to Marvin Gaye was

885
00:44:35,160 --> 00:44:37,080
Speaker 1: going on, I don't need to be there to know

886
00:44:37,239 --> 00:44:41,560
Speaker 1: this is but instill hitting my soul. So so with

887
00:44:41,719 --> 00:44:45,000
Speaker 1: that said, I have, like you know, I was in

888
00:44:45,040 --> 00:44:48,759
Speaker 1: my late teens early twenties during the blog era. There's

889
00:44:48,800 --> 00:44:52,120
Speaker 1: certain mixtapes that hold near and dear to my heart.

890
00:44:52,480 --> 00:44:54,600
Speaker 1: But if I played that for somebody that wasn't there

891
00:44:54,600 --> 00:44:56,239
Speaker 1: for that, they'd laugh at me and go like, bro,

892
00:44:56,640 --> 00:44:58,879
Speaker 1: you like this? Yeah, because I was there. You wasn't there,

893
00:44:58,880 --> 00:45:02,960
Speaker 1: You don't know. Timeless to me is reasonable doubt. Timeless

894
00:45:03,000 --> 00:45:04,560
Speaker 1: to me is life after death. I don't need to

895
00:45:04,640 --> 00:45:07,799
Speaker 1: be there to understand how amazing this music.

896
00:45:07,960 --> 00:45:11,399
Speaker 3: I didn't say understand it, I said critique it. See

897
00:45:11,400 --> 00:45:13,520
Speaker 3: there's a difference someone from it.

898
00:45:13,600 --> 00:45:15,719
Speaker 1: That's the difference. Like someone can critique the blog air

899
00:45:15,800 --> 00:45:18,080
Speaker 1: shit if they wasn't there. It's cool, I get it.

900
00:45:18,120 --> 00:45:20,520
Speaker 1: If you wasn't. There's little Wayne mixtapes that I know

901
00:45:20,560 --> 00:45:22,120
Speaker 1: people are like, bro, you really like this?

902
00:45:22,440 --> 00:45:22,959
Speaker 2: Years later?

903
00:45:23,320 --> 00:45:25,160
Speaker 1: Of course I do because I was there. There's also

904
00:45:25,239 --> 00:45:28,839
Speaker 1: timeless shit like what y'all did that? My daughter who's

905
00:45:28,880 --> 00:45:33,440
Speaker 1: three years old when she's fifteen, when I play Hypnotize.

906
00:45:33,960 --> 00:45:35,880
Speaker 2: She's gonna feel that like right.

907
00:45:36,040 --> 00:45:38,000
Speaker 1: But if I play her a mixtape record from Big

908
00:45:38,040 --> 00:45:39,600
Speaker 1: crit from the blog era, she'd be like, Dad, what

909
00:45:39,640 --> 00:45:40,160
Speaker 1: are you blaming me?

910
00:45:40,239 --> 00:45:40,319
Speaker 2: Right?

911
00:45:40,400 --> 00:45:40,480
Speaker 1: Right?

912
00:45:40,560 --> 00:45:42,279
Speaker 5: But that's the difference to me with Tom.

913
00:45:42,360 --> 00:45:43,640
Speaker 2: Why can't you continue to dude?

914
00:45:44,960 --> 00:45:47,959
Speaker 3: I'm not saying you can't critique it. I'm saying how

915
00:45:48,000 --> 00:45:50,800
Speaker 3: you critique it is. So, for example, you can't compare

916
00:45:52,120 --> 00:45:58,160
Speaker 3: Future in this moment in time to a classic made

917
00:45:58,200 --> 00:46:00,560
Speaker 3: in the nineties for many reasons.

918
00:46:01,320 --> 00:46:04,360
Speaker 2: But some of the critiques.

919
00:46:03,800 --> 00:46:06,399
Speaker 3: That come based on what I hear, and I'm saying

920
00:46:06,400 --> 00:46:11,440
Speaker 3: not everybody does it. I'm saying one technology changes everything.

921
00:46:12,440 --> 00:46:15,879
Speaker 3: Some of these dudes are able to put themselves in

922
00:46:15,920 --> 00:46:18,760
Speaker 3: your ear and in your faces more so.

923
00:46:18,920 --> 00:46:19,560
Speaker 2: Than we were.

924
00:46:20,560 --> 00:46:23,759
Speaker 3: So to even get one of our songs, you had

925
00:46:23,800 --> 00:46:27,680
Speaker 3: to work at it, right. So if you critique in

926
00:46:28,200 --> 00:46:32,560
Speaker 3: someone's album from back then, the work that went in

927
00:46:32,880 --> 00:46:36,200
Speaker 3: to put a tape on that machine to get this

928
00:46:36,560 --> 00:46:39,440
Speaker 3: sound that we wanted out of it pruscious to know

929
00:46:39,520 --> 00:46:42,319
Speaker 3: that we only had even though it said forty eight,

930
00:46:42,640 --> 00:46:45,040
Speaker 3: we could only really use forty six because we had

931
00:46:45,040 --> 00:46:46,960
Speaker 3: to use one for sympthy, and you had to keep

932
00:46:46,960 --> 00:46:49,680
Speaker 3: one away from the sympty, So we were putting three

933
00:46:49,760 --> 00:46:52,959
Speaker 3: things on one track to make it sound a certain way.

934
00:46:53,320 --> 00:46:56,919
Speaker 2: So the critique is like, huh, do y'all know.

935
00:46:56,800 --> 00:46:58,759
Speaker 3: What we had to go through to get this song

936
00:46:58,880 --> 00:47:02,400
Speaker 3: to this point for your Whereas these guys can go

937
00:47:02,440 --> 00:47:04,799
Speaker 3: online and say, give me a beat that sounds like

938
00:47:04,960 --> 00:47:08,880
Speaker 3: future or sounds like drake and it's pop up like

939
00:47:08,920 --> 00:47:09,400
Speaker 3: a toaster.

940
00:47:09,520 --> 00:47:13,160
Speaker 4: But isn't the end result the end result, like at

941
00:47:13,160 --> 00:47:16,520
Speaker 4: the end of the day, regard of what the process was,

942
00:47:16,640 --> 00:47:19,000
Speaker 4: the end result of the end result is dope or not?

943
00:47:19,200 --> 00:47:23,600
Speaker 3: We don't what is the end result. So my question

944
00:47:23,760 --> 00:47:28,319
Speaker 3: is what is dope? And who gets to critique the dopeness?

945
00:47:28,920 --> 00:47:31,800
Speaker 3: And my thing is to your point and our future

946
00:47:31,840 --> 00:47:33,759
Speaker 3: is not the example. But there's plenty of artists that

947
00:47:33,800 --> 00:47:36,040
Speaker 3: would not be artists right now unless it was a lick.

948
00:47:36,280 --> 00:47:39,359
Speaker 3: They realize you and I'm telling you you also get

949
00:47:39,840 --> 00:47:41,319
Speaker 3: a fan base that does the same thing.

950
00:47:41,360 --> 00:47:44,080
Speaker 1: They're not music fans. They just want to be heard

951
00:47:44,120 --> 00:47:49,439
Speaker 1: and critique something. But I definitely everyone has a voice now,

952
00:47:49,480 --> 00:47:53,399
Speaker 1: so you can critique something without listening to it at all.

953
00:47:53,440 --> 00:47:54,960
Speaker 1: You're not even really a fan of music, you're a

954
00:47:54,960 --> 00:47:56,480
Speaker 1: fan of critiquing, So.

955
00:47:57,320 --> 00:47:58,520
Speaker 2: I think that's what I'm saying.

956
00:47:58,840 --> 00:48:01,520
Speaker 1: That's what I'm saying that I wouldn't even focus on

957
00:48:01,560 --> 00:48:04,520
Speaker 1: that because those people wouldn't be speaking unless it was

958
00:48:04,520 --> 00:48:10,960
Speaker 1: trendy together. They're not really critiquing, but you just want to.

959
00:48:09,200 --> 00:48:13,239
Speaker 3: Speaking it because they're filling the spaces in that. Me

960
00:48:13,320 --> 00:48:15,480
Speaker 3: and Trey talk about this all the time. If we

961
00:48:15,480 --> 00:48:19,759
Speaker 3: were able to get around some of these blockages that

962
00:48:19,840 --> 00:48:25,120
Speaker 3: are because of opportunity and technology, what you're asking for

963
00:48:25,320 --> 00:48:26,800
Speaker 3: would probably filter through.

964
00:48:27,400 --> 00:48:29,640
Speaker 2: But in order for people like us in our.

965
00:48:29,560 --> 00:48:32,840
Speaker 3: Age, there's a whole wall of system that you have

966
00:48:32,920 --> 00:48:36,520
Speaker 3: to go through simply because I can critique, so I will.

967
00:48:37,640 --> 00:48:44,200
Speaker 3: And if you multiply that, and what's the word exponentially

968
00:48:44,320 --> 00:48:48,879
Speaker 3: or exponentially exponentially, it's people like you said that could

969
00:48:48,920 --> 00:48:51,560
Speaker 3: just wake up and say I don't like that, and

970
00:48:51,600 --> 00:48:54,520
Speaker 3: here's why, And then there's a bunch of followers and

971
00:48:54,600 --> 00:48:58,320
Speaker 3: people that will now jump on that train just because

972
00:48:58,360 --> 00:48:58,880
Speaker 3: they can't.

973
00:48:59,160 --> 00:49:02,080
Speaker 1: It's monetization because I can get paid by X right

974
00:49:02,120 --> 00:49:05,719
Speaker 1: now by typing something out, and the most engagement is

975
00:49:05,840 --> 00:49:10,400
Speaker 1: going to be focused from a hateful world it's negativity

976
00:49:10,440 --> 00:49:13,640
Speaker 1: is going to spread way quicker than anything. And it's

977
00:49:13,640 --> 00:49:15,920
Speaker 1: the same way with artists that makes shitty music. You

978
00:49:15,920 --> 00:49:17,799
Speaker 1: wouldn't be an artist unless you knew it was a lick.

979
00:49:18,040 --> 00:49:20,000
Speaker 1: You wouldn't be a critiquer unless you knew it was

980
00:49:20,000 --> 00:49:22,320
Speaker 1: a lick. It's more a lick at that point.

981
00:49:22,360 --> 00:49:22,759
Speaker 2: I get it.

982
00:49:23,840 --> 00:49:26,919
Speaker 1: Even now, it's it's trendy to hate jay Z now,

983
00:49:27,160 --> 00:49:29,520
Speaker 1: even when he's about to fund he's selling out Yankee

984
00:49:29,560 --> 00:49:33,879
Speaker 1: stadiums three nights ye, And it's become trendy to hate

985
00:49:33,920 --> 00:49:36,279
Speaker 1: on him because if I put up a tweet on

986
00:49:36,560 --> 00:49:41,200
Speaker 1: X right now, that is your hoves of fucking rapist,

987
00:49:41,320 --> 00:49:42,000
Speaker 1: terrible rapper.

988
00:49:42,680 --> 00:49:43,719
Speaker 2: I can make money off that.

989
00:49:43,800 --> 00:49:46,799
Speaker 4: But that, but that baffles me with I mean, you know,

990
00:49:46,840 --> 00:49:47,799
Speaker 4: it's outside of music.

991
00:49:47,840 --> 00:49:52,920
Speaker 2: Jalen hurts every blogger. Every you mentioned Jalen hurts.

992
00:49:53,120 --> 00:49:56,480
Speaker 4: Your hits go up exponentially, you know what I'm saying,

993
00:49:56,960 --> 00:49:59,840
Speaker 4: Or any type of hate towards Jalen like chance to

994
00:50:00,600 --> 00:50:04,479
Speaker 4: that that that probably would never talk about him. He's

995
00:50:04,600 --> 00:50:07,759
Speaker 4: always in the forefront of every.

996
00:50:07,800 --> 00:50:12,040
Speaker 3: Yeah, if I Puff, if I spoke on Puff the

997
00:50:12,080 --> 00:50:14,720
Speaker 3: way that other people did and went and told Derek

998
00:50:14,800 --> 00:50:20,360
Speaker 3: Angeletti's stories Boom. I probably have seven point eight million

999
00:50:20,440 --> 00:50:23,359
Speaker 3: follows right now. I probably you know what I'm saying.

1000
00:50:24,000 --> 00:50:27,560
Speaker 3: So that's what I mean. Like, the sensationalism of it

1001
00:50:27,600 --> 00:50:30,959
Speaker 3: is a little difficult to get around when you're trying

1002
00:50:31,000 --> 00:50:35,080
Speaker 3: to do what you're looking for and find timelessness in

1003
00:50:35,120 --> 00:50:38,040
Speaker 3: some of this. So it's almost like we talked about,

1004
00:50:38,160 --> 00:50:40,240
Speaker 3: is there ever going to be a hit record again?

1005
00:50:40,880 --> 00:50:42,520
Speaker 2: Can I call you hypocrite real quick? Yes?

1006
00:50:43,840 --> 00:50:47,520
Speaker 5: You and fifty invented this ship, invented what they hate.

1007
00:50:47,640 --> 00:50:53,040
Speaker 1: How to rob is the first troll that's ever existed.

1008
00:50:55,080 --> 00:51:00,719
Speaker 2: But it came with a disclaimer. But they don't hear that.

1009
00:51:00,800 --> 00:51:09,960
Speaker 3: They don't hear hear it this serious the disclaim them

1010
00:51:10,120 --> 00:51:12,319
Speaker 3: You know what I'm I can say. I went into

1011
00:51:12,400 --> 00:51:15,680
Speaker 3: it saying, Yo, this record is crazy, but this is

1012
00:51:15,719 --> 00:51:17,600
Speaker 3: what happens when we get high and when you broke.

1013
00:51:19,080 --> 00:51:22,080
Speaker 3: So we put a disclaimer on it and it was funny.

1014
00:51:22,320 --> 00:51:25,080
Speaker 3: So I do understand what you're saying. I'm joking to.

1015
00:51:28,000 --> 00:51:29,640
Speaker 2: Facetious, you know what I'm saying to you.

1016
00:51:29,719 --> 00:51:31,880
Speaker 3: Yes, some people and took it and ran with it

1017
00:51:31,920 --> 00:51:35,360
Speaker 3: because it's something that my og told me that he

1018
00:51:35,480 --> 00:51:38,920
Speaker 3: said in this business, there's almost a certain level of

1019
00:51:39,000 --> 00:51:44,319
Speaker 3: minimal minimum, minimal minimum consequences. Yeah, so some of these

1020
00:51:44,400 --> 00:51:48,959
Speaker 3: actions that happened became really big to us because there's

1021
00:51:49,200 --> 00:51:51,600
Speaker 3: much more crimes and much more hateful than things that

1022
00:51:51,600 --> 00:51:54,040
Speaker 3: have been done. And people didn't get punched in the faithful,

1023
00:51:54,200 --> 00:51:55,319
Speaker 3: people didn't get shot for.

1024
00:51:55,600 --> 00:51:57,560
Speaker 2: People didn't do this for so.

1025
00:51:59,239 --> 00:52:01,759
Speaker 3: That record to show, Wow, he could come out because

1026
00:52:01,800 --> 00:52:03,839
Speaker 3: all I got calls from, you know, God bless pun

1027
00:52:03,960 --> 00:52:07,080
Speaker 3: and Missy was a little upset and people were upset.

1028
00:52:07,360 --> 00:52:10,960
Speaker 3: So what you're gonna do about it? How upset are you?

1029
00:52:10,960 --> 00:52:13,400
Speaker 3: You weren't that upset because nothing happened in fifty as

1030
00:52:13,440 --> 00:52:15,719
Speaker 3: a result of it. The beef he got into some

1031
00:52:15,760 --> 00:52:17,960
Speaker 3: street other stuff had nothing to do with the records.

1032
00:52:18,120 --> 00:52:21,440
Speaker 3: And I knew from me being Derek Angeletti in the business,

1033
00:52:21,680 --> 00:52:22,640
Speaker 3: what you're gonna do to me?

1034
00:52:23,520 --> 00:52:25,360
Speaker 2: I wish the nigga would That's how I was feeling,

1035
00:52:25,360 --> 00:52:25,560
Speaker 2: you know what.

1036
00:52:25,560 --> 00:52:28,239
Speaker 3: I'm saying, Like it was like it was like so

1037
00:52:28,320 --> 00:52:30,319
Speaker 3: my point is my point of saying is we might

1038
00:52:30,400 --> 00:52:33,680
Speaker 3: initiated it, but we came and said we're keeping it

1039
00:52:33,719 --> 00:52:36,360
Speaker 3: within the realms of fun.

1040
00:52:37,120 --> 00:52:39,760
Speaker 2: But that's some of the dreams from from from big

1041
00:52:40,000 --> 00:52:42,120
Speaker 2: you know what I'm saying. Yeah, yeah, it's just the

1042
00:52:42,200 --> 00:52:42,880
Speaker 2: same type.

1043
00:52:42,680 --> 00:52:45,840
Speaker 1: Of ultimate because I've seen, like some of the streamers

1044
00:52:45,840 --> 00:52:48,000
Speaker 1: that do the troll and shit from their their basement

1045
00:52:48,080 --> 00:52:51,400
Speaker 1: everything talk about like, well I learned from fifty.

1046
00:52:52,160 --> 00:52:54,560
Speaker 5: This has always been my difference with that.

1047
00:52:54,840 --> 00:52:58,200
Speaker 1: Yes, fifty is a troll, but fifty is also beefed

1048
00:52:59,120 --> 00:53:01,840
Speaker 1: with the craze easiest people in New York City his

1049
00:53:02,080 --> 00:53:04,279
Speaker 1: entire career and was outside and accessible.

1050
00:53:04,600 --> 00:53:06,520
Speaker 5: Anything Fifty said he had to deal with.

1051
00:53:07,320 --> 00:53:08,520
Speaker 2: I agree totally.

1052
00:53:08,600 --> 00:53:10,400
Speaker 1: Like that to me, that's not like I'm joking when

1053
00:53:10,400 --> 00:53:14,680
Speaker 1: I said it was trolling. But fifty went head to

1054
00:53:14,760 --> 00:53:17,800
Speaker 1: head with ship we won't even talk about on this podcast,

1055
00:53:17,880 --> 00:53:22,000
Speaker 1: Like he said something and was there to deal with

1056
00:53:22,480 --> 00:53:24,719
Speaker 1: the consequences of what the fuck he was talking about.

1057
00:53:25,040 --> 00:53:27,400
Speaker 2: And again nothing, fifty was.

1058
00:53:27,400 --> 00:53:27,799
Speaker 5: The first troll.

1059
00:53:27,880 --> 00:53:29,800
Speaker 2: He was a troll. He was outside, he was outside,

1060
00:53:30,200 --> 00:53:32,640
Speaker 2: you roll him behind the computer, you know.

1061
00:53:33,040 --> 00:53:36,279
Speaker 3: I agree totally. And nothing came to fist the cuffs.

1062
00:53:36,320 --> 00:53:38,719
Speaker 3: Nothing really, you know, it did a little bit here

1063
00:53:38,719 --> 00:53:41,640
Speaker 3: and there, but nothing to the point where you know,

1064
00:53:41,719 --> 00:53:42,640
Speaker 3: hip hop had to come.

1065
00:53:42,560 --> 00:53:44,480
Speaker 2: And say, we need to cut this out. This is

1066
00:53:44,600 --> 00:53:47,200
Speaker 2: just beyond we lose part we already lost, Biggie.

1067
00:53:48,200 --> 00:53:51,680
Speaker 3: You know what I'm saying, Like I think, I think

1068
00:53:51,680 --> 00:53:54,320
Speaker 3: there's just a level of entertainment that I wish everybody

1069
00:53:54,320 --> 00:53:58,400
Speaker 3: would embrace. And I wish that the hip hop purists

1070
00:53:58,400 --> 00:53:59,759
Speaker 3: would understand.

1071
00:54:00,520 --> 00:54:02,120
Speaker 2: That you're never going to get that.

1072
00:54:02,719 --> 00:54:04,560
Speaker 3: I know I'm never gonna get it, But it has

1073
00:54:04,600 --> 00:54:09,160
Speaker 3: to be said that they have to remove themselves from

1074
00:54:09,239 --> 00:54:13,200
Speaker 3: thinking that the game we are playing, that's a game,

1075
00:54:14,280 --> 00:54:16,880
Speaker 3: should have some keep it real rules to it.

1076
00:54:19,160 --> 00:54:25,040
Speaker 2: So that's the part of saying, I hear you business.

1077
00:54:25,239 --> 00:54:29,719
Speaker 3: There's a sector people that think that even though we

1078
00:54:29,800 --> 00:54:32,640
Speaker 3: don't even have an ounce of control of the game

1079
00:54:32,719 --> 00:54:36,160
Speaker 3: that we're playing, we signed contracts, we get in it,

1080
00:54:36,400 --> 00:54:38,920
Speaker 3: we do all of this stuff, and we want to

1081
00:54:38,960 --> 00:54:42,840
Speaker 3: create another set of rules for keep it real within

1082
00:54:42,960 --> 00:54:45,919
Speaker 3: this game. And when guys like us stepped out and said,

1083
00:54:45,960 --> 00:54:49,040
Speaker 3: we're not gonna be in your box with that underground,

1084
00:54:49,120 --> 00:54:51,920
Speaker 3: backpack purist shit, We're gonna try to go for the

1085
00:54:51,960 --> 00:54:54,319
Speaker 3: bread because that's what this business called.

1086
00:54:54,320 --> 00:54:55,280
Speaker 2: It is called the.

1087
00:54:55,080 --> 00:55:00,840
Speaker 3: Record making business, the song business. So why would I

1088
00:55:00,960 --> 00:55:04,040
Speaker 3: go into it and not want to sell the most

1089
00:55:04,280 --> 00:55:05,799
Speaker 3: music I possibly can't?

1090
00:55:06,080 --> 00:55:08,560
Speaker 2: That's idiotic and stupid.

1091
00:55:08,880 --> 00:55:12,319
Speaker 3: But these guys believe that we're supposed to keep it

1092
00:55:12,560 --> 00:55:16,200
Speaker 3: so real that I should damage my pockets to please

1093
00:55:16,239 --> 00:55:17,320
Speaker 3: a group of people.

1094
00:55:19,400 --> 00:55:20,640
Speaker 2: I'm glad you said it.

1095
00:55:21,120 --> 00:55:22,960
Speaker 3: That's the most dumbest And that's why when I have

1096
00:55:23,120 --> 00:55:27,400
Speaker 3: these conversations, would say, hip you gotta what's real hip hop?

1097
00:55:27,640 --> 00:55:28,840
Speaker 2: You know what real hip.

1098
00:55:28,640 --> 00:55:31,200
Speaker 3: Hop to me is it's like a jungle sometimes and

1099
00:55:31,280 --> 00:55:34,200
Speaker 3: make a wonder you want to stay there. So all

1100
00:55:34,239 --> 00:55:37,080
Speaker 3: those guys that scream real hip hop, those are the

1101
00:55:37,080 --> 00:55:41,640
Speaker 3: guys usually that are broke, didn't make it, they got

1102
00:55:41,680 --> 00:55:44,560
Speaker 3: some issues because it didn't happen.

1103
00:55:44,600 --> 00:55:47,799
Speaker 2: They're still wearing the same style of clothes they wore

1104
00:55:47,920 --> 00:55:50,759
Speaker 2: it when they were hot. Those are the guys that

1105
00:55:50,880 --> 00:55:51,320
Speaker 2: screamed that.

1106
00:55:51,960 --> 00:55:55,000
Speaker 3: Those are the guys I would never sell out them

1107
00:55:55,080 --> 00:55:58,120
Speaker 3: records and these records are not Yeah, how okay, then

1108
00:55:58,320 --> 00:55:59,520
Speaker 3: go through it in the train station.

1109
00:56:00,080 --> 00:56:02,560
Speaker 2: It really means that much to you. Don't try to

1110
00:56:02,600 --> 00:56:06,319
Speaker 2: get to get in the business. This means that much

1111
00:56:06,360 --> 00:56:07,440
Speaker 2: to you.

1112
00:56:07,560 --> 00:56:12,680
Speaker 3: Like do like the Israelites do, like the Pacific Jews

1113
00:56:12,760 --> 00:56:14,520
Speaker 3: or whatever, and they go out and they stand on

1114
00:56:14,520 --> 00:56:18,040
Speaker 3: the corner and they give the gospel. Don't make no

1115
00:56:18,120 --> 00:56:22,239
Speaker 3: money from it. Don't do merch. Those underground guys, I

1116
00:56:22,280 --> 00:56:26,440
Speaker 3: guarantee you. I bet a thousand dollars for anybody when

1117
00:56:26,480 --> 00:56:30,000
Speaker 3: they go on the road. They don't invite everybody to

1118
00:56:30,040 --> 00:56:34,880
Speaker 3: their room to read books. Let's find out what the

1119
00:56:34,920 --> 00:56:39,200
Speaker 3: new book is this week. Let's have a leadership meeting

1120
00:56:39,560 --> 00:56:42,160
Speaker 3: about what's happening in the black community. And I'm sitting

1121
00:56:42,200 --> 00:56:45,160
Speaker 3: there down in Memphis with all these country chicks. No,

1122
00:56:45,280 --> 00:56:50,200
Speaker 3: they fucking they drugs. They're doing drugs, They're doing all

1123
00:56:50,239 --> 00:56:52,480
Speaker 3: that shit. It's all of them guys that change their

1124
00:56:52,640 --> 00:56:55,560
Speaker 3: names and all this crazy shit. I've been looking at

1125
00:56:55,600 --> 00:57:03,160
Speaker 3: them like sucker, just posturing for whatever if it makes

1126
00:57:03,200 --> 00:57:03,720
Speaker 3: no sense.

1127
00:57:07,760 --> 00:57:08,279
Speaker 2: That's real.

1128
00:57:08,840 --> 00:57:14,200
Speaker 3: They fucking the bitches that got sneakers on fits baseball hats.

1129
00:57:14,320 --> 00:57:18,360
Speaker 3: They fucking just like us, them niggas. They sitting around

1130
00:57:18,400 --> 00:57:21,640
Speaker 3: trying to do what's the new booklest What were you

1131
00:57:21,720 --> 00:57:23,280
Speaker 3: reading this week?

1132
00:57:23,800 --> 00:57:26,919
Speaker 2: I was reading France Fan, What were you reading? They're

1133
00:57:26,960 --> 00:57:27,720
Speaker 2: not doing that.

1134
00:57:28,040 --> 00:57:30,640
Speaker 3: They make y'all think that they're so for our community,

1135
00:57:30,680 --> 00:57:33,919
Speaker 3: and they so that every day in their lives. It's

1136
00:57:34,000 --> 00:57:38,080
Speaker 3: fit try the better. The hip hop communities getting these dudes.

1137
00:57:38,120 --> 00:57:41,320
Speaker 3: It's crazy. Five baby, mothers just like the rest of us.

1138
00:57:41,360 --> 00:57:41,720
Speaker 2: For ship.

1139
00:57:42,200 --> 00:57:45,959
Speaker 4: Listen, man, what these niggas would Yeah, man, I think

1140
00:57:46,520 --> 00:57:49,240
Speaker 4: that was that was definitely a straight and they hit

1141
00:57:49,280 --> 00:57:50,040
Speaker 4: a couple of people.

1142
00:57:50,160 --> 00:57:54,600
Speaker 2: I hope it hits what spot. Just let hip hop

1143
00:57:54,680 --> 00:57:58,760
Speaker 2: be hip hop. It's it's it's vast the ray, It's.

1144
00:57:58,680 --> 00:58:02,400
Speaker 3: It's the United Colors of been in it been that way,

1145
00:58:02,400 --> 00:58:04,760
Speaker 3: big big what you pey? When dude said hip hop

1146
00:58:04,840 --> 00:58:07,480
Speaker 3: started when we were in the community, we were doing this,

1147
00:58:07,680 --> 00:58:10,520
Speaker 3: I like them to name five records from nineteen seventy

1148
00:58:10,600 --> 00:58:13,360
Speaker 3: nine to nineteen eighty five that any positivity in it

1149
00:58:13,520 --> 00:58:14,160
Speaker 3: except for the.

1150
00:58:14,120 --> 00:58:16,600
Speaker 2: Message that's real. Five records.

1151
00:58:17,360 --> 00:58:19,400
Speaker 3: I know when that movement came when I was in

1152
00:58:19,440 --> 00:58:23,840
Speaker 3: Two Kings in the Spher ten years later. This hip

1153
00:58:23,880 --> 00:58:27,800
Speaker 3: hop didn't start off with nothing but being broke and

1154
00:58:27,880 --> 00:58:31,200
Speaker 3: talking about it, having skills and talking about it. I

1155
00:58:31,360 --> 00:58:34,000
Speaker 3: never heard Mo d make a positive record in my life.

1156
00:58:34,120 --> 00:58:36,640
Speaker 3: I never heard Busy be get up there and say

1157
00:58:36,960 --> 00:58:38,960
Speaker 3: to the bop and we need to stop.

1158
00:58:38,760 --> 00:58:44,520
Speaker 2: Shooting each other, let's go. I ain't never heard that ship.

1159
00:58:45,080 --> 00:58:51,440
Speaker 3: I heard I'm Getting Money is popping in Yeah.

1160
00:58:49,800 --> 00:58:52,760
Speaker 1: Harris one was volin yeah Yeah, And then all these

1161
00:58:52,760 --> 00:58:54,000
Speaker 1: guys talking about the eighties.

1162
00:58:54,040 --> 00:59:00,800
Speaker 3: Guys like the eighties guys rock him. What I recall

1163
00:59:00,920 --> 00:59:02,720
Speaker 3: I loved you know the guard is I love the

1164
00:59:02,720 --> 00:59:06,520
Speaker 3: God the Guard at Dollar signs on his own man chains.

1165
00:59:08,280 --> 00:59:10,600
Speaker 3: He was a fop per center. But you can't tell

1166
00:59:10,680 --> 00:59:11,920
Speaker 3: me he wasn't about.

1167
00:59:11,720 --> 00:59:13,640
Speaker 2: Getting money thinking of a master plan.

1168
00:59:13,760 --> 00:59:16,240
Speaker 1: It's with Eric b Okay, what was the name of

1169
00:59:16,240 --> 00:59:18,840
Speaker 1: the album?

1170
00:59:20,360 --> 00:59:23,080
Speaker 2: This ain't nothing but sweating side niggas talk about this

1171
00:59:23,120 --> 00:59:24,760
Speaker 2: real hip hop? What about E p m D. Their

1172
00:59:24,840 --> 00:59:32,160
Speaker 2: names was Eric in Parish baking word that the word

1173
00:59:32,200 --> 00:59:38,720
Speaker 2: hip hop worded. They were super hip hop. But they

1174
00:59:38,840 --> 00:59:41,240
Speaker 2: was trying to get paid. You got died in his bag,

1175
00:59:41,320 --> 00:59:44,400
Speaker 2: ladies and gentlemen, you got paid.

1176
00:59:44,640 --> 00:59:48,080
Speaker 3: There was never a moment in hip hop when nobody

1177
00:59:48,200 --> 00:59:48,960
Speaker 3: was trying.

1178
00:59:48,680 --> 00:59:49,480
Speaker 2: To get paid.

1179
00:59:50,640 --> 00:59:53,040
Speaker 3: Even in two Kings in the Cipher, we were making

1180
00:59:53,120 --> 00:59:54,320
Speaker 3: trying to make hit records.

1181
00:59:55,560 --> 00:59:59,200
Speaker 2: It wasn't all just we are neighbors, we are.

1182
00:59:59,440 --> 01:00:01,040
Speaker 3: It wasn't just that we had a record on our

1183
01:00:01,080 --> 01:00:03,560
Speaker 3: unquo with our neighbors. It wasn't just that.

1184
01:00:04,200 --> 01:00:06,520
Speaker 4: So man got a big long caddy, not like to

1185
01:00:06,640 --> 01:00:08,480
Speaker 4: bill written right on the side.

1186
01:00:08,160 --> 01:00:10,280
Speaker 2: To be re dressed to kill wright.

1187
01:00:10,920 --> 01:00:14,680
Speaker 3: So all of this hip hop was about positivity hip hop.

1188
01:00:14,960 --> 01:00:17,800
Speaker 2: No, it wasn't. No, it wasn't.

1189
01:00:18,120 --> 01:00:20,840
Speaker 3: We had one record that these guys made and all

1190
01:00:20,840 --> 01:00:24,080
Speaker 3: of a sudden we put the whole genre in the message,

1191
01:00:25,720 --> 01:00:26,880
Speaker 3: one record.

1192
01:00:28,480 --> 01:00:30,520
Speaker 2: That he didn't even write. Why is this?

1193
01:00:30,600 --> 01:00:30,680
Speaker 1: So?

1194
01:00:30,800 --> 01:00:32,720
Speaker 5: I was literally it was before you guys.

1195
01:00:32,760 --> 01:00:34,760
Speaker 1: Came on the phone with my man Jesse Boykins and

1196
01:00:34,800 --> 01:00:39,080
Speaker 1: we were joking about the the neo soul image of

1197
01:00:39,120 --> 01:00:41,080
Speaker 1: ship and I'm like, yo, these hip hop heads think

1198
01:00:41,160 --> 01:00:42,840
Speaker 1: slum Village is this positive ship?

1199
01:00:43,160 --> 01:00:45,360
Speaker 5: Jay Dillar starts off the first record, What's up with

1200
01:00:45,360 --> 01:00:45,760
Speaker 5: the three.

1201
01:00:45,640 --> 01:00:51,040
Speaker 1: Screw Man clip that.

1202
01:00:53,160 --> 01:00:56,600
Speaker 2: I'm just saying. I'm just saying, what my problem? Those are?

1203
01:00:56,600 --> 01:01:02,120
Speaker 1: My guys love? I've ever like pause, Jamie Ler sayo,

1204
01:01:02,120 --> 01:01:02,880
Speaker 1: what's up with the three?

1205
01:01:03,680 --> 01:01:05,320
Speaker 2: When the audiopogies come from?

1206
01:01:05,320 --> 01:01:09,040
Speaker 3: And that's from people sitting around creating their own thing

1207
01:01:09,120 --> 01:01:10,160
Speaker 3: and then running with it.

1208
01:01:10,840 --> 01:01:11,080
Speaker 2: You know.

1209
01:01:11,640 --> 01:01:16,280
Speaker 3: I'm from Brooklyn, New York from the seventies. I was

1210
01:01:16,400 --> 01:01:22,280
Speaker 3: twelve years old when Rappers Delight came out, so I'm

1211
01:01:22,400 --> 01:01:25,040
Speaker 3: fully aware of what it was, well, fully aware of

1212
01:01:25,040 --> 01:01:27,760
Speaker 3: the lyrics. I'm fully aware of what it was. So

1213
01:01:27,880 --> 01:01:30,360
Speaker 3: by the time all these other records came out, mind you,

1214
01:01:30,400 --> 01:01:32,640
Speaker 3: they were records out before rappers are like that was

1215
01:01:32,640 --> 01:01:37,600
Speaker 3: a commercial success. There was white boys rapping in seventy nine.

1216
01:01:38,360 --> 01:01:41,320
Speaker 3: There were records with white men doing hip hop and

1217
01:01:41,360 --> 01:01:44,240
Speaker 3: white women in seventy nine. You could look on the

1218
01:01:44,240 --> 01:01:46,040
Speaker 3: list when you look on the list of records that

1219
01:01:46,080 --> 01:01:49,240
Speaker 3: came out seventy nine and eighty. So by the time

1220
01:01:49,320 --> 01:01:52,560
Speaker 3: we get to eighty five eighty four, you got Slick Rick,

1221
01:01:52,640 --> 01:01:56,000
Speaker 3: you got ll you got run DMC rapping over rock records.

1222
01:01:56,480 --> 01:01:58,919
Speaker 2: How hip hop keep it real?

1223
01:01:59,080 --> 01:02:02,280
Speaker 3: Is this when one of the greatest acts of all

1224
01:02:02,440 --> 01:02:09,360
Speaker 3: time got seven records with rock beats under them, rock

1225
01:02:09,440 --> 01:02:12,760
Speaker 3: beats they wasn't around and that No, I'm just saying

1226
01:02:12,800 --> 01:02:15,479
Speaker 3: to you that just shows you the globalness of where

1227
01:02:15,480 --> 01:02:16,600
Speaker 3: we were going back then.

1228
01:02:16,720 --> 01:02:19,479
Speaker 2: Yeah, yeah, yeah, sure one. DMC didn't have a whole

1229
01:02:19,480 --> 01:02:20,640
Speaker 2: bunch of records of Kumbay.

1230
01:02:20,720 --> 01:02:25,919
Speaker 1: Y'all was trying to give Aerosmith, right, right, So I'm

1231
01:02:25,960 --> 01:02:27,400
Speaker 1: just saying MTV.

1232
01:02:27,480 --> 01:02:29,640
Speaker 2: They were trying to get the TV. The goal was.

1233
01:02:29,680 --> 01:02:32,920
Speaker 3: Always get money in hip hop from the time it started.

1234
01:02:33,200 --> 01:02:38,080
Speaker 3: Sylvia Robinson did not form The sugar Hill Game to

1235
01:02:38,120 --> 01:02:40,800
Speaker 3: be a gospel group at the at the at the

1236
01:02:40,880 --> 01:02:41,760
Speaker 3: b MB and back.

1237
01:02:43,880 --> 01:02:47,080
Speaker 2: And going to gospel. Gospel. That's not what she did,

1238
01:02:47,120 --> 01:02:49,400
Speaker 2: That's not what this was for. And she got ghost

1239
01:02:49,440 --> 01:02:51,440
Speaker 2: writers for it, right.

1240
01:02:50,840 --> 01:02:53,560
Speaker 3: So let's let's let's keep it one hundred. I don't

1241
01:02:53,640 --> 01:02:54,520
Speaker 3: understand all this.

1242
01:02:56,120 --> 01:02:59,120
Speaker 2: Let's keep it real. Let's go back to real hip hop.

1243
01:02:59,360 --> 01:03:03,960
Speaker 3: Now that yeah, which is what all bullsh the entire

1244
01:03:04,240 --> 01:03:07,840
Speaker 3: they ain't right now that ship. Who Let me ask

1245
01:03:07,880 --> 01:03:09,520
Speaker 3: you a question, and I want you keep it one hundred.

1246
01:03:10,080 --> 01:03:12,960
Speaker 3: Who got more white fans? Puffy or Wu Tang Wu

1247
01:03:13,080 --> 01:03:16,520
Speaker 3: tang Wang? Who's not even who would you consider more

1248
01:03:16,560 --> 01:03:16,959
Speaker 3: hip hop?

1249
01:03:18,560 --> 01:03:20,760
Speaker 2: White people love hip hop? I'm asking you who you

1250
01:03:20,760 --> 01:03:27,640
Speaker 2: would consider more Wu Tang or Puffy. You gotta think

1251
01:03:27,640 --> 01:03:30,720
Speaker 2: about that, not really who is it.

1252
01:03:30,960 --> 01:03:33,160
Speaker 6: I'm curious on Rory's answer because he's we talk about

1253
01:03:33,160 --> 01:03:34,120
Speaker 6: white people who like hip hop.

1254
01:03:34,120 --> 01:03:36,560
Speaker 2: That's why I got quiet. Oh you're saying that.

1255
01:03:36,600 --> 01:03:38,600
Speaker 5: Oh, I've been.

1256
01:03:38,600 --> 01:03:42,160
Speaker 1: Speaking for it for ten years and impartial to everything

1257
01:03:42,360 --> 01:03:44,480
Speaker 1: with Puff after that video, this and that, I've been

1258
01:03:44,920 --> 01:03:47,960
Speaker 1: one of the loudest advocates of Puff having the greatest

1259
01:03:48,000 --> 01:03:49,040
Speaker 1: ear next to Quincy Jones.

1260
01:03:49,080 --> 01:03:50,360
Speaker 2: I think I've heard you say that.

1261
01:03:50,720 --> 01:03:52,960
Speaker 3: I think Puff is I just said, if you ask

1262
01:03:53,000 --> 01:03:54,360
Speaker 3: the average hip hop, I.

1263
01:03:54,240 --> 01:03:58,280
Speaker 1: Can't who's hip hop embodies. If you were to look

1264
01:03:58,360 --> 01:04:02,320
Speaker 1: up hip hop in the fucking dictionary, puff like just

1265
01:04:02,320 --> 01:04:05,920
Speaker 1: say majority won a majority like the Yeah, the nerdy

1266
01:04:05,960 --> 01:04:08,240
Speaker 1: wipe Yeah, they would say not even nerdy.

1267
01:04:07,920 --> 01:04:12,200
Speaker 3: White people purist hip hop backpacks. When you say hip hop,

1268
01:04:12,640 --> 01:04:16,680
Speaker 3: you don't think Jermaine dupri or Puff Daddy when you

1269
01:04:16,680 --> 01:04:19,560
Speaker 3: say hip hop, when you say rat music to me,

1270
01:04:20,640 --> 01:04:24,920
Speaker 3: which is the same the same to you. But there's

1271
01:04:24,960 --> 01:04:27,400
Speaker 3: clearly a separation, as you can see. That's been one

1272
01:04:27,400 --> 01:04:30,400
Speaker 3: of our biggest things. It's clear separation between real hip

1273
01:04:30,400 --> 01:04:32,160
Speaker 3: hop and what the rest of you guys do.

1274
01:04:32,800 --> 01:04:35,440
Speaker 2: That's not us making that up. That's coming. You've heard that.

1275
01:04:37,800 --> 01:04:41,600
Speaker 2: So and so there's a line where it might say Wu.

1276
01:04:41,480 --> 01:04:48,560
Speaker 3: Tang is considered real hip hop, Puffy or the Jermaine's

1277
01:04:48,680 --> 01:04:53,960
Speaker 3: or the likes of a rat music because they make

1278
01:04:54,080 --> 01:04:59,800
Speaker 3: a certain type of record. And I'm saying hip hop

1279
01:04:59,840 --> 01:05:02,480
Speaker 3: is the time man hip hop has. All of that

1280
01:05:02,560 --> 01:05:05,800
Speaker 3: is hip hop. But there's been some type of separation.

1281
01:05:06,200 --> 01:05:09,360
Speaker 3: So for me, I wish somebody tell me that I

1282
01:05:09,400 --> 01:05:11,640
Speaker 3: ain't hip hop like but I'm.

1283
01:05:11,480 --> 01:05:13,240
Speaker 2: Saying to you, but it's been for you produced.

1284
01:05:14,360 --> 01:05:16,960
Speaker 3: But I'm saying it's been said simply because of the

1285
01:05:17,040 --> 01:05:20,800
Speaker 3: style of records that has been made and the way

1286
01:05:20,840 --> 01:05:24,560
Speaker 3: the raps go and who your audience is. So because

1287
01:05:24,560 --> 01:05:27,400
Speaker 3: if you target a certain audience that ain't hip.

1288
01:05:27,200 --> 01:05:31,439
Speaker 4: Hop is rappers, that light hip hop, absolutely hip hop, right,

1289
01:05:32,080 --> 01:05:35,520
Speaker 4: But because you know somebody took the baseline from Good Times,

1290
01:05:35,560 --> 01:05:37,480
Speaker 4: they'll probably say, oh no, that ain't hip hop.

1291
01:05:37,560 --> 01:05:41,280
Speaker 1: So I've had this conversation with Ninth Wonder and I've

1292
01:05:41,280 --> 01:05:43,840
Speaker 1: had the conversation with Fonse. They have a brilliant theory

1293
01:05:44,080 --> 01:05:46,360
Speaker 1: of where the split you guys are talking about happened.

1294
01:05:46,880 --> 01:05:50,600
Speaker 1: It happened with it was written and day Light Soul

1295
01:05:50,680 --> 01:05:53,480
Speaker 1: stakes is high, and everyone just went this way. You

1296
01:05:53,560 --> 01:05:57,160
Speaker 1: either went underground or you went that side.

1297
01:05:57,200 --> 01:06:03,400
Speaker 2: I tell you, that's that's howday Okay.

1298
01:06:03,440 --> 01:06:06,800
Speaker 3: So yeah, that's that's my point. Before that, it happened

1299
01:06:06,840 --> 01:06:07,440
Speaker 3: way before that.

1300
01:06:07,520 --> 01:06:07,800
Speaker 2: Okay.

1301
01:06:07,800 --> 01:06:10,400
Speaker 1: That's where they say that the whole split happened between

1302
01:06:10,440 --> 01:06:13,280
Speaker 1: the Underground and if you liked Flossy Ship it was

1303
01:06:13,440 --> 01:06:13,960
Speaker 1: it was due.

1304
01:06:15,200 --> 01:06:19,880
Speaker 3: Happened way before that. Happen Wait before that, it happened

1305
01:06:19,920 --> 01:06:22,680
Speaker 3: during my era. If I had to give an opinion

1306
01:06:22,720 --> 01:06:25,280
Speaker 3: on when it happened. It happened during my era when

1307
01:06:25,280 --> 01:06:31,640
Speaker 3: I was rapping, clear separation of positive rap, gangster rap.

1308
01:06:33,080 --> 01:06:36,960
Speaker 3: Day Last Soul is another one of those groups that,

1309
01:06:38,080 --> 01:06:40,160
Speaker 3: as great as they were and as great as they are,

1310
01:06:43,840 --> 01:06:48,280
Speaker 3: didn't dictate the direction of hip hop musically. The albums

1311
01:06:48,280 --> 01:06:51,440
Speaker 3: were great, but there's no second or third Day Lost,

1312
01:06:52,040 --> 01:06:52,840
Speaker 3: There's no repeat.

1313
01:06:54,000 --> 01:06:57,560
Speaker 1: Ironically, their biggest record would be considered not hip hop,

1314
01:06:58,240 --> 01:07:01,040
Speaker 1: which is what me myself and I why would that

1315
01:07:01,080 --> 01:07:02,040
Speaker 1: be considered that?

1316
01:07:02,040 --> 01:07:10,760
Speaker 2: That's more sellout me when I look at them.

1317
01:07:10,600 --> 01:07:13,120
Speaker 1: But they're considering real hip hop, but their biggest record

1318
01:07:13,120 --> 01:07:13,960
Speaker 1: would because they're not.

1319
01:07:15,080 --> 01:07:19,440
Speaker 3: My point is for them, nothing about them is any separation.

1320
01:07:19,680 --> 01:07:21,800
Speaker 3: They were the type of group that can do a

1321
01:07:22,000 --> 01:07:25,200
Speaker 3: to Z and it was hip hop, That's what I mean.

1322
01:07:25,720 --> 01:07:28,240
Speaker 2: So they didn't so so like.

1323
01:07:29,400 --> 01:07:31,480
Speaker 3: You had a comment about what's what's the name of

1324
01:07:31,520 --> 01:07:36,400
Speaker 3: the album jay Z's Volume one? It sounded bad boy

1325
01:07:36,560 --> 01:07:41,600
Speaker 3: ish or they're artists that sound you know, masish or

1326
01:07:41,680 --> 01:07:43,000
Speaker 3: locksish or.

1327
01:07:45,200 --> 01:07:49,600
Speaker 2: Couldn't duplicate day No show me? How how how do

1328
01:07:49,640 --> 01:07:52,960
Speaker 2: you duplicate that with? Who would watch? How? So they

1329
01:07:53,160 --> 01:07:55,480
Speaker 2: kind of boom and what's the other group you said,

1330
01:07:55,520 --> 01:07:58,440
Speaker 2: they said, uh, Nas, it was written and then day.

1331
01:07:58,560 --> 01:08:01,200
Speaker 3: That was just by the time it was written was out,

1332
01:08:01,920 --> 01:08:04,920
Speaker 3: which was ninety six, Okay, right by the time that happened,

1333
01:08:05,840 --> 01:08:14,120
Speaker 3: we had already uh crowned Nas. But again, NAS's albums,

1334
01:08:14,240 --> 01:08:16,800
Speaker 3: and I'm just speaking from a guy who was in

1335
01:08:16,880 --> 01:08:21,760
Speaker 3: the game at the time, weren't blueprints on how to

1336
01:08:21,800 --> 01:08:28,880
Speaker 3: make albums because he wasn't doing the universal Daylight thing,

1337
01:08:29,040 --> 01:08:32,160
Speaker 3: or the universal bad boy thing, or the universal Doctor

1338
01:08:32,200 --> 01:08:35,080
Speaker 3: Dre and Them thing. He tried it with If I

1339
01:08:35,160 --> 01:08:35,840
Speaker 3: Ruled the World.

1340
01:08:36,280 --> 01:08:41,080
Speaker 5: Yeah, right, but that was a nice point with the fans.

1341
01:08:41,280 --> 01:08:43,880
Speaker 1: The fans either went to Daylight, which then gets you

1342
01:08:43,920 --> 01:08:45,160
Speaker 1: into the slum village like that.

1343
01:08:45,360 --> 01:08:47,920
Speaker 5: Or dealer worlds, or you go with if I Rule

1344
01:08:47,960 --> 01:08:48,639
Speaker 5: the World, which.

1345
01:08:48,439 --> 01:08:50,000
Speaker 2: Then you go to im with Nas. And now you're

1346
01:08:50,040 --> 01:08:51,120
Speaker 2: back with Puff. Hate me.

1347
01:08:51,160 --> 01:08:54,599
Speaker 3: Now you're not back with Puff, You're back with the

1348
01:08:54,960 --> 01:08:57,960
Speaker 3: what we do. We're in the music business. You see

1349
01:08:58,000 --> 01:09:00,280
Speaker 3: what you just said. It almost seemed like Puff is

1350
01:09:00,320 --> 01:09:03,519
Speaker 3: the face for when you go commercial. Yeah, and I'm

1351
01:09:03,520 --> 01:09:07,479
Speaker 3: saying that's not the case. Puff was doing what Doctor Dre,

1352
01:09:07,920 --> 01:09:10,479
Speaker 3: what baby face with Princeton, Michael Johnson.

1353
01:09:10,680 --> 01:09:12,400
Speaker 2: We're all trying to go commercial.

1354
01:09:12,680 --> 01:09:14,599
Speaker 3: Why all of a sudden did he become the poster

1355
01:09:14,760 --> 01:09:17,160
Speaker 3: boy for commerciality.

1356
01:09:17,360 --> 01:09:19,880
Speaker 4: But then there were other splits involved in that too.

1357
01:09:20,160 --> 01:09:23,080
Speaker 4: It ain't just the Nia's way or the Daylight way.

1358
01:09:23,320 --> 01:09:26,000
Speaker 4: There was a West Coast sound, there was a down

1359
01:09:26,040 --> 01:09:28,599
Speaker 4: South sound, there was a there were many, but they

1360
01:09:28,640 --> 01:09:30,720
Speaker 4: all trying to make it That's what I'm saying. But

1361
01:09:30,760 --> 01:09:34,000
Speaker 4: there were many directions that didn't cause a split per se.

1362
01:09:34,200 --> 01:09:34,760
Speaker 2: Even then.

1363
01:09:35,479 --> 01:09:38,639
Speaker 1: It was just watching the California Love video with Pocking Dragon, right,

1364
01:09:38,720 --> 01:09:40,720
Speaker 1: does that look like trying to keep it real for it?

1365
01:09:40,800 --> 01:09:43,960
Speaker 2: No's they trying to sell fucking records record And.

1366
01:09:43,920 --> 01:09:46,000
Speaker 3: I don't understand why you signed to a label and

1367
01:09:46,000 --> 01:09:48,000
Speaker 3: theydn't want to tell everybody to keep it real, and

1368
01:09:48,120 --> 01:09:51,559
Speaker 3: you broke as hell. I don't even get it, So

1369
01:09:51,600 --> 01:09:53,599
Speaker 3: that didn't make sense to me. So I was never

1370
01:09:53,640 --> 01:09:55,439
Speaker 3: on that real hip hop. I don't even use that

1371
01:09:55,600 --> 01:09:58,200
Speaker 3: term real hip hop. I don't even know understand what

1372
01:09:58,280 --> 01:10:01,000
Speaker 3: that means. It's all hip hop, it's all birth from

1373
01:10:01,040 --> 01:10:06,120
Speaker 3: the same original birthplace, and it's gonna have his branches.

1374
01:10:06,360 --> 01:10:09,080
Speaker 3: Older cats ain't gonna like certain things, Younger cats ain't

1375
01:10:09,080 --> 01:10:11,559
Speaker 3: gonna like them certain things, and that should be more

1376
01:10:11,840 --> 01:10:15,160
Speaker 3: than okay, that should be more than okay, you know

1377
01:10:15,160 --> 01:10:17,200
Speaker 3: what I'm saying, but it's not for some people.

1378
01:10:17,479 --> 01:10:19,719
Speaker 2: They and then, like I said, you got these.

1379
01:10:19,640 --> 01:10:23,559
Speaker 3: Kids that are maybe in their twenties now and would

1380
01:10:23,600 --> 01:10:29,200
Speaker 3: actually say something about jay Z is ridiculous to me.

1381
01:10:29,479 --> 01:10:32,960
Speaker 3: It'd be like, you know Lebron, which he never did.

1382
01:10:33,280 --> 01:10:35,720
Speaker 3: Lebron can't never speak on Kareem.

1383
01:10:35,439 --> 01:10:37,639
Speaker 2: Abdul Jabal, doctor j Byrd.

1384
01:10:38,240 --> 01:10:40,599
Speaker 3: He can't ever say anything out of his mouth. He

1385
01:10:40,720 --> 01:10:44,960
Speaker 3: wasn't there. And they've earned their space in time. And

1386
01:10:45,040 --> 01:10:48,800
Speaker 3: if the generation after us would understand that there is

1387
01:10:48,880 --> 01:10:52,400
Speaker 3: no comparison where we didn't try to do that. We

1388
01:10:52,600 --> 01:10:54,920
Speaker 3: just tried to take with Kain and Rock Kim and

1389
01:10:55,000 --> 01:10:58,240
Speaker 3: KRS and LL and Slick and g Rapp was doing

1390
01:10:58,840 --> 01:10:59,719
Speaker 3: and make it better.

1391
01:11:00,080 --> 01:11:02,120
Speaker 2: Mm hmm. That's it.

1392
01:11:02,640 --> 01:11:08,639
Speaker 3: So these kids will evolve want to say dead kill y'all,

1393
01:11:09,360 --> 01:11:15,720
Speaker 3: like cut it off, y'all mean nothing. The foundation you

1394
01:11:15,760 --> 01:11:18,800
Speaker 3: standing on is what we built. So that's the mentality

1395
01:11:18,840 --> 01:11:21,240
Speaker 3: that throws me off a little bit about these critiques

1396
01:11:21,439 --> 01:11:22,120
Speaker 3: and about this thing.

1397
01:11:22,160 --> 01:11:23,880
Speaker 2: It's not just a critique, it's almost like.

1398
01:11:24,240 --> 01:11:27,840
Speaker 3: Go away, die, you meant nothing to this game were

1399
01:11:28,479 --> 01:11:30,519
Speaker 3: we already knew, and this is how it's going to go.

1400
01:11:30,960 --> 01:11:33,280
Speaker 2: It's hard so hard pillows follow some time. You know

1401
01:11:33,320 --> 01:11:33,760
Speaker 2: what I'm saying.

1402
01:11:38,000 --> 01:11:40,280
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1432
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Speaker 5: Maull I know you see the difference in the beers.

1433
01:12:57,760 --> 01:13:01,120
Speaker 1: I know you said you was looking a little bit

1434
01:13:01,160 --> 01:13:04,240
Speaker 1: more amber.

1435
01:13:02,840 --> 01:13:04,479
Speaker 6: But it was a little you know, it was something different.

1436
01:13:06,160 --> 01:13:09,200
Speaker 1: I've went through a lot of beard products that typically

1437
01:13:09,240 --> 01:13:11,360
Speaker 1: just dry out my very very sensitive skin. But I've

1438
01:13:11,360 --> 01:13:14,040
Speaker 1: been on my bask in lather and finally found something

1439
01:13:14,080 --> 01:13:15,439
Speaker 1: that actually works with my skin.

1440
01:13:15,479 --> 01:13:18,320
Speaker 5: I've been basking in the lather every single time.

1441
01:13:19,120 --> 01:13:21,960
Speaker 1: It the shampoo, the conditioner, and they have the oil

1442
01:13:22,000 --> 01:13:25,840
Speaker 1: that that softens my beard. And you know, summer's coming.

1443
01:13:26,280 --> 01:13:28,400
Speaker 1: You want a woman to run her fingers through your beard,

1444
01:13:29,080 --> 01:13:31,920
Speaker 1: so it has to be beer. The softener is needed

1445
01:13:32,040 --> 01:13:35,160
Speaker 1: very important. This this this this ginger hair sometimes gets

1446
01:13:35,200 --> 01:13:37,200
Speaker 1: a little rough, but it's not the skin under.

1447
01:13:37,000 --> 01:13:37,599
Speaker 2: The beard too though.

1448
01:13:37,680 --> 01:13:38,880
Speaker 6: You need to be conditioned.

1449
01:13:38,920 --> 01:13:40,519
Speaker 1: And you know, and I know there's a lot of

1450
01:13:40,560 --> 01:13:43,479
Speaker 1: people out there with some patches. I'll just say, some

1451
01:13:43,479 --> 01:13:45,800
Speaker 1: people's beers don't connect. The Maris hates those type of guys.

1452
01:13:46,040 --> 01:13:48,439
Speaker 1: They have an oil as well that just makes your

1453
01:13:48,439 --> 01:13:51,000
Speaker 1: beard fuller. Like sometimes I have to grow my beard

1454
01:13:51,000 --> 01:13:53,879
Speaker 1: out because there's like a little there's a little hatchiness

1455
01:13:53,960 --> 01:13:54,200
Speaker 1: right here.

1456
01:13:54,240 --> 01:13:55,000
Speaker 2: It's a little something.

1457
01:13:55,080 --> 01:13:56,920
Speaker 1: But that that's been great as well. I use the

1458
01:13:57,240 --> 01:13:59,559
Speaker 1: beard bomb, especially if I'm on the move and just

1459
01:13:59,600 --> 01:14:02,040
Speaker 1: need my app here to smell better and rory.

1460
01:14:02,040 --> 01:14:02,759
Speaker 2: It is important.

1461
01:14:02,920 --> 01:14:05,040
Speaker 6: While you do enjoy basket Lad, it is important to

1462
01:14:05,040 --> 01:14:07,920
Speaker 6: point out that it is black owned and the family

1463
01:14:07,960 --> 01:14:13,160
Speaker 6: operated company a brand. The CEO, Shane's younger sister, was misdiagnosed.

1464
01:14:13,439 --> 01:14:15,200
Speaker 6: They said her head may never go back. So the

1465
01:14:15,240 --> 01:14:18,080
Speaker 6: family took things into their own hands, created products for

1466
01:14:18,120 --> 01:14:20,880
Speaker 6: them and now you know, the hair is healthy, it's full.

1467
01:14:21,000 --> 01:14:24,320
Speaker 1: Explore viral bestsellers and products of healthier hair of all

1468
01:14:24,360 --> 01:14:27,200
Speaker 1: types from Basque and Ladder. Go to Basquin, lather cood

1469
01:14:27,560 --> 01:14:30,559
Speaker 1: dot com and use code Rory and mall for twenty

1470
01:14:30,600 --> 01:14:34,920
Speaker 1: percent off. That's twenty percent off at basket, Ladder, coo

1471
01:14:35,280 --> 01:14:45,160
Speaker 1: dot com, code roryand more. Before we get to law disorder. Yeah,

1472
01:14:45,160 --> 01:14:47,920
Speaker 1: I want to ask, now, this is what one one

1473
01:14:47,960 --> 01:14:50,800
Speaker 1: more question just on some therapy shit. What was it

1474
01:14:50,920 --> 01:14:52,839
Speaker 1: like being Kanye West mentor?

1475
01:14:58,040 --> 01:14:59,599
Speaker 2: Well, I mean, are you okay?

1476
01:15:00,280 --> 01:15:03,599
Speaker 3: Yeah, You're the.

1477
01:15:03,520 --> 01:15:08,360
Speaker 2: First person or maybe the second termed me a mentor.

1478
01:15:09,560 --> 01:15:11,240
Speaker 1: Yeah, he said that out of his mouth before though

1479
01:15:11,360 --> 01:15:13,920
Speaker 1: he has yeah, that you were mentor Okay, Well, I

1480
01:15:13,920 --> 01:15:15,920
Speaker 1: mean he did that bullshit. He said that the ghosts

1481
01:15:15,920 --> 01:15:20,040
Speaker 1: produced for you whatever the that was credit.

1482
01:15:20,200 --> 01:15:22,320
Speaker 2: That's another one of those terms. Yeah, and that that

1483
01:15:22,439 --> 01:15:23,000
Speaker 2: got made up.

1484
01:15:23,000 --> 01:15:29,040
Speaker 3: But the Kanye that I see now is a different Kanye.

1485
01:15:29,040 --> 01:15:31,640
Speaker 3: And what I mean by that is he's still He

1486
01:15:31,760 --> 01:15:33,559
Speaker 3: was genius when I met him in the making.

1487
01:15:34,000 --> 01:15:36,400
Speaker 2: So that's I didn't do that. I didn't mold that guy.

1488
01:15:38,280 --> 01:15:41,160
Speaker 3: The irony is when I met him, he was living

1489
01:15:41,200 --> 01:15:43,720
Speaker 3: in Chicago, he had his mother, His girlfriend's name was

1490
01:15:43,760 --> 01:15:47,439
Speaker 3: alexis my daughter's name was Alexis. His mother was a teacher.

1491
01:15:47,560 --> 01:15:49,960
Speaker 3: My mother was a teacher and a principal. We had

1492
01:15:50,000 --> 01:15:52,640
Speaker 3: so much in common. He's a Gemini, my wife was.

1493
01:15:52,680 --> 01:15:55,479
Speaker 3: I'm married to a Gemini. My daughter's a Gemini. So

1494
01:15:56,240 --> 01:15:59,960
Speaker 3: when I met him, he was hungry. He wanted to wrap.

1495
01:16:00,080 --> 01:16:02,400
Speaker 3: He had to go getters. He was pushing him and

1496
01:16:02,439 --> 01:16:04,479
Speaker 3: his boy, the tall one. I forgot his name. He

1497
01:16:04,640 --> 01:16:07,439
Speaker 3: was really tight. He had John Monopoly in the mix,

1498
01:16:07,520 --> 01:16:09,800
Speaker 3: but John Monopoly was kind of more like a road

1499
01:16:09,800 --> 01:16:12,880
Speaker 3: manager because Free and I were actually managing him. Yeah,

1500
01:16:14,000 --> 01:16:16,120
Speaker 3: he produced for Trade, so Trey was around me. Did

1501
01:16:16,280 --> 01:16:20,320
Speaker 3: two three songs on Trey's Life, I mean five that

1502
01:16:20,400 --> 01:16:21,280
Speaker 3: never got released.

1503
01:16:22,360 --> 01:16:24,240
Speaker 2: And he was hungry. He moved.

1504
01:16:24,360 --> 01:16:26,920
Speaker 3: You know the story, just real quick. He didn't move

1505
01:16:27,000 --> 01:16:30,040
Speaker 3: to Jersey for Rockefeller. If you watch the he moved

1506
01:16:30,040 --> 01:16:31,720
Speaker 3: because he wanted to be closer to me, because I

1507
01:16:31,760 --> 01:16:35,479
Speaker 3: was showing him how to make records, real records. And

1508
01:16:35,840 --> 01:16:39,120
Speaker 3: he said his dream was to be a hitman. And

1509
01:16:39,160 --> 01:16:41,519
Speaker 3: he I didn't manage him because I found him. I

1510
01:16:41,560 --> 01:16:43,120
Speaker 3: managed him because he asked Free.

1511
01:16:43,000 --> 01:16:43,600
Speaker 2: To find me.

1512
01:16:45,360 --> 01:16:49,439
Speaker 3: Because his sound was my sound was the closest to his.

1513
01:16:49,560 --> 01:16:53,839
Speaker 3: Out of everybody. If you compare our songs, I agree.

1514
01:16:54,600 --> 01:16:57,920
Speaker 3: So he requested to meet me, and when I met him,

1515
01:16:57,960 --> 01:17:02,280
Speaker 3: I said, oh shit, it was to a little bit

1516
01:17:02,360 --> 01:17:07,240
Speaker 3: degree a lot but here d Dot Midwest. But this

1517
01:17:07,320 --> 01:17:10,280
Speaker 3: dude's is for that. You know them other soul sounds

1518
01:17:10,280 --> 01:17:16,280
Speaker 3: are just yikes. You heard that, and that I need

1519
01:17:16,360 --> 01:17:20,000
Speaker 3: him here. Talked to his mother, got him to Jersey,

1520
01:17:22,800 --> 01:17:26,200
Speaker 3: shopped him around. Did think so I wasn't traumatized.

1521
01:17:26,479 --> 01:17:28,640
Speaker 1: I was more said to because when they say that

1522
01:17:29,960 --> 01:17:31,840
Speaker 1: Kanye is a no I D baby and I love

1523
01:17:31,920 --> 01:17:33,519
Speaker 1: Dianna's is to me one of the one of the

1524
01:17:34,000 --> 01:17:36,920
Speaker 1: I've always I always felt like he was trying to

1525
01:17:36,920 --> 01:17:42,160
Speaker 1: sound like you, I mean to me, to me, Kanye,

1526
01:17:43,520 --> 01:17:45,920
Speaker 1: you know, you know Kanye looked up to no I D.

1527
01:17:46,600 --> 01:17:49,240
Speaker 2: But at the time that I got Kanye came.

1528
01:17:49,120 --> 01:17:52,400
Speaker 5: Around Blueprint, Kanye is more no I D. But the

1529
01:17:52,439 --> 01:17:54,040
Speaker 5: early Kanye was not.

1530
01:17:54,280 --> 01:17:58,040
Speaker 3: I'm just the way that I'm saying. He talked about

1531
01:17:58,080 --> 01:17:58,679
Speaker 3: no id.

1532
01:17:58,640 --> 01:18:02,639
Speaker 1: Off story as I'm saying, as far as his production

1533
01:18:02,840 --> 01:18:06,280
Speaker 1: before you get to the Blueprint era was not the

1534
01:18:06,400 --> 01:18:07,080
Speaker 1: soul not.

1535
01:18:09,400 --> 01:18:10,559
Speaker 2: It was your ship, but.

1536
01:18:10,720 --> 01:18:12,559
Speaker 3: Yeah it was, and he was he was still learning

1537
01:18:12,640 --> 01:18:14,800
Speaker 3: because remember he's coming from New York. Now he's he's

1538
01:18:14,800 --> 01:18:17,120
Speaker 3: coming from Chicago. Now he's living in New York, New Jersey.

1539
01:18:17,439 --> 01:18:21,160
Speaker 3: So now he gets to hear on a more consistent basis,

1540
01:18:21,760 --> 01:18:25,640
Speaker 3: a different radio sound terrestrial radio at the time, you

1541
01:18:25,640 --> 01:18:26,240
Speaker 3: know what I'm saying.

1542
01:18:26,479 --> 01:18:28,920
Speaker 2: And then different rap styles.

1543
01:18:28,920 --> 01:18:31,200
Speaker 3: He's in the studio with Trey trades from Philly, so

1544
01:18:31,280 --> 01:18:33,240
Speaker 3: now he's just there with Trey and the raps is

1545
01:18:33,479 --> 01:18:36,120
Speaker 3: it's not the same as you're not hearing these cadences,

1546
01:18:36,280 --> 01:18:39,080
Speaker 3: these twangs. It's different. His lingo was different than my

1547
01:18:39,200 --> 01:18:40,760
Speaker 3: lingo and we ain't about an hour and a half

1548
01:18:40,760 --> 01:18:45,040
Speaker 3: away from each other. And slangs and flows and textures.

1549
01:18:45,280 --> 01:18:47,800
Speaker 3: So I was showing them all of that. He did

1550
01:18:47,800 --> 01:18:49,720
Speaker 3: a video where said he went to the studio with

1551
01:18:49,800 --> 01:18:52,839
Speaker 3: Jay and he didn't know how to coach Jay because

1552
01:18:53,320 --> 01:18:54,519
Speaker 3: that's not being a producer.

1553
01:18:54,600 --> 01:18:58,800
Speaker 2: Then, so I taught him how to say Yo, Trey

1554
01:18:59,080 --> 01:19:00,679
Speaker 2: the fuck man? What is that?

1555
01:19:01,080 --> 01:19:03,439
Speaker 3: Say the word like trying to tell you we'd have

1556
01:19:03,560 --> 01:19:07,880
Speaker 3: those conversations producing. So I taught him how to be

1557
01:19:08,120 --> 01:19:11,439
Speaker 3: a producer outside of track making.

1558
01:19:11,520 --> 01:19:16,679
Speaker 2: Yeah, versus producer, not versus added on to your arsenal.

1559
01:19:17,360 --> 01:19:19,960
Speaker 3: Be able to produce the song and not just do

1560
01:19:20,080 --> 01:19:23,839
Speaker 3: the beat and you think you hear the finished product,

1561
01:19:23,880 --> 01:19:25,240
Speaker 3: but you can't you know how to get it.

1562
01:19:25,439 --> 01:19:27,679
Speaker 4: I recall there was one record that we did catch

1563
01:19:27,680 --> 01:19:32,960
Speaker 4: twenty two Cat. Chucky Hope produce that record with Kan.

1564
01:19:33,080 --> 01:19:37,320
Speaker 4: Kanye and Chucky and Dot were in the studio. I

1565
01:19:37,320 --> 01:19:40,519
Speaker 4: think this is the beginnings of him being a producer.

1566
01:19:40,560 --> 01:19:43,519
Speaker 4: I'll never forget it. We were in Daddy's house actually

1567
01:19:43,760 --> 01:19:46,880
Speaker 4: mixing the record. He wasn't there first, so him and

1568
01:19:46,960 --> 01:19:49,240
Speaker 4: Chucky's Dot and Chucky it came, you know, did some

1569
01:19:49,280 --> 01:19:52,960
Speaker 4: things or whatever, and he comes in there later it's like,

1570
01:19:53,720 --> 01:19:55,519
Speaker 4: wait a minute, what are y'all doing.

1571
01:19:55,560 --> 01:19:57,000
Speaker 2: I don't know if you remember this. He was like,

1572
01:19:57,000 --> 01:19:58,320
Speaker 2: wait a minute, what are y'all doing?

1573
01:19:59,000 --> 01:20:01,760
Speaker 4: And there was certain things that died and chuck me

1574
01:20:01,920 --> 01:20:05,640
Speaker 4: between with but kind of you know, didn't elongate it

1575
01:20:05,720 --> 01:20:07,639
Speaker 4: if you will, and didn't and he was like, no,

1576
01:20:07,720 --> 01:20:10,280
Speaker 4: you gotta have that part right here, and he was

1577
01:20:10,320 --> 01:20:12,720
Speaker 4: doing an arrangement right before my eyes. And I had

1578
01:20:12,800 --> 01:20:16,760
Speaker 4: never seen Kanye like that in Crazy Cat, right in

1579
01:20:16,800 --> 01:20:19,720
Speaker 4: the beginning stages of it. So I think because of

1580
01:20:19,760 --> 01:20:22,719
Speaker 4: what you're talking about, you know, I think he picked

1581
01:20:22,760 --> 01:20:24,439
Speaker 4: up on a lot of the things that DoD was talking,

1582
01:20:24,439 --> 01:20:26,720
Speaker 4: and he came in there and I actually seen him

1583
01:20:26,760 --> 01:20:31,840
Speaker 4: in real time take control and produce, Like I got

1584
01:20:31,920 --> 01:20:35,639
Speaker 4: another base right, oh ship right, I got more?

1585
01:20:36,400 --> 01:20:42,040
Speaker 2: Oh god, yeah, so of course yeah, works goes, Let's

1586
01:20:42,120 --> 01:20:43,200
Speaker 2: do that. Let's do that.

1587
01:20:43,439 --> 01:20:47,479
Speaker 1: What inspired y'all to start law Disorder?

1588
01:20:47,560 --> 01:20:47,640
Speaker 3: Like?

1589
01:20:47,640 --> 01:20:50,519
Speaker 1: What was the first conversation between the two y'all? Like,

1590
01:20:50,680 --> 01:20:52,680
Speaker 1: I think we want to start on this album?

1591
01:20:53,000 --> 01:20:53,760
Speaker 2: Must it be one?

1592
01:20:55,080 --> 01:20:55,120
Speaker 1: No?

1593
01:20:56,120 --> 01:20:59,679
Speaker 3: Over the last couple of years, I've been just trying

1594
01:20:59,680 --> 01:21:02,760
Speaker 3: to make records with Trey, putting them on freestyle and

1595
01:21:02,800 --> 01:21:05,000
Speaker 3: stuff like that. So I was working on a song

1596
01:21:05,040 --> 01:21:07,320
Speaker 3: called Appreciate the album called Appreciate the Hate back in

1597
01:21:07,360 --> 01:21:11,000
Speaker 3: twenty nineteen, twenty eighteen, twenty nineteen, we did a freestyle,

1598
01:21:11,080 --> 01:21:13,000
Speaker 3: so I told him I wanted him on this song.

1599
01:21:13,080 --> 01:21:17,160
Speaker 3: He came, which ended up being be warned, never shot

1600
01:21:17,160 --> 01:21:18,720
Speaker 3: a video to it because at the time, you know,

1601
01:21:18,840 --> 01:21:20,600
Speaker 3: I had my teeth was all messed up, so I

1602
01:21:20,640 --> 01:21:23,639
Speaker 3: got some new gibs in my mouth. So back then

1603
01:21:23,880 --> 01:21:30,479
Speaker 3: I wasn't really in front of the cameras. So somewhere

1604
01:21:30,479 --> 01:21:32,160
Speaker 3: along the line, I think I was trying to send

1605
01:21:32,240 --> 01:21:34,599
Speaker 3: him some beats for something and whatever whatever, and we

1606
01:21:34,600 --> 01:21:36,479
Speaker 3: were just trying to We were always, over the years

1607
01:21:36,479 --> 01:21:39,599
Speaker 3: have conversations about our place in hip hop. And then

1608
01:21:39,800 --> 01:21:42,120
Speaker 3: recently there was a time when I'm noticing that our

1609
01:21:42,160 --> 01:21:47,519
Speaker 3: generation is not being as critiqued as much, not being

1610
01:21:47,600 --> 01:21:52,280
Speaker 3: as told you can't do it. And then albums are

1611
01:21:52,320 --> 01:21:55,720
Speaker 3: coming out from people older than us our age and

1612
01:21:55,760 --> 01:21:59,040
Speaker 3: younger than us that's within that five to seven year span,

1613
01:21:59,120 --> 01:22:01,880
Speaker 3: and I'm like, wow, this is this is good and

1614
01:22:01,920 --> 01:22:04,280
Speaker 3: I so, I said, you know, and I'm doing Black Rob.

1615
01:22:04,439 --> 01:22:07,760
Speaker 3: So I dropped Black Rob. So I'm like, you know, Trey,

1616
01:22:08,280 --> 01:22:10,400
Speaker 3: so we need to work on something. And Trey said, well,

1617
01:22:10,439 --> 01:22:12,439
Speaker 3: you know, and it's time that we gotta. We should

1618
01:22:12,479 --> 01:22:16,720
Speaker 3: shoot a video to be worn that we made years ago.

1619
01:22:16,880 --> 01:22:20,040
Speaker 3: Be Warn is seven years old now people didn't know

1620
01:22:20,080 --> 01:22:22,559
Speaker 3: that we know it now, but so we shot a

1621
01:22:22,640 --> 01:22:24,439
Speaker 3: video to it and the response was as if we

1622
01:22:24,479 --> 01:22:25,360
Speaker 3: made the record.

1623
01:22:25,080 --> 01:22:26,080
Speaker 2: The week before. Yeah.

1624
01:22:26,160 --> 01:22:30,920
Speaker 3: Yeah, And so I think that triggered the ept's three songs.

1625
01:22:31,240 --> 01:22:32,400
Speaker 2: Let's do three or four songs.

1626
01:22:32,720 --> 01:22:35,280
Speaker 3: We got to those songs and I was like, this

1627
01:22:35,320 --> 01:22:38,120
Speaker 3: shit gonna come and go in a day, and I

1628
01:22:38,280 --> 01:22:40,000
Speaker 3: just feel like making more record.

1629
01:22:40,840 --> 01:22:43,400
Speaker 2: So Trey was like let's go.

1630
01:22:43,479 --> 01:22:46,960
Speaker 4: Now and then let's keep it one hundred through. You

1631
01:22:47,040 --> 01:22:49,439
Speaker 4: had a chip on your shoulder a little bit. Yeah, look,

1632
01:22:49,439 --> 01:22:51,840
Speaker 4: I got a chip on my shoulder, Yeah, a little bit.

1633
01:22:52,520 --> 01:22:55,479
Speaker 4: Because I don't think, you know, going back to all

1634
01:22:55,600 --> 01:22:58,639
Speaker 4: of the story we just had with Dot and his

1635
01:22:58,640 --> 01:23:02,240
Speaker 4: history and who's work where b bly, I don't think

1636
01:23:02,400 --> 01:23:05,960
Speaker 4: he gets the proper credit in my in my mind

1637
01:23:06,200 --> 01:23:08,759
Speaker 4: for being one of the top producers of all time.

1638
01:23:09,520 --> 01:23:12,360
Speaker 4: You see what I'm saying, And I don't think people

1639
01:23:12,439 --> 01:23:15,960
Speaker 4: properly heard me as a lyric sty I was hoping,

1640
01:23:16,760 --> 01:23:19,400
Speaker 4: you know what I'm saying, because of the magnitude of

1641
01:23:19,479 --> 01:23:21,639
Speaker 4: the first record that you ever heard from me, which

1642
01:23:21,680 --> 01:23:24,679
Speaker 4: is the theme is Party Time, which is a monster record,

1643
01:23:24,680 --> 01:23:27,639
Speaker 4: and this is the reason why I still get phone calls.

1644
01:23:28,000 --> 01:23:31,880
Speaker 4: But I don't think that people heard the dynamics of

1645
01:23:31,920 --> 01:23:34,719
Speaker 4: the lyricism that I think that I put my blood.

1646
01:23:34,760 --> 01:23:38,280
Speaker 4: He always teases me, teaches me about it, because everything

1647
01:23:38,320 --> 01:23:40,800
Speaker 4: that I write has a purpose, and it's intricate, and

1648
01:23:40,840 --> 01:23:43,840
Speaker 4: it's all kinds of shit. It's layers and layers that

1649
01:23:44,680 --> 01:23:47,839
Speaker 4: a lot of the audience just got, you know, a

1650
01:23:47,880 --> 01:23:49,719
Speaker 4: Party Time on their mind, and they just think.

1651
01:23:49,600 --> 01:23:51,599
Speaker 2: That that's all it t really is.

1652
01:23:52,040 --> 01:23:57,400
Speaker 4: So that was also a part of the motivation to creating.

1653
01:23:57,280 --> 01:24:02,519
Speaker 3: And Big on versus just about thirty year combo about Big,

1654
01:24:03,560 --> 01:24:06,320
Speaker 3: because you have to ask yourself why we got them?

1655
01:24:06,400 --> 01:24:09,519
Speaker 3: Why would Big do a record with Trey? So there's

1656
01:24:09,560 --> 01:24:11,320
Speaker 3: a part of us that says, we still need you

1657
01:24:11,360 --> 01:24:14,280
Speaker 3: to know why one of the greatest, that you think

1658
01:24:14,360 --> 01:24:16,400
Speaker 3: is the greatest did a record with this guy and

1659
01:24:16,479 --> 01:24:18,560
Speaker 3: didn't do a record with you, Because most of the

1660
01:24:18,640 --> 01:24:20,960
Speaker 3: questions are coming from people that are envious are the

1661
01:24:21,000 --> 01:24:23,439
Speaker 3: fact that Trey even got to do a record Big

1662
01:24:23,479 --> 01:24:24,120
Speaker 3: and they didn't.

1663
01:24:24,720 --> 01:24:27,559
Speaker 2: That's that's real rap. Yeah, I was gonna let your shit.

1664
01:24:27,640 --> 01:24:29,200
Speaker 2: I ain't want to, I'll say it.

1665
01:24:29,320 --> 01:24:31,519
Speaker 1: But I also think too, like you know, hip hop

1666
01:24:31,560 --> 01:24:33,720
Speaker 1: me and the youngest genre, which's talking about off Mike,

1667
01:24:34,200 --> 01:24:38,040
Speaker 1: like we're finally seeing how it can age because a

1668
01:24:38,080 --> 01:24:39,960
Speaker 1: lot of times when we saw what would be quote

1669
01:24:40,000 --> 01:24:41,960
Speaker 1: unquote older rappers, it looked like he was the old

1670
01:24:41,960 --> 01:24:44,080
Speaker 1: guy in the club. But now we're starting to see

1671
01:24:44,439 --> 01:24:47,479
Speaker 1: Na's doing six projects with hip hooy. It doesn't sound

1672
01:24:47,880 --> 01:24:49,920
Speaker 1: you don't sound like you're trying to be young, right,

1673
01:24:49,960 --> 01:24:53,360
Speaker 1: And there's there's also a whole audience. I'm thirty six.

1674
01:24:54,640 --> 01:24:59,439
Speaker 1: There's my cousin is forty seven. He wants to listen

1675
01:24:59,520 --> 01:25:01,920
Speaker 1: to the rap he grew up on, and he wants

1676
01:25:01,960 --> 01:25:03,639
Speaker 1: them to keep making music. That's a whole other day.

1677
01:25:03,720 --> 01:25:06,559
Speaker 1: He's not even trying to listen to what's out now.

1678
01:25:06,600 --> 01:25:09,920
Speaker 1: He wants to hear nas rap again. To me, it's

1679
01:25:09,920 --> 01:25:13,479
Speaker 1: saying it's important to show that hip hop can age

1680
01:25:13,560 --> 01:25:16,200
Speaker 1: gracefully where it used to be no country for old men.

1681
01:25:16,439 --> 01:25:18,200
Speaker 5: And I don't think that's the case anymore.

1682
01:25:18,280 --> 01:25:20,280
Speaker 3: Well, I don't think it's the case anymore either, But

1683
01:25:20,320 --> 01:25:23,240
Speaker 3: I don't think that the youth having bodied that sent

1684
01:25:23,280 --> 01:25:26,640
Speaker 3: to me yet. I think that our generation has decided

1685
01:25:27,040 --> 01:25:30,880
Speaker 3: that there's nothing else. It's almost like by default they

1686
01:25:30,920 --> 01:25:32,720
Speaker 3: got we got to an age where some of this

1687
01:25:32,840 --> 01:25:36,280
Speaker 3: young shit. I try, but I just can't get to it.

1688
01:25:36,520 --> 01:25:39,640
Speaker 3: So now the Drake's, the j Cole's, and above the

1689
01:25:39,680 --> 01:25:40,640
Speaker 3: Little Wayne's.

1690
01:25:40,320 --> 01:25:41,440
Speaker 2: And all of them.

1691
01:25:41,760 --> 01:25:45,120
Speaker 3: If that's what I have as a fifty eight sixty

1692
01:25:45,200 --> 01:25:47,400
Speaker 3: year old, then I might have to leave that to

1693
01:25:47,479 --> 01:25:50,519
Speaker 3: the kids. So then what's left for me? Because I

1694
01:25:50,520 --> 01:25:52,880
Speaker 3: can't like I love Drake, and I love Lil Wayne,

1695
01:25:52,920 --> 01:25:54,960
Speaker 3: and I love Cole and Kendrick and all these But

1696
01:25:55,000 --> 01:25:57,120
Speaker 3: I might not be able to relate all the way

1697
01:25:57,400 --> 01:25:57,920
Speaker 3: to what.

1698
01:25:57,920 --> 01:25:58,680
Speaker 2: Their time is.

1699
01:25:58,800 --> 01:26:01,400
Speaker 4: And you keep it in the even to buck shit

1700
01:26:01,560 --> 01:26:05,080
Speaker 4: day forty Well yeah, so you know what I'm saying.

1701
01:26:05,240 --> 01:26:07,559
Speaker 2: But but but still, that's the other thing. Older than

1702
01:26:07,600 --> 01:26:09,400
Speaker 2: me eighteen.

1703
01:26:09,120 --> 01:26:12,080
Speaker 3: Twenty fifteen years is a huge difference for the way

1704
01:26:12,160 --> 01:26:15,639
Speaker 3: we've been programmed in hip hop. So fifty eight years

1705
01:26:15,680 --> 01:26:17,800
Speaker 3: old and fifty sevens and fifty five's and all that.

1706
01:26:17,960 --> 01:26:20,120
Speaker 3: When that opportunity came, I think it was more by

1707
01:26:20,320 --> 01:26:23,240
Speaker 3: almost by the fall, because our generation is like, Wow,

1708
01:26:23,960 --> 01:26:26,960
Speaker 3: I turned on terrestrial radio. I'm not gonna hear you guys.

1709
01:26:27,320 --> 01:26:29,599
Speaker 3: So rock the Bells grew out of that. Yeah, all

1710
01:26:29,600 --> 01:26:32,599
Speaker 3: these old school stations grew out of the necessary need

1711
01:26:33,000 --> 01:26:36,400
Speaker 3: to feed a machine of people that said, if it

1712
01:26:36,439 --> 01:26:39,519
Speaker 3: ain't nos and met the man with new albums. I

1713
01:26:39,640 --> 01:26:41,519
Speaker 3: might like a Drake song, I might like this, I

1714
01:26:41,600 --> 01:26:43,400
Speaker 3: might like I even might like a Chris Brown song.

1715
01:26:43,439 --> 01:26:45,760
Speaker 3: But I'm gonna lean more towards Usher, but I might

1716
01:26:45,800 --> 01:26:48,439
Speaker 3: get a new christ My wife, my wife likes Chris Brown.

1717
01:26:48,800 --> 01:26:50,720
Speaker 3: She ain't you know Usher comes out? She going to

1718
01:26:50,760 --> 01:26:53,639
Speaker 3: the concert. Chris Brown goes out, comes out. She might

1719
01:26:53,680 --> 01:26:55,760
Speaker 3: go to the concert, but it ain't all. It ain't

1720
01:26:55,760 --> 01:26:57,800
Speaker 3: all hands on deck, you see what I'm saying to you.

1721
01:26:57,920 --> 01:26:59,640
Speaker 3: So all I'm saying that I think we found a

1722
01:26:59,640 --> 01:27:04,280
Speaker 3: way to feed out generation properly, and if we can

1723
01:27:04,360 --> 01:27:08,320
Speaker 3: deliver music like I think we delivered on Law and Disorder,

1724
01:27:08,360 --> 01:27:12,519
Speaker 3: where it's it's we're not reaching. We got songs like

1725
01:27:12,520 --> 01:27:15,920
Speaker 3: like this that's reminiscent of old but it feels new.

1726
01:27:15,880 --> 01:27:17,600
Speaker 2: To need a lawyer like that.

1727
01:27:18,000 --> 01:27:25,960
Speaker 3: Yeah right, right, right, right right, So trying and then also,

1728
01:27:26,000 --> 01:27:29,200
Speaker 3: like I said, his story of growth going from rapper

1729
01:27:29,280 --> 01:27:32,200
Speaker 3: to going to law school, passing the ball, actually being

1730
01:27:32,240 --> 01:27:35,400
Speaker 3: a working an attorney and then still being having a

1731
01:27:35,439 --> 01:27:38,960
Speaker 3: skill set to keep up with whoever you think is

1732
01:27:38,960 --> 01:27:42,240
Speaker 3: hot and the record making skills that whereas we got

1733
01:27:42,240 --> 01:27:44,920
Speaker 3: guys from our generation that haven't gone on in law school,

1734
01:27:45,040 --> 01:27:47,519
Speaker 3: that haven't become firement and teachers and they still doing

1735
01:27:47,560 --> 01:27:50,120
Speaker 3: it and their record making skills haven't shown any.

1736
01:27:50,000 --> 01:27:56,240
Speaker 1: Growth, Yeah right, yeah right, and the law disorder is growth.

1737
01:27:56,320 --> 01:28:01,080
Speaker 1: The most positive thing I've seen from the disgusting part

1738
01:28:01,080 --> 01:28:03,759
Speaker 1: of hip hop media and comments was actually when Andre

1739
01:28:03,840 --> 01:28:06,080
Speaker 1: three thousand did his flute album, and he did an

1740
01:28:06,120 --> 01:28:09,360
Speaker 1: interview and he said, I don't want to wrap what

1741
01:28:09,400 --> 01:28:12,600
Speaker 1: I'm rap about getting coln ospi, and everyone in the

1742
01:28:12,640 --> 01:28:16,840
Speaker 1: comments said, yeah, yeah, yeah, you know we're all at

1743
01:28:16,840 --> 01:28:18,880
Speaker 1: this age. No, no, that's exactly that's exactly what I

1744
01:28:18,880 --> 01:28:20,759
Speaker 1: don't hear you wrap about. Right, But that's like because

1745
01:28:20,760 --> 01:28:22,320
Speaker 1: we're growing with you as well.

1746
01:28:22,520 --> 01:28:25,760
Speaker 2: Like. But again, from his perspective.

1747
01:28:25,280 --> 01:28:28,280
Speaker 1: Four forty four was the best thing Hole ever did

1748
01:28:28,360 --> 01:28:30,400
Speaker 1: to pivot to the people.

1749
01:28:30,120 --> 01:28:31,520
Speaker 2: That grew up with them to be adulthood.

1750
01:28:31,760 --> 01:28:33,920
Speaker 3: Yeah right, And I'm saying to you, not every artist

1751
01:28:35,240 --> 01:28:39,280
Speaker 3: wants to put their lives on wax for the audience.

1752
01:28:39,840 --> 01:28:43,599
Speaker 3: So if it's not for entertainment purposes only, then why

1753
01:28:43,640 --> 01:28:44,160
Speaker 3: am I doing it?

1754
01:28:44,200 --> 01:28:48,320
Speaker 2: So, for example, tell me something you really know about

1755
01:28:48,600 --> 01:28:51,679
Speaker 2: Buster the Rooms. From a personal standpoint.

1756
01:28:51,760 --> 01:28:54,280
Speaker 5: From his records, he's the greatest dapper of all time.

1757
01:28:54,680 --> 01:28:59,320
Speaker 1: So I'm saying, if you, if you, if you need

1758
01:28:59,360 --> 01:29:03,720
Speaker 1: your back crack, he will daput and break your clear.

1759
01:29:06,080 --> 01:29:06,640
Speaker 2: When he sees you.

1760
01:29:06,720 --> 01:29:11,160
Speaker 3: Absolutely, But he's clearly decided he's not gonna spell out

1761
01:29:11,680 --> 01:29:15,679
Speaker 3: his life for your wax. See, so his record making

1762
01:29:15,880 --> 01:29:18,920
Speaker 3: is gonna be for entertainment purposes only. You know, be

1763
01:29:19,040 --> 01:29:21,360
Speaker 3: here bust to make introspective records.

1764
01:29:21,800 --> 01:29:23,080
Speaker 2: See, I'm gonna give you, I'm gonna give you.

1765
01:29:23,080 --> 01:29:24,760
Speaker 1: I'm gonna give you pushback in page if we have

1766
01:29:24,800 --> 01:29:26,120
Speaker 1: to mark this because we can't hear it.

1767
01:29:26,960 --> 01:29:30,040
Speaker 2: Best I can worrhapsody with that album.

1768
01:29:30,439 --> 01:29:39,599
Speaker 4: Well, that albums though that album is as the body

1769
01:29:39,600 --> 01:29:40,000
Speaker 4: of work.

1770
01:29:40,080 --> 01:29:42,719
Speaker 3: As a body of work, that's not what you heard.

1771
01:29:42,760 --> 01:29:46,320
Speaker 3: So some people may love that, say something it's really good.

1772
01:29:47,000 --> 01:29:49,800
Speaker 3: Some people may say at this age, yeah, I should

1773
01:29:49,840 --> 01:29:52,679
Speaker 3: be rapping about this, but I'm almost fifty eight, about

1774
01:29:52,720 --> 01:29:55,599
Speaker 3: fifty eight, and on this album, you ain't gonna hear

1775
01:29:55,640 --> 01:29:57,519
Speaker 3: nothing about me having a thrite this in my neck

1776
01:29:57,560 --> 01:29:59,479
Speaker 3: and my back. You ain't gonna hear nothing about the

1777
01:29:59,479 --> 01:30:02,479
Speaker 3: problems I'm going through with my daughters, raising daughters and

1778
01:30:02,479 --> 01:30:04,760
Speaker 3: all this other stuff unless I'm doing it in such

1779
01:30:04,800 --> 01:30:06,760
Speaker 3: a way that can entertain you.

1780
01:30:07,439 --> 01:30:08,320
Speaker 2: And that's what I'm saying.

1781
01:30:08,439 --> 01:30:10,880
Speaker 3: So at the end of the day, record making still

1782
01:30:10,960 --> 01:30:13,880
Speaker 3: comes down to how do I entertain you enough for

1783
01:30:13,920 --> 01:30:16,360
Speaker 3: this story for you to like and love this story.

1784
01:30:16,400 --> 01:30:18,479
Speaker 1: And we brought up four forty four. I think Na's

1785
01:30:18,520 --> 01:30:20,840
Speaker 1: life is good is the better exactly? But I love

1786
01:30:20,920 --> 01:30:23,479
Speaker 1: that albums just raw emotion.

1787
01:30:23,520 --> 01:30:24,960
Speaker 2: Ship. Life is good. Life, it's good.

1788
01:30:25,040 --> 01:30:28,040
Speaker 1: It's the same content with records that you could do.

1789
01:30:30,720 --> 01:30:31,760
Speaker 2: That, right, that's what.

1790
01:30:32,200 --> 01:30:34,479
Speaker 1: But on the Buster side, Busted to me is almost

1791
01:30:35,240 --> 01:30:38,960
Speaker 1: he's almost Chris Brown, like where you're a legend, you

1792
01:30:39,080 --> 01:30:40,960
Speaker 1: have hit records, you have all this.

1793
01:30:41,040 --> 01:30:43,040
Speaker 5: You've never given us a quintessential.

1794
01:30:42,520 --> 01:30:45,200
Speaker 2: Like I don't. What's the Buster album? I mean, that's

1795
01:30:45,280 --> 01:30:48,080
Speaker 2: that's the whole of a subject. I just content wise.

1796
01:30:48,320 --> 01:30:51,400
Speaker 3: There's some artists that, yes, you're growing with them, but

1797
01:30:52,560 --> 01:30:56,600
Speaker 3: you're not growing with them in there in there, in

1798
01:30:57,160 --> 01:31:00,200
Speaker 3: in the sanctions of their lives. They're not take get

1799
01:31:00,240 --> 01:31:03,200
Speaker 3: you through every part of what they're going through in life.

1800
01:31:03,439 --> 01:31:05,800
Speaker 2: You know what I'm saying to you, Some artists do that. Jay.

1801
01:31:06,120 --> 01:31:09,960
Speaker 3: We know Jay's mother, we know he shot his brother,

1802
01:31:10,280 --> 01:31:13,040
Speaker 3: we know he sold drugs. We got stories that we

1803
01:31:13,080 --> 01:31:14,840
Speaker 3: can talk. We know what happened with him and the

1804
01:31:14,840 --> 01:31:16,680
Speaker 3: guys that got locked up. We know what happened when

1805
01:31:16,720 --> 01:31:18,439
Speaker 3: they came home, how we put them on. We know

1806
01:31:18,520 --> 01:31:20,880
Speaker 3: the guys he sold drugs with. You got an artist

1807
01:31:20,920 --> 01:31:23,240
Speaker 3: like Buster, who's one of the greatest artists we ever have.

1808
01:31:23,880 --> 01:31:25,760
Speaker 3: You don't have a lot of those records from him

1809
01:31:25,760 --> 01:31:27,840
Speaker 3: because he didn't want to put that out there. So

1810
01:31:27,920 --> 01:31:31,439
Speaker 3: at fifty five fifty fourve old he is you probably won't.

1811
01:31:31,520 --> 01:31:33,880
Speaker 3: You shouldn't expect all of a sudden for this turn

1812
01:31:33,920 --> 01:31:35,679
Speaker 3: to happen, and all of a sudden you're gonna learn

1813
01:31:35,720 --> 01:31:39,040
Speaker 3: all about mister buster Romes.

1814
01:31:39,320 --> 01:31:42,479
Speaker 5: In one song and both of what you're talking about.

1815
01:31:42,600 --> 01:31:45,360
Speaker 4: This still is a it still has to be in

1816
01:31:45,439 --> 01:31:47,320
Speaker 4: order for you to be considered dope, in my opinion,

1817
01:31:47,320 --> 01:31:49,519
Speaker 4: you still have to have a creative aspect to it,

1818
01:31:49,920 --> 01:31:51,920
Speaker 4: like whether you're talking about your life story or you

1819
01:31:52,080 --> 01:31:53,879
Speaker 4: just talking about you know what I'm.

1820
01:31:53,680 --> 01:31:56,080
Speaker 2: Saying, how nice you are on the mic. You know

1821
01:31:56,080 --> 01:31:56,479
Speaker 2: what I mean.

1822
01:31:57,600 --> 01:32:00,599
Speaker 4: And that's what Lauren Disordered is to me. It's beat

1823
01:32:00,680 --> 01:32:04,040
Speaker 4: and rhymes. It's it's essentially we won't give you a

1824
01:32:04,040 --> 01:32:06,400
Speaker 4: peek into and a little bit of this, that and

1825
01:32:06,400 --> 01:32:08,840
Speaker 4: the third. But it goes down to the beach and

1826
01:32:08,920 --> 01:32:11,599
Speaker 4: rhymes and how creative the flows are and what pockets

1827
01:32:11,600 --> 01:32:13,599
Speaker 4: where in the in the in the production, and what

1828
01:32:13,640 --> 01:32:16,559
Speaker 4: pockets we're choosing to get in and out of that production.

1829
01:32:17,080 --> 01:32:20,160
Speaker 4: I think, especially at this stage in the game, in

1830
01:32:20,280 --> 01:32:22,800
Speaker 4: order for us to be palatable to not only our

1831
01:32:22,840 --> 01:32:25,320
Speaker 4: age group, but even those that are just being introduced

1832
01:32:25,360 --> 01:32:28,040
Speaker 4: to us for the first time, if it's not appealing

1833
01:32:28,120 --> 01:32:30,720
Speaker 4: to the ear, no matter what the subject matter is.

1834
01:32:31,080 --> 01:32:34,840
Speaker 4: And that's where the creativity comes into play, Like how

1835
01:32:34,880 --> 01:32:37,800
Speaker 4: can you say certain things? May we may give you

1836
01:32:37,880 --> 01:32:42,439
Speaker 4: bragged nocio throughout the whole album, but but but how

1837
01:32:42,479 --> 01:32:43,240
Speaker 4: did they say it?

1838
01:32:43,800 --> 01:32:45,000
Speaker 2: Like how did it come off?

1839
01:32:45,120 --> 01:32:46,720
Speaker 4: You know what I'm saying, And that, to me is

1840
01:32:46,760 --> 01:32:48,840
Speaker 4: the essence of what we call hip hop.

1841
01:32:49,360 --> 01:32:50,080
Speaker 2: You know what I'm saying.

1842
01:32:50,200 --> 01:32:53,880
Speaker 3: And I think Lord Disorder is exactly that. It's at

1843
01:32:53,880 --> 01:32:56,360
Speaker 3: my age, I don't feel like I have nothing to prove.

1844
01:32:57,000 --> 01:32:59,400
Speaker 3: I have a chip, but the chip I don't wake

1845
01:32:59,479 --> 01:33:03,000
Speaker 3: up every day right, and it's weighing me down. It's

1846
01:33:03,080 --> 01:33:06,160
Speaker 3: just like any other person, you have to ask yourself,

1847
01:33:06,760 --> 01:33:10,720
Speaker 3: you know, did I do enough? You know what I'm saying, Like,

1848
01:33:10,800 --> 01:33:14,800
Speaker 3: you know, I'm an achievement oriented person. When I sit

1849
01:33:14,880 --> 01:33:16,880
Speaker 3: out to do something, I don't have to be number

1850
01:33:16,880 --> 01:33:19,560
Speaker 3: one at it, but I gotta get it done, you

1851
01:33:19,600 --> 01:33:19,920
Speaker 3: know what I mean.

1852
01:33:20,080 --> 01:33:21,280
Speaker 2: I'm a get it done person.

1853
01:33:21,640 --> 01:33:24,559
Speaker 3: So this album was to show the world that I'm

1854
01:33:24,600 --> 01:33:26,559
Speaker 3: out of space in my life and he's at space

1855
01:33:26,600 --> 01:33:30,040
Speaker 3: in his life. Where this is semi easy for us

1856
01:33:30,600 --> 01:33:32,240
Speaker 3: and we're just gonna have some fun.

1857
01:33:32,840 --> 01:33:36,519
Speaker 2: But we're not trying to take it back.

1858
01:33:36,400 --> 01:33:39,800
Speaker 3: To eighty eight, right right, it's set the record straight

1859
01:33:39,880 --> 01:33:43,280
Speaker 3: type of thing we're gonna I feel like we grew

1860
01:33:43,680 --> 01:33:44,600
Speaker 3: as lyricists.

1861
01:33:45,080 --> 01:33:47,880
Speaker 2: MC's flows and you can hear it.

1862
01:33:48,120 --> 01:33:51,519
Speaker 3: Yeah, And as a producer some of these albums, I

1863
01:33:51,560 --> 01:33:53,920
Speaker 3: hear that some of the some ones you named.

1864
01:33:55,200 --> 01:33:58,320
Speaker 2: Or some of thems we didn't name, I don't hear growth.

1865
01:33:59,000 --> 01:34:03,519
Speaker 3: I hear moments in time for them, and it's a

1866
01:34:03,520 --> 01:34:07,200
Speaker 3: good opportunity to drop an album, But I don't hear growth.

1867
01:34:07,560 --> 01:34:11,519
Speaker 3: I don't hear a space that now I can see

1868
01:34:11,520 --> 01:34:15,200
Speaker 3: the maturation because of how you set me up as

1869
01:34:15,240 --> 01:34:18,080
Speaker 3: opposed to I'm gonna take you back to eighty eight. Yeah,

1870
01:34:18,560 --> 01:34:22,040
Speaker 3: that's what I'm saying. Disorder is not a take back.

1871
01:34:23,120 --> 01:34:28,960
Speaker 3: It's a wow. This reminds me of but it's now.

1872
01:34:29,520 --> 01:34:34,000
Speaker 1: I was watching a Chris Rock interview when Tribe Thank

1873
01:34:34,040 --> 01:34:36,320
Speaker 1: You for Your Service came out and he was describing

1874
01:34:36,360 --> 01:34:38,559
Speaker 1: why that album was good, and he said, it's the

1875
01:34:38,560 --> 01:34:42,120
Speaker 1: first time I've heard older rappers not rap about what

1876
01:34:42,120 --> 01:34:45,599
Speaker 1: they used to do. Right, you become the yesteryear, like, yo,

1877
01:34:45,680 --> 01:34:47,920
Speaker 1: you remember we were legends and we did all that.

1878
01:34:50,240 --> 01:34:52,120
Speaker 4: To your point, let me say this because I don't

1879
01:34:52,120 --> 01:34:54,559
Speaker 4: think this gets across enough. You know what I'm saying

1880
01:34:54,600 --> 01:34:56,200
Speaker 4: from the time that I did it, And I'm not

1881
01:34:56,240 --> 01:34:56,920
Speaker 4: just saying it.

1882
01:34:56,800 --> 01:34:57,400
Speaker 2: Because it's me.

1883
01:34:58,520 --> 01:35:02,280
Speaker 4: How many lawyers they used to be chop chart topping

1884
01:35:02,479 --> 01:35:04,679
Speaker 4: artists are they out there?

1885
01:35:04,800 --> 01:35:05,960
Speaker 2: Well, there's no one.

1886
01:35:06,320 --> 01:35:09,240
Speaker 1: There's a reason why that'd go against the system, right,

1887
01:35:09,600 --> 01:35:11,800
Speaker 1: But you have an artist that's also a lawyer.

1888
01:35:11,560 --> 01:35:12,240
Speaker 2: You know what I'm saying.

1889
01:35:12,360 --> 01:35:19,040
Speaker 1: But and that's the reason the universal would like that.

1890
01:35:19,320 --> 01:35:21,760
Speaker 4: But I just like, that's why I damnedn't mentioned it

1891
01:35:21,760 --> 01:35:24,160
Speaker 4: in every song because I don't think you understand the

1892
01:35:24,240 --> 01:35:27,320
Speaker 4: magnitude of what this ship is, like this is some

1893
01:35:27,360 --> 01:35:30,599
Speaker 4: real ship, like like what you know what I'm saying.

1894
01:35:31,280 --> 01:35:34,240
Speaker 4: But but yeah, that's that law and disorder. Of course,

1895
01:35:34,280 --> 01:35:36,680
Speaker 4: if you can put it together, I'm the law and that's.

1896
01:35:36,360 --> 01:35:39,520
Speaker 3: And and and you know it's it's it's a culmination

1897
01:35:39,760 --> 01:35:43,080
Speaker 3: of people know me as the mad rapper, they know beats.

1898
01:35:43,120 --> 01:35:45,519
Speaker 3: But it's also just saying in these times to produce

1899
01:35:45,560 --> 01:35:50,960
Speaker 3: a rapper what I haven't heard except maybe a little

1900
01:35:50,960 --> 01:35:53,960
Speaker 3: bit with Dre and Snoop because any of these guys

1901
01:35:54,000 --> 01:35:58,479
Speaker 3: having fun right like you named albums them sessions don't

1902
01:35:58,520 --> 01:36:01,880
Speaker 3: sound fun. I mean them just sound intense dark. The

1903
01:36:01,880 --> 01:36:05,160
Speaker 3: weed is black, like it just sounds like the liquors

1904
01:36:05,560 --> 01:36:09,080
Speaker 3: dark brown. Nothing sounds like they was having fun. It

1905
01:36:09,240 --> 01:36:12,040
Speaker 3: all this sounds so serious, like they got all this

1906
01:36:12,120 --> 01:36:14,920
Speaker 3: other ship going on. I'm in the studio. I got

1907
01:36:15,000 --> 01:36:22,280
Speaker 3: slippers on incensely. Ye were watching pawns. I got in

1908
01:36:22,320 --> 01:36:22,679
Speaker 3: the air.

1909
01:36:23,400 --> 01:36:27,120
Speaker 2: We're doing all of that. I'm not doing that wine.

1910
01:36:27,320 --> 01:36:30,479
Speaker 3: Yeah he got wine, I got whatever I got everybody,

1911
01:36:30,760 --> 01:36:33,400
Speaker 3: but we having fun, you know what I'm saying. Like

1912
01:36:33,479 --> 01:36:37,360
Speaker 3: it's like imagining being in a Rihanna session during them times,

1913
01:36:37,400 --> 01:36:40,719
Speaker 3: Like how fun was those sessions? That's what I'm saying.

1914
01:36:40,840 --> 01:36:43,240
Speaker 3: That's what I'm trying. That's where we at. We had

1915
01:36:43,280 --> 01:36:45,880
Speaker 3: to say that I'm sending songs and I'm giggling when

1916
01:36:45,880 --> 01:36:48,080
Speaker 3: I said to your to You're gonna enjoy this one

1917
01:36:48,160 --> 01:36:50,360
Speaker 3: so much, you know what I'm saying. Not like your

1918
01:36:50,400 --> 01:36:57,519
Speaker 3: fam We got ain't all none of that.

1919
01:36:57,600 --> 01:37:00,640
Speaker 2: Yeah, none of we passed that. That's on disorder. And

1920
01:37:00,640 --> 01:37:03,439
Speaker 2: I'm always going to be an habitual line step anyway.

1921
01:37:03,439 --> 01:37:05,400
Speaker 2: You know what I'm saying. So that's just the Disorder party,

1922
01:37:06,400 --> 01:37:06,920
Speaker 2: you know what I mean.

1923
01:37:07,240 --> 01:37:10,840
Speaker 1: Well, I really appreciate you guys pulling up long. Disorder

1924
01:37:10,840 --> 01:37:15,160
Speaker 1: is out now, And just for my own selfish reasons,

1925
01:37:15,200 --> 01:37:18,720
Speaker 1: I want to tell you guys, this makes podcasting not

1926
01:37:18,800 --> 01:37:19,720
Speaker 1: a job to me.

1927
01:37:20,160 --> 01:37:24,560
Speaker 2: Is sitting with guys like you. I appreciate it.

1928
01:37:25,280 --> 01:37:28,639
Speaker 1: Like, yeah, little Rory, like when he was fucking ten

1929
01:37:28,720 --> 01:37:32,080
Speaker 1: years old, I couldn't imagine sitting on a couch with

1930
01:37:32,479 --> 01:37:33,000
Speaker 1: guys like you.

1931
01:37:33,120 --> 01:37:34,360
Speaker 2: So this this is something.

1932
01:37:34,120 --> 01:37:39,000
Speaker 3: That that's that's real. Suburban Little Rory would like to

1933
01:37:39,240 --> 01:37:40,960
Speaker 3: beat you guys. That's just that he was smoking.

1934
01:37:41,160 --> 01:37:44,559
Speaker 5: He was smoking black mouth. But cople people real quick?

1935
01:37:45,160 --> 01:37:46,040
Speaker 2: You for you finished?

1936
01:37:46,760 --> 01:37:53,439
Speaker 3: Oh Jiz, Yes, Riz Deluxe, Sherry John, God Bless Black,

1937
01:37:53,520 --> 01:38:01,080
Speaker 3: Rob DJ, Blinks down there Blink's Basement, and everybody else participated. Man,

1938
01:38:01,320 --> 01:38:05,679
Speaker 3: just Eric going to artwork. Yeah, Cherry John out of Brooklyn.

1939
01:38:05,760 --> 01:38:08,400
Speaker 3: She sang on the album US did a beautiful job.

1940
01:38:08,600 --> 01:38:12,960
Speaker 3: So all those people, I just right, is just everybody

1941
01:38:13,000 --> 01:38:17,120
Speaker 3: good looking? Because you know platforms, they watch your platform

1942
01:38:17,439 --> 01:38:18,880
Speaker 3: you know what I'm saying, So I want to make

1943
01:38:18,920 --> 01:38:21,519
Speaker 3: sure that they know we recognize their efforts.

1944
01:38:21,520 --> 01:38:24,640
Speaker 2: And helping us pull this thing off, and we appreciate

1945
01:38:24,680 --> 01:38:27,479
Speaker 2: you having us. Yeah. Do we get a live show?

1946
01:38:28,120 --> 01:38:29,040
Speaker 2: What does that mean? Yeah?

1947
01:38:30,240 --> 01:38:34,040
Speaker 5: Sure, what I'm saying, we get a live a live show.

1948
01:38:34,080 --> 01:38:35,759
Speaker 5: Y'all got on tour anything?

1949
01:38:35,840 --> 01:38:37,040
Speaker 2: Oh you mean you mean are we doing?

1950
01:38:37,120 --> 01:38:38,960
Speaker 3: Yeah? Yeah, we got so I'll send you all of that.

1951
01:38:39,040 --> 01:38:42,519
Speaker 3: We gotta just yeah yeah all summer long. Yeah, I was,

1952
01:38:43,160 --> 01:38:44,840
Speaker 3: I was like, you want to get up here?

1953
01:38:45,000 --> 01:38:58,360
Speaker 2: Just no no album?

1954
01:38:58,439 --> 01:39:04,559
Speaker 3: Yeah yeah yeah yeah, throwing DC next week. We got Brooklyn,

1955
01:39:04,600 --> 01:39:08,479
Speaker 3: Brooklyn the block party.

1956
01:39:09,800 --> 01:39:10,719
Speaker 2: Come please.

1957
01:39:11,400 --> 01:39:15,880
Speaker 3: Yeah, we're doing that. Letting they see for Charlie Macingham Joints.

1958
01:39:16,800 --> 01:39:20,080
Speaker 3: That's the twenty info. Yeah, off the top of my head.

1959
01:39:20,120 --> 01:39:21,920
Speaker 3: You know we have the other person here have it.

1960
01:39:24,479 --> 01:39:28,600
Speaker 5: I don't know all that.

1961
01:39:28,600 --> 01:39:30,639
Speaker 3: That's the other part, Rory, keep it real. I love

1962
01:39:30,680 --> 01:39:32,639
Speaker 3: playing artists right now. Usually I'm on the other side.

1963
01:39:32,840 --> 01:39:34,080
Speaker 2: This ship is so fun to me.

1964
01:39:34,720 --> 01:39:38,240
Speaker 3: I get to show up, smoke and do me on

1965
01:39:38,280 --> 01:39:41,639
Speaker 3: the camera. I don't have to order new cars, worry

1966
01:39:41,680 --> 01:39:44,720
Speaker 3: about where he at, where she at somebody else. That

1967
01:39:44,920 --> 01:39:48,360
Speaker 3: ship is love, grown grow with grown men. That ship

1968
01:39:48,439 --> 01:39:51,160
Speaker 3: is like, yeah, like this so this whole Lord dis

1969
01:39:51,240 --> 01:39:51,960
Speaker 3: Orders just fun.

1970
01:39:52,439 --> 01:39:55,200
Speaker 4: Just that We just to make sure y'all go cop

1971
01:39:55,240 --> 01:39:58,000
Speaker 4: that man platforms.

1972
01:39:57,360 --> 01:40:03,320
Speaker 2: Out now listen to him, Please beg, appreciate you. I

1973
01:40:03,560 --> 01:40:06,439
Speaker 2: love no Willian now