1 00:00:00,720 --> 00:00:16,439 Speaker 1: Disgraceland as a production of Double Elvis. The stories about 2 00:00:16,520 --> 00:00:19,880 Speaker 1: Snoop Doggie Dog are insane. He was a member of 3 00:00:19,960 --> 00:00:23,119 Speaker 1: the infamous Rowan twenty Cripps Street gang. He went to 4 00:00:23,200 --> 00:00:26,920 Speaker 1: jail for cocaine possession. He became a pimp after becoming 5 00:00:26,920 --> 00:00:30,360 Speaker 1: a worldwide hip hop star. To this day he smokes 6 00:00:30,400 --> 00:00:33,400 Speaker 1: copious amounts of the chronic, even claiming to have gotten 7 00:00:33,440 --> 00:00:35,239 Speaker 1: high in the bathroom of the White House back in 8 00:00:35,280 --> 00:00:41,000 Speaker 1: twenty fifteen. He coaches youth football, is BFFs with Martha Stewart, 9 00:00:41,120 --> 00:00:42,960 Speaker 1: and depending on who you talk to, is one of 10 00:00:43,000 --> 00:00:46,280 Speaker 1: the most talented rappers of all time. He is iconic, 11 00:00:46,360 --> 00:00:49,280 Speaker 1: known the world over by the one syllable nicknames Mama 12 00:00:49,320 --> 00:00:53,920 Speaker 1: gave him Snoop, Though he now occupies coveted real estate 13 00:00:53,960 --> 00:00:56,240 Speaker 1: on Hollywood Boulevard in the form of a star on 14 00:00:56,280 --> 00:00:59,600 Speaker 1: the Hollywood Walk of Fame. Snoop came up on different streets, 15 00:01:00,080 --> 00:01:03,600 Speaker 1: gang torn streets of Long Beach, California, streets that despite 16 00:01:03,600 --> 00:01:06,080 Speaker 1: his stardom, he'd never really be able to leave behind, 17 00:01:06,480 --> 00:01:10,360 Speaker 1: Streets that would nearly derail his career. But despite all 18 00:01:10,400 --> 00:01:13,800 Speaker 1: that noise, or perhaps because of it, Snoop made great music. 19 00:01:14,400 --> 00:01:16,120 Speaker 1: That music you heard at the top of the show 20 00:01:16,319 --> 00:01:19,200 Speaker 1: that wasn't great music. That was a preset loop from 21 00:01:19,200 --> 00:01:24,160 Speaker 1: my melotron called slow Street bassa klav BK one. I 22 00:01:24,200 --> 00:01:26,840 Speaker 1: played you that loop because I can't afford the rights 23 00:01:26,880 --> 00:01:30,480 Speaker 1: to exhale Shoop shoot by Whitney Houston. And why would 24 00:01:30,520 --> 00:01:33,640 Speaker 1: I play you that specific slice of uninspired Betty Ever 25 00:01:33,760 --> 00:01:36,920 Speaker 1: Biting Cheese? Could I afford it? Because that was the 26 00:01:37,000 --> 00:01:40,400 Speaker 1: number one song in America on November twenty seven, nineteen 27 00:01:40,520 --> 00:01:43,240 Speaker 1: ninety five, And that was the day that Snoop Doggie 28 00:01:43,240 --> 00:01:47,640 Speaker 1: Dog aka the do doubleg entered a Los Angeles Superior 29 00:01:47,680 --> 00:01:51,600 Speaker 1: courtroom to defend himself against the first degree murder charge 30 00:01:51,720 --> 00:01:53,960 Speaker 1: that will potentially send him to prison for the rest 31 00:01:53,960 --> 00:01:58,840 Speaker 1: of his life. On this episode, Slow bossa Stolen Cheese 32 00:01:59,120 --> 00:02:03,080 Speaker 1: the Streets a murder case in Snoop Dogg. I'm Jake 33 00:02:03,160 --> 00:02:31,640 Speaker 1: Brennan and this this disgraceland. As far back as Snoop 34 00:02:31,680 --> 00:02:41,680 Speaker 1: could remember, he always wanted to be a pimp. Snoop 35 00:02:41,720 --> 00:02:44,880 Speaker 1: grew up as Calvin Broutis Junior in Long Beach, California 36 00:02:45,200 --> 00:02:48,920 Speaker 1: East Side, but up by Wriggle near the pch The 37 00:02:48,960 --> 00:02:52,840 Speaker 1: prostitutes were owned free. It was pimp lad. The neighborhood 38 00:02:52,840 --> 00:02:54,840 Speaker 1: was a remnant of what had become of Long Beach's 39 00:02:54,919 --> 00:02:58,440 Speaker 1: notorious ocean front slum known as the Jungle. By the 40 00:02:58,480 --> 00:03:01,760 Speaker 1: nineteen eighties and nineteen nineties, the sailors and dock workers 41 00:03:01,760 --> 00:03:04,520 Speaker 1: from earlier in the century had been replaced by the 42 00:03:04,560 --> 00:03:08,200 Speaker 1: gang bangers and traveling businessmen, and the pimps ruled it 43 00:03:08,240 --> 00:03:12,919 Speaker 1: all and styled as a kid, Snoop vibed on Iceberg Slim, 44 00:03:13,160 --> 00:03:16,799 Speaker 1: whose autobiography Pimp The Story of My Life brought pimping 45 00:03:16,840 --> 00:03:19,680 Speaker 1: out of the shadows and onto bookshelves alongside books by 46 00:03:19,680 --> 00:03:24,240 Speaker 1: black power icons like Malcolm X and Eldritch Cleaver. Young 47 00:03:24,320 --> 00:03:27,840 Speaker 1: Snoop wasn't the only one enthralled by pimp culture. Seventies 48 00:03:27,880 --> 00:03:31,200 Speaker 1: filmmakers couldn't put the pimps down either. Harvey kai Tell's 49 00:03:31,200 --> 00:03:34,280 Speaker 1: Sport from Taxi Driver and Rudy ray Moore's Dolomite gave 50 00:03:34,360 --> 00:03:37,080 Speaker 1: young kids in the seventies a glamorized view into the 51 00:03:37,120 --> 00:03:41,320 Speaker 1: seedy underbelly of the street. Dolomite's comedic blend on black 52 00:03:41,320 --> 00:03:46,920 Speaker 1: exploitation was particularly compelling. Dolomite is my name and fucking 53 00:03:47,000 --> 00:03:50,160 Speaker 1: up motherfuckers is my game. I'm Dolomite. I'm the one 54 00:03:50,160 --> 00:03:53,200 Speaker 1: that killed Monday, what Tuesday put Wednesday in the hospital, 55 00:03:53,240 --> 00:03:55,680 Speaker 1: called up Thursday to tell Friday not to bury Saturday 56 00:03:55,680 --> 00:03:58,000 Speaker 1: on a Sunday. I'm the one. I'm the one who 57 00:03:58,000 --> 00:04:00,280 Speaker 1: had the elephant roosted in trees and all the ants 58 00:04:00,280 --> 00:04:05,480 Speaker 1: wearing BBDs. These characters in these films were part of 59 00:04:05,520 --> 00:04:08,960 Speaker 1: the hood curriculum for Snoop. Years later, after becoming a 60 00:04:09,000 --> 00:04:11,320 Speaker 1: hip hop sensation, Snoop would try his hand to pimp 61 00:04:11,320 --> 00:04:16,360 Speaker 1: and for real. He had at least two women going 62 00:04:16,400 --> 00:04:19,919 Speaker 1: at all times, sometimes as many as ten, all various 63 00:04:19,920 --> 00:04:22,680 Speaker 1: hotel rooms that he'd have booked adjacent whatever hotel suite 64 00:04:22,720 --> 00:04:24,440 Speaker 1: he was staying in while on the road. Back in 65 00:04:24,480 --> 00:04:28,440 Speaker 1: two thousand and three, his clients were entertainers and athletes. 66 00:04:28,760 --> 00:04:31,960 Speaker 1: Discerning clientele who could afford the services of Snoop so 67 00:04:32,080 --> 00:04:36,159 Speaker 1: called hose and also keep a secret. Snoop couldn't believe 68 00:04:36,160 --> 00:04:38,840 Speaker 1: the money he was generating, not that he needed it. 69 00:04:39,360 --> 00:04:41,280 Speaker 1: By this time, Snoop was one of the biggest stars 70 00:04:41,279 --> 00:04:44,839 Speaker 1: in entertainment, and his experienced pimping, along with his love 71 00:04:44,880 --> 00:04:48,040 Speaker 1: for Dolomite would eventually inform his later performance in two 72 00:04:48,080 --> 00:04:50,360 Speaker 1: thousand and four was Starsky and Hutch as Huggy Bear, 73 00:04:50,720 --> 00:04:53,919 Speaker 1: the pimped out underworld contact for Ben Stiller. Starsky and 74 00:04:53,960 --> 00:04:58,920 Speaker 1: Owen Wilson's Hutch Snoop took the streets he came up 75 00:04:58,920 --> 00:05:01,520 Speaker 1: on into the mainstream and use them to turn himself 76 00:05:01,640 --> 00:05:04,080 Speaker 1: into one of the most recognizable stars in the world. 77 00:05:06,680 --> 00:05:09,040 Speaker 1: His stars shot out of the gangster rap scene, a 78 00:05:09,120 --> 00:05:11,840 Speaker 1: scene that truly began its ascent in nineteen ninety two. 79 00:05:12,279 --> 00:05:17,040 Speaker 1: After its biggest group compidence, NWA had splintered that year. 80 00:05:17,080 --> 00:05:19,880 Speaker 1: Within a month of each other, two of NWA's biggest 81 00:05:19,880 --> 00:05:22,880 Speaker 1: stars released what would become two of Gangster Rap's most 82 00:05:23,000 --> 00:05:27,320 Speaker 1: enduring musical statements, Ice Cubes The Predator and Doctor Dre's 83 00:05:27,400 --> 00:05:32,800 Speaker 1: The Chronic. Both albums are, in a word, great. Ice 84 00:05:32,839 --> 00:05:37,520 Speaker 1: Cubes The Predator is hard, mean, unflinching and unforgiving. It 85 00:05:37,560 --> 00:05:40,279 Speaker 1: picks up where NWA is fucked the police left off 86 00:05:40,279 --> 00:05:42,760 Speaker 1: and doesn't look back in a way. It's what we 87 00:05:42,839 --> 00:05:45,360 Speaker 1: expected from Cube at the time, a no holds barred 88 00:05:45,360 --> 00:05:48,200 Speaker 1: assessment of life on the La streets, streets where you 89 00:05:48,240 --> 00:05:50,799 Speaker 1: could still smell the burning embers of the La riots 90 00:05:50,800 --> 00:05:54,359 Speaker 1: from six months earlier. Doctor Dre's The Chronic, on the 91 00:05:54,360 --> 00:05:57,360 Speaker 1: other hand, wasn't necessarily what the world was expecting. It's 92 00:05:57,480 --> 00:05:59,800 Speaker 1: raw and in its own way, an unflinching look at 93 00:05:59,800 --> 00:06:02,640 Speaker 1: life on Compton Streets, but straight out The Chronic is 94 00:06:02,680 --> 00:06:06,520 Speaker 1: a party record. Drey threw George Clinton sink at the project, 95 00:06:06,680 --> 00:06:09,800 Speaker 1: and the result was nothing short of jaw dropping. The 96 00:06:09,839 --> 00:06:13,960 Speaker 1: first fifteen seconds on the album are gripping. Drey's brief, 97 00:06:14,000 --> 00:06:16,520 Speaker 1: plain and spoken dedication is the first thing you hear. 98 00:06:16,920 --> 00:06:21,839 Speaker 1: Then Welcome to Death Row, after that harsh clanging of 99 00:06:21,839 --> 00:06:25,800 Speaker 1: a prison cell door being slammed shut. Then in an instant, 100 00:06:25,839 --> 00:06:28,040 Speaker 1: the vive lightness to the sound of a last poet's 101 00:06:28,120 --> 00:06:32,000 Speaker 1: vocal sample, A raspy, slack jawed voice chimes in like 102 00:06:32,040 --> 00:06:35,120 Speaker 1: we always do about this time. A second later, a 103 00:06:35,160 --> 00:06:40,200 Speaker 1: boisterous ha ha. The beat drops. It's big and so 104 00:06:40,400 --> 00:06:43,960 Speaker 1: is the synth Drey's patent did Compton whistle? And then 105 00:06:44,800 --> 00:06:49,599 Speaker 1: that voice Yeah, nine deuce Death Row records creeping while 106 00:06:49,600 --> 00:06:53,280 Speaker 1: you're sleeping and you're off off on some trip you've 107 00:06:53,279 --> 00:06:56,239 Speaker 1: never been off onto before. That new voice is taking 108 00:06:56,279 --> 00:06:58,240 Speaker 1: you for a ride. And you're in the back seat, 109 00:06:58,400 --> 00:07:01,600 Speaker 1: head back, the top down. This herb everywhere and the 110 00:07:01,720 --> 00:07:06,760 Speaker 1: voice is transcendent, new, fresh, largely unknown. It's Drey's record, 111 00:07:06,800 --> 00:07:09,240 Speaker 1: but this young pup named Snoop is owning it from 112 00:07:09,279 --> 00:07:13,080 Speaker 1: the outset, announcing his arrival with authority, and Dre with 113 00:07:13,200 --> 00:07:15,680 Speaker 1: the type of confidence most artists can only dream of, 114 00:07:16,040 --> 00:07:18,800 Speaker 1: has the sand to let this newbie hijack his mothership 115 00:07:18,840 --> 00:07:20,640 Speaker 1: and let him ride straight to number three on the 116 00:07:20,640 --> 00:07:25,160 Speaker 1: Billboard charts. The record is a banger, a crossover success 117 00:07:25,160 --> 00:07:27,840 Speaker 1: for hip hop that up to that point was unimaginable. 118 00:07:28,640 --> 00:07:31,920 Speaker 1: Dubbed Gangs Delight, the record was unavoidable through late ninety 119 00:07:31,960 --> 00:07:35,480 Speaker 1: two and ninety three. Black kids, white kids, high school kids, 120 00:07:35,560 --> 00:07:38,360 Speaker 1: college kids, and adults with ears everywhere get hooked on 121 00:07:38,400 --> 00:07:41,840 Speaker 1: the chronic and by extension, hooked on Snoop Dog as well. 122 00:07:43,120 --> 00:07:45,520 Speaker 1: Of the sixteen tracks and the chronic, Snoop is on 123 00:07:45,600 --> 00:07:48,680 Speaker 1: eleven and he shined to call it his breakout as 124 00:07:48,720 --> 00:07:52,200 Speaker 1: an understatement his laid back flow of voke Wrap's earlier 125 00:07:52,280 --> 00:07:55,720 Speaker 1: storytellers like Slick Rick or too Short. But it's otherwise 126 00:07:56,040 --> 00:08:13,640 Speaker 1: totally unique, Unlike any voice performed in the lyrics, Gangsty. 127 00:08:15,640 --> 00:08:18,320 Speaker 1: The Chronic would go on to be certified Triple platinum, 128 00:08:18,360 --> 00:08:21,520 Speaker 1: three million records, and the world wanted more, more dre 129 00:08:21,680 --> 00:08:26,280 Speaker 1: but also more Snoop. So when Snoop's debut album, Doggy 130 00:08:26,320 --> 00:08:29,600 Speaker 1: Style was released the following year, it debuted at number 131 00:08:29,600 --> 00:08:32,679 Speaker 1: one on the Billboard Charts, the first ever for a 132 00:08:32,800 --> 00:08:36,880 Speaker 1: debut artist album. Doggy Style, along with its follow up, 133 00:08:37,000 --> 00:08:41,959 Speaker 1: The Dogfather, both sold in the multi millions. Snoop, whose 134 00:08:42,000 --> 00:08:44,960 Speaker 1: style and delivery were instantly iconic, to say nothing of 135 00:08:45,000 --> 00:08:49,000 Speaker 1: being recognizable, was a mainstay on MTV and on magazine covers. 136 00:08:49,320 --> 00:08:53,080 Speaker 1: He was by any measure of success. Throughout the nineties 137 00:08:53,080 --> 00:08:56,720 Speaker 1: and early two thousand, Snoop's notoriety and fame rose. Money 138 00:08:56,760 --> 00:08:59,720 Speaker 1: wasn't an issue, so when he decided to start pimping 139 00:08:59,760 --> 00:09:02,679 Speaker 1: into two thousand and three, again, it wasn't about the money. 140 00:09:03,040 --> 00:09:06,520 Speaker 1: It was, as Snoop said quote about the fascination of 141 00:09:06,600 --> 00:09:09,600 Speaker 1: being a pimp, I could fire a bitch, fuck a bitch, 142 00:09:09,880 --> 00:09:13,880 Speaker 1: city to city, tity, hotel room to hotel room, athlete 143 00:09:13,880 --> 00:09:18,720 Speaker 1: to athlete, entertainer to entertainer. Snoop at channel is down 144 00:09:18,720 --> 00:09:21,920 Speaker 1: in dirty golomite. His inner Iceberg slim and had become 145 00:09:22,240 --> 00:09:26,040 Speaker 1: for a brief period only his childhood fantasy. He'd come 146 00:09:26,120 --> 00:09:28,839 Speaker 1: up from the street and was probably openly taking the 147 00:09:28,880 --> 00:09:32,200 Speaker 1: street with him to ride Shotgun. Alongside his fame and success, 148 00:09:32,760 --> 00:09:35,600 Speaker 1: two things in Snoop's life that only a few years 149 00:09:35,640 --> 00:10:10,960 Speaker 1: earlier were far from certain. Jimmy Iviane was losing his shit. 150 00:10:11,600 --> 00:10:14,360 Speaker 1: The record was supposed to be delivered weeks ago, and 151 00:10:14,440 --> 00:10:17,960 Speaker 1: it wasn't the genius Doctor Dre, who was producing his 152 00:10:18,040 --> 00:10:23,319 Speaker 1: protege Snoop's debut album, Doggie Style, needed more time. Ivine, 153 00:10:23,440 --> 00:10:26,920 Speaker 1: founder chairman and CEO of Interscope Records, had shelled out 154 00:10:26,920 --> 00:10:30,480 Speaker 1: ten million dollars in financing and distribution to death Row Records. 155 00:10:31,000 --> 00:10:34,000 Speaker 1: The label was run by Blood Street gang affiliate Shug Knight, 156 00:10:34,360 --> 00:10:38,320 Speaker 1: so Ivine couldn't exactly intimidate his artists to deliver, but 157 00:10:38,400 --> 00:10:40,880 Speaker 1: he had no problem letting all parties concern know that 158 00:10:40,920 --> 00:10:45,200 Speaker 1: he was incensed. From Ivine's perspective, Snoop, Drey and should 159 00:10:45,440 --> 00:10:47,959 Speaker 1: had had more than enough time to deliver, but all 160 00:10:48,000 --> 00:10:51,839 Speaker 1: he was hearing about was delay after delay. By comparison, 161 00:10:51,960 --> 00:10:55,280 Speaker 1: Drey's chronic sessions had been focused Despite the fact that 162 00:10:55,360 --> 00:10:58,839 Speaker 1: Dre produced the record amids the raging studio party, but 163 00:10:59,000 --> 00:11:01,760 Speaker 1: the environments surround the creation of Doggy Style was an 164 00:11:01,760 --> 00:11:05,120 Speaker 1: even bigger party, and sort of like Doggie Style itself, 165 00:11:05,559 --> 00:11:09,400 Speaker 1: brimming with hedonism, indo, smoke, sex, jin juice, and the 166 00:11:09,440 --> 00:11:12,640 Speaker 1: occasional eruption of violence. It was all too much this 167 00:11:12,720 --> 00:11:15,360 Speaker 1: time around, proving to be a distraction for the otherwise 168 00:11:15,440 --> 00:11:19,240 Speaker 1: hyper focused Doctor Dre and so the album was delayed. 169 00:11:19,720 --> 00:11:24,040 Speaker 1: But Iven was not worried. He knew it to push hard, 170 00:11:24,840 --> 00:11:29,320 Speaker 1: overpromise and somehow eventually deliver. Sure enough, the delay of 171 00:11:29,360 --> 00:11:32,120 Speaker 1: the completed record, an issue that at one point seemed 172 00:11:32,120 --> 00:11:34,840 Speaker 1: like an epic problem, proved itself to be a blessing 173 00:11:34,880 --> 00:11:38,880 Speaker 1: in disguise. The longer the album went undelivered to record stores, 174 00:11:39,080 --> 00:11:42,320 Speaker 1: the more anticipation built, and not just in the press. 175 00:11:42,760 --> 00:11:45,400 Speaker 1: In high school corridors and on the street, kids were 176 00:11:45,480 --> 00:11:48,199 Speaker 1: lining up and camping out at their local Tower Records 177 00:11:48,200 --> 00:11:50,800 Speaker 1: in Sam Goody, hoping against hope that that would be 178 00:11:50,800 --> 00:11:53,160 Speaker 1: the day that Stoop's record would be released and ready 179 00:11:53,160 --> 00:11:56,600 Speaker 1: for them to purchase. The anticipation in the music industry 180 00:11:56,679 --> 00:12:00,640 Speaker 1: was legit to satiate fans before the full album was 181 00:12:00,679 --> 00:12:03,840 Speaker 1: ready Iveyan prepped the release of the single who Am I, 182 00:12:03,960 --> 00:12:07,200 Speaker 1: What's My Name? And that meant they needed a video. 183 00:12:08,040 --> 00:12:10,440 Speaker 1: They decided to shoot one of the performance segments on 184 00:12:10,480 --> 00:12:12,880 Speaker 1: the corner of the Pacific Coast Highway and Martin Luther 185 00:12:13,000 --> 00:12:17,600 Speaker 1: King Junior Avenue, the location of Long Beach's legendary VIP Records. 186 00:12:18,200 --> 00:12:20,199 Speaker 1: Snoop would hold cord on the roof of the building 187 00:12:20,280 --> 00:12:22,240 Speaker 1: and hype up a street level crowd of a couple 188 00:12:22,360 --> 00:12:26,720 Speaker 1: hundred onlookers. Fab five Freddy was enlisted to direct. He 189 00:12:26,840 --> 00:12:30,640 Speaker 1: was perfect rapper, graffiti artist, all time mover shaker, and 190 00:12:30,679 --> 00:12:33,920 Speaker 1: fastly becoming a hip hop icon. Fab was the first 191 00:12:33,960 --> 00:12:37,360 Speaker 1: host of YOMTV raps and had starred in Wild Style, 192 00:12:37,440 --> 00:12:40,120 Speaker 1: the first true hip hop film, as well as appeared 193 00:12:40,120 --> 00:12:43,080 Speaker 1: in Spike Lee's She's Got a Habit and Seminal Street 194 00:12:43,080 --> 00:12:45,600 Speaker 1: Flick k New Jack City. He was name checked in 195 00:12:45,600 --> 00:12:47,760 Speaker 1: a Blondie song and It Hung Out with Jean Michelle 196 00:12:47,800 --> 00:12:51,720 Speaker 1: Basquet Dudead's Street Cred Despair, and now Fab was directing 197 00:12:51,800 --> 00:12:54,360 Speaker 1: a video for the Hottest name in hip Hop. Snoop 198 00:12:54,480 --> 00:12:59,400 Speaker 1: was stoked cut to the video shoot what was supposed 199 00:12:59,400 --> 00:13:01,400 Speaker 1: to be a couple one hundred extras turned into a 200 00:13:01,480 --> 00:13:04,480 Speaker 1: thousand or so hustlers, pimps, hose and plain old hip 201 00:13:04,480 --> 00:13:08,439 Speaker 1: hop heads who showed up most ominous crips and bloods 202 00:13:08,440 --> 00:13:11,440 Speaker 1: had made the scene, but it was a party from 203 00:13:11,480 --> 00:13:14,160 Speaker 1: the jump. The majority of the extras were pulling on 204 00:13:14,240 --> 00:13:18,000 Speaker 1: forties by eight am, constantly jarred by the stop start 205 00:13:18,080 --> 00:13:20,719 Speaker 1: nature of a video shoot and the tediousness of having 206 00:13:20,800 --> 00:13:23,240 Speaker 1: to listen to the same song over and over again, 207 00:13:24,720 --> 00:13:28,800 Speaker 1: and because both MTV and BEETS standards prevented the showing 208 00:13:28,840 --> 00:13:31,480 Speaker 1: of any gang signs in any of their broadcast videos. 209 00:13:31,920 --> 00:13:35,440 Speaker 1: Fab at a cut and start over again and again. Guys, 210 00:13:35,679 --> 00:13:37,720 Speaker 1: I can see you. If you're fucking hands, you want 211 00:13:37,720 --> 00:13:40,080 Speaker 1: to be on MTV or not, Let's do it again. 212 00:13:40,640 --> 00:13:45,559 Speaker 1: Rolling the day went on, another take action, another couple 213 00:13:45,640 --> 00:13:53,040 Speaker 1: hundred forties, no place to piss, rival crews, another take action, cot, 214 00:13:53,800 --> 00:14:01,120 Speaker 1: more Mount liquor, more Indo sing song again. By the afternoon, 215 00:14:01,160 --> 00:14:03,360 Speaker 1: the crowd of a thousand balloon to three thousand. It 216 00:14:03,480 --> 00:14:06,720 Speaker 1: got hotter and the crowd got drunken. The street was restless, 217 00:14:06,720 --> 00:14:15,720 Speaker 1: and in no time the riot broke out. While police 218 00:14:15,760 --> 00:14:18,880 Speaker 1: got things under control. Of black mercedes cut through the 219 00:14:18,920 --> 00:14:22,640 Speaker 1: crowd with authority stopping abruptly to pick up Dray and sweep. 220 00:14:23,360 --> 00:14:26,880 Speaker 1: Suge Knight was at the wheel, sunglasses the Cosby sweater 221 00:14:27,240 --> 00:14:31,280 Speaker 1: menace all over his grill. The three drove off, this 222 00:14:31,360 --> 00:14:35,080 Speaker 1: time untouched, watching the street violence stay incited shrink in 223 00:14:35,120 --> 00:14:39,120 Speaker 1: the rear view mirrors. But the reality wasn't going anywhere. 224 00:14:39,280 --> 00:14:42,240 Speaker 1: It was plain as day. No matter how high Snoop climbed, 225 00:14:42,240 --> 00:14:46,440 Speaker 1: the gravity of the streets would always pull him back down. 226 00:14:46,320 --> 00:14:48,760 Speaker 1: And that was cool. Snoop didn't mind. It was where 227 00:14:48,760 --> 00:14:51,240 Speaker 1: he came from. Ever since he was a youth, he 228 00:14:51,320 --> 00:14:54,600 Speaker 1: rode with the rolling twenty crips. The streets were his world. 229 00:14:54,680 --> 00:14:56,880 Speaker 1: He was in no hurry to leave them behind. Despite 230 00:14:56,880 --> 00:15:01,000 Speaker 1: his success at the record release already for Doggy Style. 231 00:15:01,040 --> 00:15:04,240 Speaker 1: A month after the What's My Name video started dominating MTV, 232 00:15:04,760 --> 00:15:08,760 Speaker 1: another riot broke out, this time on a yacht. The 233 00:15:08,800 --> 00:15:11,800 Speaker 1: same streets that inspired him, the same streets that contributed 234 00:15:11,800 --> 00:15:14,520 Speaker 1: to the rawness and authenticity of the music he created, 235 00:15:14,800 --> 00:15:17,320 Speaker 1: the music that had made him a star. That street 236 00:15:17,320 --> 00:15:20,920 Speaker 1: ethos was the same element that potentially sent Snoop to 237 00:15:20,960 --> 00:15:26,080 Speaker 1: prison for twenty five to life. We'll be right back 238 00:15:26,320 --> 00:15:32,640 Speaker 1: after this word word word. September eighth, nineteen ninety four, 239 00:15:33,240 --> 00:15:38,880 Speaker 1: Snoop Doggie Dog aka Calvin Brotis aka Snoop aka the 240 00:15:38,960 --> 00:15:42,280 Speaker 1: Double G, one of, if not the biggest name in 241 00:15:42,360 --> 00:15:45,520 Speaker 1: all of hip hop, was busy avoiding his nerves backstage 242 00:15:45,560 --> 00:15:49,120 Speaker 1: at the Universal Amphitheater last year. At the same event, 243 00:15:49,400 --> 00:15:52,800 Speaker 1: after presenting an award alongside his mentor, Doctor Dre and 244 00:15:52,840 --> 00:15:56,920 Speaker 1: his hero George Clinton, Snoop and his attorney went downtown 245 00:15:57,200 --> 00:16:00,160 Speaker 1: and Snoop turned himself in a warrant was up for 246 00:16:00,240 --> 00:16:03,680 Speaker 1: him for a murder beef, a beef that was now 247 00:16:03,800 --> 00:16:08,320 Speaker 1: still a year later on the minds of all the fans, artists, press, paparazzi, 248 00:16:08,360 --> 00:16:10,880 Speaker 1: and starfuckers who were contributing to the low din of 249 00:16:10,960 --> 00:16:14,920 Speaker 1: sound penetrating the dressing room from the theater. Snoop waited 250 00:16:15,160 --> 00:16:19,160 Speaker 1: without a shred of anxiety, laid back despite the fact 251 00:16:19,400 --> 00:16:23,640 Speaker 1: that tonight would not be like any other night her usual. 252 00:16:23,680 --> 00:16:27,480 Speaker 1: The nineteen ninety four MTV Video Music Awards aka the 253 00:16:27,600 --> 00:16:31,520 Speaker 1: VMAs operated as a kind of culture catchall where old 254 00:16:31,760 --> 00:16:35,200 Speaker 1: icons and upstart tastemakers get to play in the same sandbox, 255 00:16:35,280 --> 00:16:38,160 Speaker 1: where various genres got to share a stage and audience, 256 00:16:38,200 --> 00:16:40,640 Speaker 1: and depending on who you were talking about, either a 257 00:16:40,680 --> 00:16:42,680 Speaker 1: hit off of a blunt or a last dance with 258 00:16:42,760 --> 00:16:46,400 Speaker 1: Mary Jane from behind the curtain. Before taking the podium, 259 00:16:47,320 --> 00:16:50,640 Speaker 1: Michael Jackson and Lisa Marie Presley were conspiring to gross 260 00:16:50,680 --> 00:16:54,480 Speaker 1: out makeout in front of a nationally televised audience. The 261 00:16:54,560 --> 00:16:58,520 Speaker 1: recently departed Kirk Cobaine was paid tribute to Roseanne Barr 262 00:16:58,560 --> 00:17:02,920 Speaker 1: hosted and miraculously wasn't a complete and total embarrassment. Bruce 263 00:17:02,920 --> 00:17:05,719 Speaker 1: Springsteen bummed everyone out with the performance of the Streets 264 00:17:05,720 --> 00:17:09,879 Speaker 1: of Philadelphia, and David Letterman flirted with Madonna, who didn't mind. 265 00:17:10,600 --> 00:17:14,480 Speaker 1: There were twelve artists who performed, most of them Rock Arrowsmith, 266 00:17:14,520 --> 00:17:17,879 Speaker 1: The Rolling Stones, Smashing Pumpkins, Green Day, Tom Petty and 267 00:17:17,920 --> 00:17:22,800 Speaker 1: the Heartbreakers, Stone Temple, Pilots, and the aforementioned Boss Boys. 268 00:17:22,800 --> 00:17:24,600 Speaker 1: To Men laid it on thick with their R and 269 00:17:24,640 --> 00:17:27,720 Speaker 1: B ballad I'll Make Love to You. The Beastie Boys, 270 00:17:27,760 --> 00:17:29,879 Speaker 1: once a more traditional hip hop group, were at the 271 00:17:29,920 --> 00:17:34,000 Speaker 1: time expanding their already significant crossover success by recalling their 272 00:17:34,000 --> 00:17:37,119 Speaker 1: hardcore roots. They brought the heat with the performance of 273 00:17:37,160 --> 00:17:40,800 Speaker 1: their banger Sabotage, and that left Salt and Peppa and 274 00:17:40,880 --> 00:17:43,639 Speaker 1: Snoop as the lone representatives of the hip hop genre. 275 00:17:44,240 --> 00:17:47,080 Speaker 1: Salt and Peppa blasted through a medley of their biggest hits, 276 00:17:47,240 --> 00:17:49,520 Speaker 1: Push It None of Your Business, What a Man? And 277 00:17:49,600 --> 00:17:52,960 Speaker 1: the sex laden Shoot. Hip Hop and R and B 278 00:17:53,160 --> 00:17:55,040 Speaker 1: might have been pushing rock off at the charts in 279 00:17:55,119 --> 00:17:58,200 Speaker 1: nineteen ninety four, but pound for pound that night at 280 00:17:58,240 --> 00:18:02,520 Speaker 1: the VMA's rock was the dominant genre on stage, but 281 00:18:02,600 --> 00:18:05,040 Speaker 1: it was clear that by the early nineties, hip hop 282 00:18:05,080 --> 00:18:07,680 Speaker 1: and rock were getting more and more comfortable hanging out. 283 00:18:08,720 --> 00:18:11,360 Speaker 1: It started a couple of years earlier with Run DMC 284 00:18:11,480 --> 00:18:14,920 Speaker 1: and Arrowsmith's remake of the Aerosmith classic Walked This Way 285 00:18:14,960 --> 00:18:18,520 Speaker 1: from nineteen eighty six, a safe venture into the unknown 286 00:18:18,600 --> 00:18:21,600 Speaker 1: by both artists. It was followed up by a more 287 00:18:21,640 --> 00:18:26,080 Speaker 1: street inspired hardcore mashow from Anthrax and Public Enemy, who 288 00:18:26,119 --> 00:18:29,119 Speaker 1: took pees bring the Noise and gave it new energy 289 00:18:29,119 --> 00:18:31,600 Speaker 1: on the back of Scott Ian's thick guitar rists that 290 00:18:31,800 --> 00:18:36,359 Speaker 1: somehow melded effortlessly with Hank Shockley's City Street Sirens soaked 291 00:18:36,400 --> 00:18:41,160 Speaker 1: original track. The first three Lollapalooza lineups made great strides 292 00:18:41,200 --> 00:18:43,680 Speaker 1: and bringing hip hop to the Alt Nation teen set, 293 00:18:44,280 --> 00:18:46,840 Speaker 1: just as iced Tea was exposing his rap fan base 294 00:18:46,880 --> 00:18:50,520 Speaker 1: to hardcore punk with his Body Cow project. The melding 295 00:18:50,520 --> 00:18:53,359 Speaker 1: of these genres culminated in the soundtrack to the nineteen 296 00:18:53,440 --> 00:18:57,600 Speaker 1: ninety three film Judgment Night Seattle proto Grungjow Fit Munhooney 297 00:18:57,680 --> 00:19:00,600 Speaker 1: collaborated on a track with Thick Booty, Advocac Sir Mix 298 00:19:00,680 --> 00:19:04,040 Speaker 1: a Lot Noise, Behemus, Dinosaur Junior paired up with Mister 299 00:19:04,080 --> 00:19:07,440 Speaker 1: Doublina himself deal to Funky Homo Sapien, to say nothing 300 00:19:07,440 --> 00:19:10,640 Speaker 1: of the slamming contributions between House of Pain and Helmet 301 00:19:10,640 --> 00:19:14,399 Speaker 1: and the title track by Biohazard and Onyx. All of 302 00:19:14,440 --> 00:19:17,520 Speaker 1: it made for essential teenage listening. In the early nineties, 303 00:19:18,520 --> 00:19:21,440 Speaker 1: it was becoming clear hip hop was no longer fringe. 304 00:19:21,640 --> 00:19:24,120 Speaker 1: It was, in fact in the process of infringing upon 305 00:19:24,200 --> 00:19:27,159 Speaker 1: rock's dominance and becoming the more culturally significant of the 306 00:19:27,160 --> 00:19:30,920 Speaker 1: two mainstream genres, a reality that was hard to fathom 307 00:19:30,960 --> 00:19:34,240 Speaker 1: five years earlier at the nineteen eighty nine VMAs, where 308 00:19:34,320 --> 00:19:36,919 Speaker 1: hip hop was repped by an out of shape Bobby 309 00:19:36,920 --> 00:19:40,720 Speaker 1: Brown singing the theme to Ghostbusters two in a perpetually 310 00:19:40,760 --> 00:19:43,600 Speaker 1: breathless tone look grumbling his way through his top ten 311 00:19:43,720 --> 00:19:47,560 Speaker 1: hit wild Thing. By nineteen ninety four, hip hop had 312 00:19:47,600 --> 00:19:50,240 Speaker 1: come a long way. Snoop knew it. As one of 313 00:19:50,240 --> 00:19:52,439 Speaker 1: the biggest names in the genre, the stakes for his 314 00:19:52,520 --> 00:19:55,680 Speaker 1: performance that night couldn't have been higher, to say nothing 315 00:19:55,680 --> 00:19:57,520 Speaker 1: of the fact that his murder case could take him 316 00:19:57,520 --> 00:20:01,320 Speaker 1: out of the rap game. Completely pleaded not guilty during 317 00:20:01,320 --> 00:20:04,000 Speaker 1: a pre trial hearing in December of nineteen ninety three, 318 00:20:04,040 --> 00:20:07,440 Speaker 1: and now with the trial looming, he understood that twenty 319 00:20:07,480 --> 00:20:11,679 Speaker 1: five to life was a real possibility. So this performance mattered. 320 00:20:12,040 --> 00:20:18,000 Speaker 1: The world was watching, and so is the Street Primetime 321 00:20:18,280 --> 00:20:21,240 Speaker 1: the money slot between Tom Petty and the Heartbreakers and 322 00:20:21,280 --> 00:20:26,560 Speaker 1: Stone Temple Pilots, the audience was heavy on anticipation. Cindy Crawford, 323 00:20:26,640 --> 00:20:29,720 Speaker 1: Tony Bennett, Chuck de and Flavor Flave, John Stewart, Ed 324 00:20:29,800 --> 00:20:33,080 Speaker 1: Lover and the Other Doctor Dre Queen Latifa, Ben Stiller, 325 00:20:33,119 --> 00:20:35,359 Speaker 1: and Dennis Leary all looked onto the stage with a 326 00:20:35,440 --> 00:20:39,200 Speaker 1: mixture of awe, anxiety, and skepticism. When it was clear 327 00:20:39,240 --> 00:20:43,000 Speaker 1: that this wasn't going to be an ordinary performance, the 328 00:20:43,040 --> 00:20:45,840 Speaker 1: first notes of the piano hit, and then the sopranos 329 00:20:45,840 --> 00:20:48,720 Speaker 1: and the gospel choir chime in. A preacher calls out 330 00:20:48,720 --> 00:20:52,120 Speaker 1: a benediction, the Lord's prayer, and then rifts his way 331 00:20:52,160 --> 00:20:54,680 Speaker 1: into a spoken wrap that is part Al Green, part 332 00:20:54,720 --> 00:20:59,159 Speaker 1: Bobby Bird, and we come to the crossroads like Calvin Brotis. 333 00:20:59,200 --> 00:21:04,040 Speaker 1: He preaches. The piano player picks the rhythm up, the 334 00:21:04,119 --> 00:21:08,160 Speaker 1: gospel choir vamps. The preacher continues with the open casket 335 00:21:08,160 --> 00:21:10,520 Speaker 1: in the middle of the stage, flanked by pall bear 336 00:21:10,680 --> 00:21:14,240 Speaker 1: thug bodyguards. A procession of family and friends passed by 337 00:21:14,280 --> 00:21:17,240 Speaker 1: the casket. Women fall to their knees in grief. The 338 00:21:17,320 --> 00:21:20,920 Speaker 1: thugs help them along. The camera focuses on the casket itself. 339 00:21:21,560 --> 00:21:24,240 Speaker 1: It's the street spilled into the church. It's the church 340 00:21:24,320 --> 00:21:27,359 Speaker 1: spilled onto the stage. It's the Holy Ghost unloading on 341 00:21:27,400 --> 00:21:33,440 Speaker 1: the audience with a loaded glock. And then the beat 342 00:21:33,560 --> 00:21:37,760 Speaker 1: finally drops. The gospel choir loosens itself up into a 343 00:21:37,760 --> 00:21:41,439 Speaker 1: club step, clapping on the beat, swaying in unison. The 344 00:21:41,480 --> 00:21:44,480 Speaker 1: minor gong of hell is wrung out. Snoop's voice is 345 00:21:44,520 --> 00:21:47,000 Speaker 1: moving through the verse, but from somewhere out of sight 346 00:21:47,160 --> 00:21:51,040 Speaker 1: off stage, the camera fixes on the open casket. Just 347 00:21:51,119 --> 00:21:55,040 Speaker 1: another street funeral, just another coffin the Devil from Snoop's 348 00:21:55,119 --> 00:21:57,720 Speaker 1: Murder was the case. Short film appears on the screens 349 00:21:57,760 --> 00:22:04,600 Speaker 1: above the stage. Snoop bargain with the gospel choir belts 350 00:22:04,600 --> 00:22:08,639 Speaker 1: out the chorus. Snoop nails the response. Murder was the 351 00:22:08,680 --> 00:22:12,159 Speaker 1: case that they gave me. A beam of light blasts 352 00:22:12,200 --> 00:22:15,040 Speaker 1: from the coffin, and the white gloved undertaker shuts the lid. 353 00:22:15,560 --> 00:22:18,520 Speaker 1: Snoop enters from stage left, cripped out to the max 354 00:22:18,720 --> 00:22:22,520 Speaker 1: perm snarl, flannel clad in a wheelchair, being pushed to 355 00:22:22,600 --> 00:22:26,400 Speaker 1: center stage by another thug. He's hobbled, but not for long. 356 00:22:27,000 --> 00:22:28,840 Speaker 1: By the middle of the verse, he's on his feet. 357 00:22:29,320 --> 00:22:32,520 Speaker 1: Once enfeebled, now full strength, and by the time the 358 00:22:32,560 --> 00:22:36,760 Speaker 1: song ends, Snoop is standing at center stage defiant, I'm innocent, 359 00:22:37,280 --> 00:22:42,240 Speaker 1: I'm innocent. The music goes silent, and the audience erupts. 360 00:22:43,160 --> 00:22:46,040 Speaker 1: As dramatic as the performance was, it was nothing compared 361 00:22:46,080 --> 00:22:49,000 Speaker 1: to the drama of the real life incident that inspired it. 362 00:23:08,320 --> 00:23:11,320 Speaker 1: Snoop recognized the gun right away, if not the assailant. 363 00:23:12,400 --> 00:23:13,920 Speaker 1: Out of the corner of his eye. He could tell 364 00:23:13,960 --> 00:23:16,400 Speaker 1: it was a three eighties semi automatic, and thus its 365 00:23:16,400 --> 00:23:21,159 Speaker 1: owner wasn't a real player and associated best. Real thugs 366 00:23:21,200 --> 00:23:26,720 Speaker 1: preferred nine millimeters, specifically Glock nineteen's handheld widow Makers palm 367 00:23:26,760 --> 00:23:30,440 Speaker 1: sized orphan generators. Fuck that pocket rocket jive. The three 368 00:23:30,480 --> 00:23:33,399 Speaker 1: eighties were cheaper, had less recoil and thus less power. 369 00:23:33,800 --> 00:23:36,760 Speaker 1: They were dainty by comparison. When you needed to kill 370 00:23:36,800 --> 00:23:39,320 Speaker 1: a motherfucker for real, the Glock nineteen was your go to. 371 00:23:40,440 --> 00:23:44,879 Speaker 1: But guns being guns, the assailant had Snoop's attention. Recognize 372 00:23:44,920 --> 00:23:46,879 Speaker 1: whose turf you're on, and get the fuck out of 373 00:23:46,920 --> 00:23:50,240 Speaker 1: this neighborhood. This is your first, last, and only warning. 374 00:23:51,680 --> 00:23:54,840 Speaker 1: Snoop nodded slowly and kept his eyes focused on the 375 00:23:54,840 --> 00:23:58,639 Speaker 1: asphalt gas station parking lot. The assailant had a final 376 00:23:58,720 --> 00:24:03,280 Speaker 1: question in command for the young hip hop superstar, Well 377 00:24:03,280 --> 00:24:07,760 Speaker 1: what the fuck are you waiting for? Bounce With that, 378 00:24:07,800 --> 00:24:09,600 Speaker 1: Snoop put one foot in front of the other and 379 00:24:09,640 --> 00:24:12,280 Speaker 1: glided back over the streets he depicted in his wraps 380 00:24:12,359 --> 00:24:14,840 Speaker 1: back to his apartment in the Palms neighborhood just north 381 00:24:14,880 --> 00:24:18,679 Speaker 1: of Englewood. Once safe inside, that peace was short lived. 382 00:24:19,080 --> 00:24:23,240 Speaker 1: Snoop heart yelling from outside. Down on the street, Sewn Abrams' 383 00:24:23,320 --> 00:24:26,399 Speaker 1: friend was getting into it loudly with some gangbangers, a 384 00:24:26,520 --> 00:24:30,400 Speaker 1: local crew by yourself hustlers. Snoop could see it from 385 00:24:30,440 --> 00:24:33,240 Speaker 1: his window on the second floor, clear as day. The 386 00:24:33,320 --> 00:24:36,320 Speaker 1: three eighty strapped into the backside of the waistband on 387 00:24:36,400 --> 00:24:41,160 Speaker 1: the thud they called a little smooth shit. Snoop separated 388 00:24:41,160 --> 00:24:44,639 Speaker 1: his bodyguard mckimley Lee aka Mleak, from the leather couch 389 00:24:44,680 --> 00:24:46,600 Speaker 1: and the video game he was playing, and the two 390 00:24:46,600 --> 00:24:49,359 Speaker 1: of them bounded down the stairs and out onto the street. 391 00:24:51,000 --> 00:24:53,520 Speaker 1: Perhaps it was the even odds of the dunkin's size 392 00:24:53,520 --> 00:24:56,360 Speaker 1: of the leak. Whatever it was, the gang bangers beefing 393 00:24:56,440 --> 00:24:59,800 Speaker 1: with Sean split fuck it. Snoop is late for the 394 00:24:59,800 --> 00:25:03,280 Speaker 1: st anyway, he Sean and Malik jumped into Snoop's brand 395 00:25:03,320 --> 00:25:07,480 Speaker 1: new jeep Cherokee and took off. Snoop was at the wheel, 396 00:25:07,600 --> 00:25:10,760 Speaker 1: Sean in the back. Malie wrote, shock and Snooped little 397 00:25:10,760 --> 00:25:13,439 Speaker 1: blund banged the volume on the console and took in 398 00:25:13,480 --> 00:25:17,800 Speaker 1: the sounds of the Delphonics enemies. The slinky distorted guitar 399 00:25:17,920 --> 00:25:20,280 Speaker 1: rose up out of the speakers and moved itself around 400 00:25:20,280 --> 00:25:24,040 Speaker 1: the smoke from Snoop's blunt. The words were freaking him out. 401 00:25:25,840 --> 00:25:28,160 Speaker 1: Snoop couldn't help but think about what he was going through. 402 00:25:28,880 --> 00:25:31,080 Speaker 1: In the course of a few short months, he'd gone 403 00:25:31,080 --> 00:25:33,840 Speaker 1: from an unknown street tough and long beach to having one, 404 00:25:33,920 --> 00:25:37,320 Speaker 1: if not the most heavily anticipated debut albums for any 405 00:25:37,440 --> 00:25:40,879 Speaker 1: artist of all time. And here he was getting guns 406 00:25:40,880 --> 00:25:43,200 Speaker 1: stuck in his grill on routine trips to the gas 407 00:25:43,240 --> 00:25:47,640 Speaker 1: station from munchies and shit was heavy, and so were 408 00:25:47,640 --> 00:25:52,040 Speaker 1: the delphonics. They kept at it. The air blowing into 409 00:25:52,040 --> 00:25:55,439 Speaker 1: the topless jeep felt good, his track was fucking weird, 410 00:25:55,520 --> 00:25:58,879 Speaker 1: or maybe Snoop was just stone. He couldn't tell. Snoop 411 00:25:58,920 --> 00:26:02,520 Speaker 1: felt just a slight of paranoia. Those dudes from out 412 00:26:02,520 --> 00:26:05,040 Speaker 1: in front of the apartment, What the fuck is it 413 00:26:05,160 --> 00:26:07,320 Speaker 1: going to be more beef? And the dude at the 414 00:26:07,320 --> 00:26:10,879 Speaker 1: gas station with the pocket rocket. Snoop told Malik about it, 415 00:26:10,880 --> 00:26:15,240 Speaker 1: but Malik was chill, seemingly unconcerned, watching the wheels go 416 00:26:15,359 --> 00:26:20,480 Speaker 1: round in the passing cars. Snoop was rolling slow, laid back, 417 00:26:20,880 --> 00:26:23,040 Speaker 1: his mind on his money, his money on his mind, 418 00:26:23,160 --> 00:26:25,280 Speaker 1: and this jeep was cool and all. But Snoop is 419 00:26:25,320 --> 00:26:27,119 Speaker 1: looking forward to the day when he could afford a 420 00:26:27,160 --> 00:26:30,920 Speaker 1: real wind, a brand new rolls are pimped out refurbished 421 00:26:30,920 --> 00:26:35,280 Speaker 1: sixty seven pontiac yellow like the color of Iceberg Slim's teeth. 422 00:26:36,280 --> 00:26:38,800 Speaker 1: The thought of Iceberg Slim made him think of dolomite, 423 00:26:38,840 --> 00:26:41,199 Speaker 1: and the thought of dolomite made him smile to himself. 424 00:26:41,520 --> 00:26:45,960 Speaker 1: But then shit, the gang bangers from outside the apartment, 425 00:26:46,520 --> 00:26:49,480 Speaker 1: out in the open, in plain sight, sitting at the 426 00:26:49,520 --> 00:26:52,560 Speaker 1: pictic table in the palms park, right there by the tent. 427 00:26:52,840 --> 00:26:56,520 Speaker 1: Snoop didn't think. He accelerated, rolled up on them, stopped 428 00:26:56,520 --> 00:26:59,359 Speaker 1: the jeep. The gang bangers looked up from the sweaty 429 00:26:59,400 --> 00:27:03,240 Speaker 1: Mexican food they're eating. One of them, Little Smooth aka 430 00:27:03,280 --> 00:27:07,000 Speaker 1: Philip Balde Mariam stood up. Snoop and Malik had looked 431 00:27:07,000 --> 00:27:09,680 Speaker 1: on their face as that said the same thing. What 432 00:27:09,720 --> 00:27:13,520 Speaker 1: the fuck? Philip spoke out, I'm not trying to sweat 433 00:27:13,520 --> 00:27:15,320 Speaker 1: you all, I'm just trying to let you know where 434 00:27:15,320 --> 00:27:19,320 Speaker 1: you're at. Malik stood up in the topless jeep, towering 435 00:27:19,359 --> 00:27:22,320 Speaker 1: over the Cherokee's windshield and staring with menace at Philip. 436 00:27:23,040 --> 00:27:26,359 Speaker 1: Philip grew agitated and shouted out, oh what, I'm a 437 00:27:26,440 --> 00:27:30,040 Speaker 1: punk now. Malik hit him back with a stern what 438 00:27:31,440 --> 00:27:34,080 Speaker 1: Philip's friend Jason London, who was at the scene, later 439 00:27:34,160 --> 00:27:36,840 Speaker 1: testified if that's when Malik pulled his pistol and took 440 00:27:36,880 --> 00:27:40,439 Speaker 1: aim at Philip. Philip then, according to Malik Anyway, reached 441 00:27:40,480 --> 00:27:43,399 Speaker 1: back for his three eighty tucked into his waistband. Malik 442 00:27:43,520 --> 00:27:46,680 Speaker 1: caught the move, Snoop ducked, Malik fired from the jeep. 443 00:27:47,040 --> 00:27:49,160 Speaker 1: Philip fell to the ground before he was able to draw, 444 00:27:49,200 --> 00:27:52,280 Speaker 1: and Snoop in his crew. Snoop banked on the accelerator 445 00:27:52,320 --> 00:27:55,000 Speaker 1: and get the hell out of there. He, Malik and 446 00:27:55,040 --> 00:28:00,000 Speaker 1: Sean went into hiding. Philip Baldemariam went into the afterlife 447 00:28:00,800 --> 00:28:09,000 Speaker 1: died on the scene, face down in the streets. Snoop 448 00:28:09,080 --> 00:28:11,720 Speaker 1: gave himself up a couple days later, but only after 449 00:28:11,800 --> 00:28:14,359 Speaker 1: the VMAs. Of course, he didn't end up going to 450 00:28:14,440 --> 00:28:17,480 Speaker 1: trial until nineteen ninety five, and murder was indeed the 451 00:28:17,520 --> 00:28:20,280 Speaker 1: case that they gave him, but a racially diverse jury 452 00:28:20,280 --> 00:28:23,080 Speaker 1: could not convict him of that charge, and there was 453 00:28:23,119 --> 00:28:26,000 Speaker 1: a great deal of debate around Snoop in Malik's claims 454 00:28:26,000 --> 00:28:29,679 Speaker 1: of self defense, specifically that Philip will to Marryham, had 455 00:28:29,680 --> 00:28:32,800 Speaker 1: a gun and was a threat to kill him. After 456 00:28:32,880 --> 00:28:36,119 Speaker 1: some time at the trial, It was eventually discovered that 457 00:28:36,160 --> 00:28:39,080 Speaker 1: Philip's friend Deschamp Joseph, who was also at the scene, 458 00:28:39,200 --> 00:28:42,480 Speaker 1: hid the gun. Jason London, another one of Philip's friends 459 00:28:42,520 --> 00:28:44,840 Speaker 1: who was there for the entire incident of Ham's Park, 460 00:28:44,920 --> 00:28:48,520 Speaker 1: testified that yes, Philip was strapping, and yes his gun 461 00:28:48,600 --> 00:28:51,800 Speaker 1: had been removed from the scene and hidden to protect him. 462 00:28:52,280 --> 00:28:55,120 Speaker 1: It was also discovered that the LAPD had handled the 463 00:28:55,160 --> 00:28:59,960 Speaker 1: case with incompetence shocker, having inadvertently destroyed Philip's clothing, bullet 464 00:29:00,240 --> 00:29:04,240 Speaker 1: and shellcasings from the scene. When this was revealed, the 465 00:29:04,280 --> 00:29:06,760 Speaker 1: jury could be seen in the courtroom visibly rolling their 466 00:29:06,760 --> 00:29:10,320 Speaker 1: eyes and shaking their heads. Snoop and the Leak were 467 00:29:10,360 --> 00:29:13,200 Speaker 1: eventually acquitted and in no time back on the streets. 468 00:29:13,840 --> 00:29:19,080 Speaker 1: What did Snoop say? I'm innocent, I'm Jake Brennan in 469 00:29:19,320 --> 00:29:35,000 Speaker 1: This is Disgraceland. Disgraceland was created by Yours Truly and 470 00:29:35,080 --> 00:29:38,280 Speaker 1: is produced in partnership with Double Elvis. Credits for this 471 00:29:38,320 --> 00:29:40,640 Speaker 1: episode can be found on the show notes page at 472 00:29:40,640 --> 00:29:44,680 Speaker 1: disgracelampod dot com. If you're listening as a Disgraceland All 473 00:29:44,720 --> 00:29:47,440 Speaker 1: Access member, thank you for supporting the show. 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