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Speaker 1: I got shows coming up, people, and I really want

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Speaker 1: to see you there, So let me give you some

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Speaker 1: specifics so you can get tickets and make plans. From

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Speaker 1: August twelve to August fourteenth, I'll be in Liberty Township,

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Speaker 1: Ohio at the Funny Bone a k a. The Cincinnati

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Speaker 1: Funny Bone, but it's really not in Cincinnati, it's in

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Speaker 1: Liberty Township. After that, I'm back in California at the

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Speaker 1: American Comedy Company in San Diego, California, from August nineteen

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Speaker 1: to the twenty second, and on August I will be

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Speaker 1: in West Palm Beach, Florida at the Improv And don't

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Speaker 1: forget on August, and don't forget on September seventeenth, We're

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Speaker 1: doing a very special performance. And don't forget on September seventeen,

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Speaker 1: I'm doing a very special performance at the new Anti

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Speaker 1: Had Arena in Abu Dhabi. I'm the first artist in there,

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Speaker 1: and you need to be there. It is gonna be

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Speaker 1: a historical moment. More shows are always being at it,

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Speaker 1: so just keep checking Russell Peters dot com for updates

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Speaker 1: or my Instagram. Now enjoy the show. Hey, welcome to

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Speaker 1: culturally canceled it's me Russell Peter's very exciting episode today. Uh.

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Speaker 1: We have obviously Lord Finesse, who's the resident in the building.

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Speaker 1: We have the very funny Jason Collings sitting on my left,

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Speaker 1: my old radio mate and dear friend Mr Mastermind par

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Speaker 1: Horrors here and also from the formerly from the Liquid

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Speaker 1: Crew down with the Dre team, and also his own

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Speaker 1: man X to the Z exhibits in the house. We

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Speaker 1: also have my brother, the most feared man in hip hop,

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Speaker 1: Freddie Fox a k A. Bumpy canuck LEAs And let's

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Speaker 1: just get it. That's what we do. So we're just

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Speaker 1: hanging out now, and this is basically how it goes

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Speaker 1: there X. We just sit here and we talk shit

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Speaker 1: and it's whatever. However this conversation starts, it starts, it

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Speaker 1: sounds good. Yeah, there's no like beginning or into it. Yeah.

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Speaker 1: So I noticed I don't want to blow up spot.

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Speaker 1: Um exhibit showed up in a Ferrari today. Yeah, and

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Speaker 1: I was like, I see what you're doing there. Yeah yeah,

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Speaker 1: I mean, um, I'm the first meal you there in

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Speaker 1: my family. So so I was saying, yeah, yeah, So

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Speaker 1: it's it was good to you know, be able to

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Speaker 1: learn about money, you know. And so as I was

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Speaker 1: a young guy, I blew through a lot of ship

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Speaker 1: you know. And and then as I got financially literate,

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Speaker 1: you know, and I was able to figure out what

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Speaker 1: was important, then I started focusing on the things I like,

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Speaker 1: you know, the the my my needs, wants and halves,

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Speaker 1: you know, the same. Yeah. And so so once I

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Speaker 1: was able to afford it, you know, my grandfather taught

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Speaker 1: me you don't buy anything until you can afford to

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Speaker 1: buy it three times, right, and so yeah, yeah, Grandpa

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Speaker 1: was really about making sure you're really secure. Yeah, but

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Speaker 1: sure for sure. And you know, like he hasked stuff

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Speaker 1: from you know, like like when he was a kid

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Speaker 1: and they didn't have much, so he was you know,

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Speaker 1: had the milk jugs full of you know, change, and

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Speaker 1: every time he come in the house, he just thow

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Speaker 1: all that he had in his pocket in there. So

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Speaker 1: as in Detroit, yeah, this is in Detroit. So I

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Speaker 1: learned a lot from that, you know experience. And so

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Speaker 1: now you know here, you know, I'm forty six now, right,

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Speaker 1: so now I'm able to buy things that I really want.

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Speaker 1: You know what I'm saying, I really and and and

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Speaker 1: can afford to have. So that's how we got to

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Speaker 1: the Ferrari. I just realized you're the youngest guy here.

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Speaker 1: Yeah right, tell us like nowadays? Yeah yeah, I made

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Speaker 1: mad mistakes of money, Like like I realized it last year.

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Speaker 1: I realized it way too late. Yeah, I was living

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Speaker 1: like a rapper and I'm a comic. I'm like, what

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Speaker 1: am I doing? You know this to be true. But

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Speaker 1: I was taking private jets and yeah, hey where are you?

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Speaker 1: Let's go. Let's all go first class, you know, that

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Speaker 1: kind of dumb ship. It's the it's the images and

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Speaker 1: it's the it's the expectation that we try to live

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Speaker 1: up to, but rarely do we live up to our reality,

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Speaker 1: you know, and everybody wants to have the appearance of success,

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Speaker 1: especially in social media. You know, you know, everybody's life

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Speaker 1: is greater, everybody's sex life is great, everybody's rich or

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Speaker 1: everybody has this and everybody's going on. But in reality,

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Speaker 1: it doesn't happen that way. So you know, when when

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Speaker 1: I when when I when I hit like a really

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Speaker 1: tough spot, it was like, wow, I really fucked it up.

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Speaker 1: You know. I had like a two million dollar tacks

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Speaker 1: debt I had, Yeah, like like it was very fucking bad.

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Speaker 1: And I had, you know, and just you know, when

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Speaker 1: you're young, especially coming into the music industry, you know,

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Speaker 1: you get people that you know, you don't make it

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Speaker 1: unless you have a contract, you have a business manager,

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Speaker 1: you have a gold chain in the car, all these things.

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Speaker 1: The I'm about to fail as a rapper, kid, you

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Speaker 1: know what, I'm about to funk off all my whole

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Speaker 1: ship rapper kit, you know. And so I had all

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Speaker 1: these things and none of those things and none of

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Speaker 1: those people, um did the right thing by what they

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Speaker 1: were hired to do. So I learned the hardway, man,

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Speaker 1: and and and it's not easy to come out from

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Speaker 1: under that. It seems that actually, it seems like that

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Speaker 1: is a a constant reoccurrence or occurrence in the music industry.

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Speaker 1: Like you hear so many different stories about artists who

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Speaker 1: you know, manager ripped them off, lawyer ripped them off.

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Speaker 1: Like I don't know if it's in any other industry,

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Speaker 1: but I know it's very prominent in hip hop, you

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Speaker 1: know what I mean? Like those stories are you hear

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Speaker 1: them all the time. And then it doesn't help that

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Speaker 1: they fucking don't pay you what you're supposed to be paid. Either.

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Speaker 1: But you know that's a whole another episode. Hence, industry

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Speaker 1: shake that bum Bumpy Bumpy doesn't just let it slide by.

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Speaker 1: He write an album about it. Yeah, I want to

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Speaker 1: be the two albums about it, and you'd be the

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Speaker 1: first motherfucker in your family to rob a millionaire because

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Speaker 1: you that's how it is. Ever, But at the end

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Speaker 1: of the day, I took it that way because I said,

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Speaker 1: you know what, it was weird. It was weird to

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Speaker 1: have to have talent and be able to finally get

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Speaker 1: to that place where you could see your name on

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Speaker 1: a piece of vinyl, like, oh, shoot, I actually made

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Speaker 1: That's why we always look that least we were looking

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Speaker 1: at the short story. He was looking at that ship.

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Speaker 1: But then when you say, oh, should I get paid

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Speaker 1: for this? And then which then you realize what is

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Speaker 1: By time you realize what you're supposed to be paid,

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Speaker 1: it's like you caught between and should I be grateful

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Speaker 1: for the opportunity or should I go shoot up this

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Speaker 1: place about my money because I'm not used to being wrong.

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Speaker 1: That's that's hilarious that you said that considering your past, Hey,

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Speaker 1: I was always grateful for the opportunity place to get

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Speaker 1: your money. You should end up being lawyer fees and

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Speaker 1: ship like that, you know what I mean. But at

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Speaker 1: the end of the day, you're right, they don't pay you.

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Speaker 1: It's like that they saw you, they see us coming.

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Speaker 1: But if you ever watch those unsungs and all the

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Speaker 1: all of the stories that are the same, everybody got

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Speaker 1: oh this one got funny. With the money, it's always

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Speaker 1: the money is always the bottom line. Don't care what

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Speaker 1: anybody says. They could always say, oh, it ain't about money.

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Speaker 1: It ain't about money. That's a fucking line. It's always

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Speaker 1: about money, and it's always gonna end up being about money,

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Speaker 1: even when they say it's not about money, because the

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Speaker 1: motherfucker's that have it, that didn't have it before totally different,

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Speaker 1: but now their whole they start off on the same

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Speaker 1: level with you. And that's what makes people change. They

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Speaker 1: don't change the better they get talent wise, they change

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Speaker 1: the more money. They mean. It's a pimp game because

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Speaker 1: you've got the rich suits, those the pimp and y'all

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Speaker 1: the host You know what I mean, that's what you're doing,

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Speaker 1: but you don't know it until you know it. Yeah,

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Speaker 1: and then that nobody's volunteering information. It's just you know,

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Speaker 1: they the way it was explained to me. It's like

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Speaker 1: this industry standard which is not necessarily the truth. You know.

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Speaker 1: I call it the layaway lifestyle, you know, because you

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Speaker 1: know those kids come in with that perception. They want

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Speaker 1: the world to make them, you know, look at a

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Speaker 1: certain way, whether it's the jury, whether it's the cause,

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Speaker 1: whether it's all that, and then when you finally get

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Speaker 1: some good money, you gotta catch up with that lifestyle.

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Speaker 1: You lay down because because people need validation from people, places,

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Speaker 1: and things. It's always rappers always feel like validation. They

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Speaker 1: need validation, people placing things, They need everybody to approve them.

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Speaker 1: They always have to explain themselves and ship. I wasn't

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Speaker 1: scratching my balls because I had crabs. I was descratching

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Speaker 1: because my nuts was What the fun you explaining this before?

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Speaker 1: You know what I'm saying. So if you're gonna say,

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Speaker 1: if you're gonna get everybody needs validation, always validation. Who

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Speaker 1: they do, who they're with, Why are they with this person?

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Speaker 1: Why that that becomes the hamster will. Once you're on

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Speaker 1: the hamster will, you're gonna just be running for the

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Speaker 1: rest of your career because anything you do become successful

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Speaker 1: with is never gonna be enough. Oh you did that,

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Speaker 1: but what about this now, which leads, which leads people

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Speaker 1: to try and outdo everybody. Like it's like somebody got

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Speaker 1: a Rose Royce. You feel like that's your mark. Now

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Speaker 1: you gotta reach that. You gotta get a plane. Yeah,

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Speaker 1: and I one did all that, dumb ross. Yeah. I

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Speaker 1: think I had three of them, not at once, but

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Speaker 1: I had three different ones at three different times, and

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Speaker 1: none of them ever made a difference in my life.

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Speaker 1: When they're gone, I'm like, I don't. Mis's like driving

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Speaker 1: a car. Then the feeling, the excitement you get from

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Speaker 1: driving it wears off, and then it's just like I

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Speaker 1: need to get in my car and go somewhere. Yeah,

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Speaker 1: is that your everyday car? Then no, it's not. I

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Speaker 1: have I have it just so happens. I drove that

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Speaker 1: today because I have swice. I'm just saying, yeah, I gotta,

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Speaker 1: I gotta, I gotta tank um that that I'm getting

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Speaker 1: fixed right now. So Ris Bonnie, just so you know,

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Speaker 1: I took a drive a street legal. Yeah, I took

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Speaker 1: a picture next to it. I'm gonna claim it there.

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Speaker 1: You ain't got no problem because the biggest Yeah, the

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Speaker 1: biggest money mistake I've ever made was not making enough

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Speaker 1: to buy Yeah, that's a common one. I wish that.

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Speaker 1: I because I got into the music thing when I

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Speaker 1: was like eight nine. His dad was a musician. My

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Speaker 1: father had a hit single in nineteen seventy and like

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Speaker 1: tour it all over. And so when I when I

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Speaker 1: was like twelve, I got into martial arts and my

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Speaker 1: family was kind of hoping that we were go into

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Speaker 1: that business. But I always had that entertainment bug. So

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Speaker 1: then I went and learned how to produce hip hop

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Speaker 1: music and I did it for a little while. My

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Speaker 1: one claim to fame was I had I did a

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Speaker 1: few songs. Remember that movie on HBO. It was Force

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Speaker 1: Whittaker's directorial debut. It was called Strapped, and Dude from

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Speaker 1: Onyx was in. I did this. I did three of

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Speaker 1: the tracks on that sound track. Yeah, my name is

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Speaker 1: actually in the credits for them. But made zero. I

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Speaker 1: got it, Yeah, Jay, no money. Um, I got some

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Speaker 1: equipment out of the deal. And then and then I

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Speaker 1: had kids really young, and then ended up opening a

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Speaker 1: martial arts business. But man, I wish I had somebody

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Speaker 1: like I'm impressed when I hear these stories and then

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Speaker 1: you guys overcame it. And what I like about the

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Speaker 1: business now is there's there was a time, and you

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Speaker 1: know this when the artist, the artist was the lowest

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Speaker 1: on the totem poem everybody. I mean, my dad was.

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Speaker 1: My dad was crushing cockroaches in his kitchen with his

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Speaker 1: shoes while his hit was playing on the radio, and

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Speaker 1: managers and agents were living in mansions in the hills,

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Speaker 1: you know what I mean. And back then he and

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Speaker 1: he was just a kid when he got into it.

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Speaker 1: What's amazing now is you can build thing yourself. You know.

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Speaker 1: I like to hate on social media, but at the

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Speaker 1: same time, I'm like, it's beautiful. I love stories of

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Speaker 1: white people being taking I mean, we were poor, We

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Speaker 1: were very poor Black. Um, it's just so boring black

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Speaker 1: that he ended up becoming white. We had roaches, Ye,

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Speaker 1: you looked under my sink when I was a kid.

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Speaker 1: Back I had roaches with turbanus a lot of beach

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Speaker 1: growing up, a long beach. We had roaches with they

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Speaker 1: had guns. Yeah, you have roaches and red roaches. Red

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Speaker 1: roaches came in from inglewood. The trick is the trick

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Speaker 1: as an artist, though is to try to figure out

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Speaker 1: your lane, like like like I was able to figure

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Speaker 1: and it took and I'm still doing it. But it's

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Speaker 1: it's even as like when you love the creative process

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Speaker 1: as much as I do. In certain Cats students, it's

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Speaker 1: like you try to figure out, I gotta get in

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Speaker 1: my lane and put on blinders and focus just on

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Speaker 1: that lane, you know, and then you're not worrying about

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Speaker 1: trying to change up to fit. What radio is telling

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Speaker 1: you is popping or some a and our guys telling

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Speaker 1: you all you should do this, so you should. I've

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Speaker 1: never been good at that ship. I just know what

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Speaker 1: I know how to do, and I am really in

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Speaker 1: love with the creative process. Anytime I call you, I

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Speaker 1: FaceTime Bumpy all the time, and he's work always in

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Speaker 1: the studio, every time, ago with blue light if I

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Speaker 1: know the blue lights on in there. He's in the lab,

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Speaker 1: and like, what are you doing? What's working on this front?

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Speaker 1: Let me tell you this, fucking Bumping Knuckles has about

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Speaker 1: seventeen albums he's sitting on and I get in his

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Speaker 1: ass every time, would you fucking release one? Pop? Duke?

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Speaker 1: Was never gonna come out, wasn't it? I kept telling

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Speaker 1: you got put this, please put this album. Sometimes making

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Speaker 1: records isn't for public consumption. Sometimes, you know, I'll make

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Speaker 1: something and we'll never see the light of day, and

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Speaker 1: people will be like, why don't you just put that out?

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Speaker 1: It's because a it's like it doesn't belong in the

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Speaker 1: body of work that I'm working on at the time,

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Speaker 1: and because I have this doesn't mean it needs to

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Speaker 1: go out to the public. That's that's some people. Something

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Speaker 1: that goes back to what Bump people saying. It's like

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Speaker 1: some people, you know, want that limelight so bad that

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Speaker 1: it drives them, and that's the wrong thing to be

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Speaker 1: driven by, you know, because you know, things going cycles,

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Speaker 1: so you may be out of the limelight, but you

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Speaker 1: can still be creative and still you don't have that

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Speaker 1: passion for it. And a lot of people, you know,

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Speaker 1: you can see where the divide happens when people that

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Speaker 1: love what they do and and and stay true to it,

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Speaker 1: and then you get people that you know, try to

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Speaker 1: follow the trends and go with the times wrap over

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Speaker 1: a kind of weird tempo beats and different I'm just

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Speaker 1: think about that, all of that stuff that you catalog

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Speaker 1: though the longer you keep it that nobody has it

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Speaker 1: and more. It's the value of it is so much more, man.

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Speaker 1: I mean, I got albums with so many people that

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Speaker 1: they probably forgot that I have albums with them. But

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Speaker 1: he'll be playing me songs. I'm like, Yo, it's fucking dope.

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Speaker 1: Put that out. Yeah yeah, maybe I don't know, asshole

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Speaker 1: to say, who did the beat? Uh? Who? What? When? When?

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Speaker 1: When is that coming up? What's the title that ship?

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Speaker 1: Don't I don't give a moved by that. I'd rather

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Speaker 1: I'd rather wait, Like, look at that, Look at all

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Speaker 1: of this n f T ship that's going on now,

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Speaker 1: Like it's about exclusivity, it's about the exclusive ship. A

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Speaker 1: lot of these dudes don't have exclusive ship because they're

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Speaker 1: they're fucking up the mystique of the process by posting

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Speaker 1: the drumbeat before they even add the music. And they

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Speaker 1: were on social media saying I'm in the studio look

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Speaker 1: and and the meters are moving and the faders are

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Speaker 1: up and I'm doing it. And then they're smoking weed

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Speaker 1: and they're doing that thing in the lab. But they're

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Speaker 1: they're showing people before the Actually the process used to

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Speaker 1: be so sacred. You know, studio used dudes couldn't afford

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Speaker 1: to go to the studio. They couldn't afford studio time.

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Speaker 1: Studio time was something that you could end up with

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Speaker 1: a thirty thousand dollar bill for and the label is like, well,

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Speaker 1: you owe us money, you know what I'm saying. But

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Speaker 1: that process was a sacred thing. Now everybody's showing you

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Speaker 1: what it is. And they got all these how to

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Speaker 1: wrap for dummies books out and how to produce for

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Speaker 1: dummy books out. It's just a different but the producing

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Speaker 1: game is different now. Nobody's like making beats and make it,

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Speaker 1: oh ship, it's usually sound packs, sound pack bound. It

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Speaker 1: sounds like it sounds like you're just checking the levels

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Speaker 1: on your fucking beat machine. Yeah, but the tools that

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Speaker 1: artists have are so more accessible nowadays. Right, so it

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Speaker 1: gives everybody the uh, the idea that they're able to

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Speaker 1: do it as well. Right, So, like you know between

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Speaker 1: you know, fl studios and and funk all that, funk

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Speaker 1: all that, because you don't that not only exists in theory.

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Speaker 1: You won't take your ass onto a professional football field

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Speaker 1: just because you can get some pads and think that

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Speaker 1: you can play football. You ain't gonna walk out into

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Speaker 1: a professional hockey ring and be like, oh, let me

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Speaker 1: try this ship. I can be a professional hockey player

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Speaker 1: and gets your ass lit up like like there's there's

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Speaker 1: there's only exist in hip hop where everybody feels like, hey,

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Speaker 1: it's a community tool, like we can all do it,

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Speaker 1: be a rapper note no experience needed, and then they're

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Speaker 1: rewarded for it. And that's what helps that stupid cycle continue. Right, Yeah,

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Speaker 1: I agree with that. You know why because I said

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Speaker 1: that earlier. I said it's some funny motherfucker's I hear.

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Speaker 1: I don't know how to tell you. And it's here's

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Speaker 1: the thing with it. It's social media. I know I

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Speaker 1: should on it, but I love it. But I love Hey,

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Speaker 1: it breeds delusions of grandeur. Comedy and hip hop is

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Speaker 1: the same, right, And when guys like you, who are

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Speaker 1: so talented that you make it look easy, people that

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Speaker 1: have delusions of grandeur think that it is easy because

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Speaker 1: you make it look easy. Just because you make something

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Speaker 1: look easy, that doesn't mean it's easy. And guys like

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Speaker 1: you make that ship look easy when we're on stage,

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Speaker 1: and so now you have this whole make it look easy.

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Speaker 1: I make it look labored. But now you have this

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Speaker 1: whole same and the same thing with what you're talking about.

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Speaker 1: With stand up you have there's this whole new crop

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Speaker 1: of people coming out going that guy's doing that, I'm

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Speaker 1: gonna do it too, and and social media makes it

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Speaker 1: easier for them to get their ship out there. You

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Speaker 1: ever seen you ever seen the funniest guy in the

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Speaker 1: lunch room get on stage and bomb? Oh yeah, that's

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Speaker 1: always the guy in the audience that says, dude, you're great.

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Speaker 1: My friends say I should be doing stand up to

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Speaker 1: and every time I know what that is in hip hop, Yo,

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Speaker 1: your song is dope, but you should hear my man. Yeah,

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Speaker 1: And it takes all my stuff to go. Your friends

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Speaker 1: are wrong. Your friends are absolutely wrong. Don't then you

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Speaker 1: get kids? Last night, Hey man, I'm really funny. You

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Speaker 1: can't say that. You can't say you can't say you're funny.

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Speaker 1: People ask are you funny? I go, I don't know.

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Speaker 1: You're telling me I don't think I'm funny. Tuesday night,

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Speaker 1: I was doing a workout room. I was doing this

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Speaker 1: little bar show just to work some stuff out in

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Speaker 1: this dude and the audience just kept yelling out stuff.

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Speaker 1: And they always think they're helping. They come up there.

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Speaker 1: I'm sorry, I was just trying to help. I'm like,

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Speaker 1: I don't if I went to a hospital, walked into

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Speaker 1: an o R, tapped the doctor on the shoulder and said, scalpel,

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Speaker 1: I'm here to help, it's the same thing in my opinion.

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Speaker 1: So what I did Tuesday and I said, do you

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Speaker 1: think you're funny? Any silence? And then his girls were

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00:18:02,560 --> 00:18:04,360
Speaker 1: like yeah. I said, come up here, tell a joke.

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Speaker 1: Coming up here to just I mean flat line. I'm like, well,

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Speaker 1: then shut. Because it was a workout room, I said,

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Speaker 1: well then shut. Yeah, I see a rapper would have

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Speaker 1: took the word a word I could get on. There

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Speaker 1: are people, there's there's guys that rhyme, right, there's guys

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Speaker 1: that know how to rhyme, but they don't know how

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Speaker 1: to spit. They don't have they don't have no technique

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Speaker 1: to their flow. They don't have the every every beat

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Speaker 1: you put on. See back in the days, we rocked

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Speaker 1: to a DJ playing record, so battling was different. It

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Speaker 1: was like, Okay, we gotta focus on staying on time

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Speaker 1: with the DJ, staying to sync with the DJ, um

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Speaker 1: having good versus good boss, knowing how to present punch lines.

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Speaker 1: It's just you know something, this this redundant attitude that

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Speaker 1: rappers have not it's just like looking at a carbon

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Speaker 1: copy of the same thing of seven word rhymes and

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Speaker 1: they don't even and some of as some of the

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Speaker 1: lyrics are good, but they don't know how to present them.

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00:19:03,160 --> 00:19:06,760
Speaker 1: A theory about that. I think motherfucker's don't read enough. Now,

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Speaker 1: I don't think and it sounds funny, but there's some

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00:19:11,320 --> 00:19:17,520
Speaker 1: reading like you have. You have to listen. Listen, we

382
00:19:17,640 --> 00:19:21,480
Speaker 1: come from that, if we come from encyclopedias, man, you

383
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Speaker 1: know what I'm saying. Like, my parents never answered questions

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Speaker 1: if these kids come these kids are coming from porn hunts,

385
00:19:26,359 --> 00:19:30,159
Speaker 1: they said. They said. Every time I ask him a question,

386
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Speaker 1: they'd be like, go look it up. And I had

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Speaker 1: the Britannica fucking volumes all in the house and I'd

388
00:19:35,640 --> 00:19:37,439
Speaker 1: have to go look through. You gotta learn how. You

389
00:19:37,480 --> 00:19:41,080
Speaker 1: gotta know how to spell platypus to find platypus. You

390
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Speaker 1: know what I'm saying. But if you if you, if

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Speaker 1: you stuck on a hundred words vocabulary, you don't hear

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Speaker 1: people speaking to you in English and you speak English too,

393
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Speaker 1: and be mad because you don't understand what the funk

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00:19:53,280 --> 00:19:56,040
Speaker 1: they're saying, and then just using words with three syllables.

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Speaker 1: So when you have that, I mean, of course your

396
00:19:59,080 --> 00:20:02,480
Speaker 1: raps are gonna sound like fucking howdy dooty, fucking doctor

397
00:20:02,560 --> 00:20:05,520
Speaker 1: seuits because you don't understand anything else. But there are

398
00:20:05,560 --> 00:20:10,119
Speaker 1: some there are dudes out here that when they wrap,

399
00:20:10,400 --> 00:20:13,000
Speaker 1: you think they're stupid, and then you when you have

400
00:20:13,040 --> 00:20:15,320
Speaker 1: a conversation with them, they're intelligence like, well, why aren't

401
00:20:15,320 --> 00:20:18,000
Speaker 1: you rapping that way? Like? And I don't understand that

402
00:20:18,000 --> 00:20:21,480
Speaker 1: other than the fact that maybe it's because it sells

403
00:20:21,600 --> 00:20:24,000
Speaker 1: or it works or whatever. I think what happens is

404
00:20:24,040 --> 00:20:25,720
Speaker 1: people have got a lot of a lot of a

405
00:20:25,720 --> 00:20:28,119
Speaker 1: lot of It's been told to rappers that saying the

406
00:20:28,160 --> 00:20:30,960
Speaker 1: most outrageous shit about your personal business is the way

407
00:20:30,960 --> 00:20:34,440
Speaker 1: to go. So instead of really writing about subject matter,

408
00:20:34,520 --> 00:20:38,000
Speaker 1: the subject matter stays where it's it's easy to be angry,

409
00:20:38,320 --> 00:20:40,919
Speaker 1: it's easy, it's fun to be mad. Most cats that

410
00:20:40,960 --> 00:20:43,520
Speaker 1: you put on the record, they the first thing they

411
00:20:43,520 --> 00:20:45,800
Speaker 1: think about rapping is you gotta be angry. And that

412
00:20:45,880 --> 00:20:50,680
Speaker 1: may be my fault that maybe that's when they're rhyming

413
00:20:50,760 --> 00:20:53,280
Speaker 1: with you. That may be my fault because I was

414
00:20:53,359 --> 00:20:55,879
Speaker 1: I took an anger that I had with the music business,

415
00:20:55,880 --> 00:20:57,359
Speaker 1: and I took it and put it on the music

416
00:20:57,359 --> 00:20:59,919
Speaker 1: and I expressed it. And then now when I do

417
00:21:00,040 --> 00:21:03,920
Speaker 1: ship that's not angry, they go, yeah, now they won't

418
00:21:03,920 --> 00:21:07,160
Speaker 1: say that ever, but they will say, but they will,

419
00:21:07,240 --> 00:21:09,240
Speaker 1: but they will, but they will say, they will say,

420
00:21:09,280 --> 00:21:14,239
Speaker 1: they will say, I like, I like. So. So what

421
00:21:14,280 --> 00:21:15,919
Speaker 1: I did was I had to put a title on

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00:21:16,160 --> 00:21:17,920
Speaker 1: That's where bumpy knuckles come from. I had to put

423
00:21:17,920 --> 00:21:19,960
Speaker 1: a title on that angle because so I can control it.

424
00:21:20,000 --> 00:21:23,679
Speaker 1: Because Freddie Fox's music wasn't that. I was making songs

425
00:21:23,680 --> 00:21:25,639
Speaker 1: like the Ladies Jam. I was wrapping for the girls

426
00:21:25,680 --> 00:21:28,159
Speaker 1: in the beginning. But then I got in this fucked

427
00:21:28,200 --> 00:21:31,040
Speaker 1: up game and people pissed me off, and I say,

428
00:21:31,800 --> 00:21:33,920
Speaker 1: I gotta figure out how to control this ship, because

429
00:21:33,960 --> 00:21:36,439
Speaker 1: I act on my ship like I get on it,

430
00:21:36,480 --> 00:21:38,200
Speaker 1: like if if i'm if I'm feeling that I got

431
00:21:38,400 --> 00:21:41,280
Speaker 1: so so that became that. But a lot of people

432
00:21:41,320 --> 00:21:44,320
Speaker 1: feel like that's the that's the best approach to take

433
00:21:44,359 --> 00:21:46,960
Speaker 1: when everybody don't wake up mad every day, everybody don't

434
00:21:46,960 --> 00:21:49,160
Speaker 1: wake up and you can say you do your fucking liar,

435
00:21:49,280 --> 00:21:51,400
Speaker 1: you you can say you do you don't wake up

436
00:21:51,400 --> 00:21:54,520
Speaker 1: in the same mood every day. Every Some people feel like, yo,

437
00:21:54,880 --> 00:21:57,440
Speaker 1: I want to inspire people. I can't do inspirational songs

438
00:21:57,520 --> 00:22:01,879
Speaker 1: because people say, oh, that's cool, and producers want me

439
00:22:01,920 --> 00:22:05,600
Speaker 1: to turn them into premiere. I wrapped on people's songs

440
00:22:05,640 --> 00:22:07,960
Speaker 1: and they were like, oh, I thought you was gonna

441
00:22:08,000 --> 00:22:09,639
Speaker 1: do what you did on Militia. I'm like, yo, you

442
00:22:09,680 --> 00:22:12,400
Speaker 1: want me to turn you into premiere. Yeah, well you gotta.

443
00:22:12,480 --> 00:22:15,000
Speaker 1: You gotta come with that, because I'm gonna give the

444
00:22:15,080 --> 00:22:17,640
Speaker 1: music where they give me, and I'm not gonna that's

445
00:22:17,640 --> 00:22:19,280
Speaker 1: the all I can do. I can't do more than that.

446
00:22:19,359 --> 00:22:21,200
Speaker 1: And as an m C, you know that somebody give

447
00:22:21,200 --> 00:22:22,840
Speaker 1: you a track and you go, yeah, this is a

448
00:22:22,840 --> 00:22:25,280
Speaker 1: cool beat, but and you write what you feel and

449
00:22:25,320 --> 00:22:27,600
Speaker 1: then they'd be like, oh, they want your last hit

450
00:22:27,640 --> 00:22:29,840
Speaker 1: record on their beat, and it's like, no, it don't

451
00:22:29,840 --> 00:22:33,280
Speaker 1: work like that. I mean, going back to what Exhibits said,

452
00:22:33,320 --> 00:22:36,480
Speaker 1: I just think he right. A lot of rappers don't read,

453
00:22:37,040 --> 00:22:40,080
Speaker 1: you know, That's why there's no substance. I was laughing

454
00:22:40,600 --> 00:22:42,440
Speaker 1: as soon as he said that. I was thinking about

455
00:22:42,640 --> 00:22:44,439
Speaker 1: when the teacher called you up in front of the

456
00:22:44,440 --> 00:22:47,879
Speaker 1: classroom and read the paragraph, and the people that couldn't

457
00:22:47,920 --> 00:22:52,720
Speaker 1: read got mad. Now they're making records. Don't call me now.

458
00:22:52,760 --> 00:22:54,480
Speaker 1: We got a whole bunch of in front of the class,

459
00:22:54,520 --> 00:22:58,760
Speaker 1: and you know, the smart the smart nerd people, the

460
00:22:58,840 --> 00:23:03,160
Speaker 1: smart nerd people. Because it's like showtime at the apotom.

461
00:23:03,359 --> 00:23:07,800
Speaker 1: I can't wait for us, dude, We're gonna have some fun.

462
00:23:07,920 --> 00:23:10,960
Speaker 1: I hope. He stutters. That was back in the days

463
00:23:11,000 --> 00:23:13,919
Speaker 1: all you know, when it got crazy. When the teacher

464
00:23:13,960 --> 00:23:22,639
Speaker 1: told him to sound it out, don't worry sound and

465
00:23:22,840 --> 00:23:30,399
Speaker 1: he like math math. They went from mass to math.

466
00:23:32,280 --> 00:23:35,600
Speaker 1: He's like, and the word is sucking thug. And we

467
00:23:37,080 --> 00:23:40,040
Speaker 1: were and were on the floor. You know. I remember,

468
00:23:40,080 --> 00:23:42,000
Speaker 1: I remember being in a and when I was a kid,

469
00:23:42,400 --> 00:23:44,320
Speaker 1: they sent us to the summer camp in the Bible

470
00:23:44,320 --> 00:23:46,960
Speaker 1: study school, right so that the kid got a little

471
00:23:46,960 --> 00:23:49,800
Speaker 1: good tough guy. I always want to pick on everybody.

472
00:23:49,320 --> 00:23:52,040
Speaker 1: The pastor guy made him come up and read and

473
00:23:52,080 --> 00:23:56,240
Speaker 1: he said, when married did not have Jesus from the

474
00:23:56,280 --> 00:24:02,040
Speaker 1: womb said the word is womb earl. Girl. He got

475
00:24:02,080 --> 00:24:09,080
Speaker 1: mad to the so I get it. And that's a

476
00:24:09,119 --> 00:24:12,480
Speaker 1: big component to where everybody's like, why isn't hip hop

477
00:24:12,560 --> 00:24:15,240
Speaker 1: like this? And that and now it's like even if

478
00:24:15,280 --> 00:24:19,440
Speaker 1: you can't speak and and are literate, can do it all. Look,

479
00:24:19,720 --> 00:24:23,439
Speaker 1: they have to communicate with the audience, the masters. And

480
00:24:23,480 --> 00:24:26,680
Speaker 1: if they are only accepting this, and you know what

481
00:24:26,680 --> 00:24:28,800
Speaker 1: I'm saying, you have also another thing that I have

482
00:24:28,840 --> 00:24:32,080
Speaker 1: a theory about, and this might sound funny, is along

483
00:24:32,119 --> 00:24:35,359
Speaker 1: with not being literate. You know what I'm saying, is

484
00:24:35,520 --> 00:24:38,320
Speaker 1: like the drugs are different. The things that they are

485
00:24:38,480 --> 00:24:41,680
Speaker 1: ingesting and the things that they are hearing. We don't

486
00:24:41,720 --> 00:24:44,000
Speaker 1: get it because we're not on that. You know what

487
00:24:44,000 --> 00:24:46,040
Speaker 1: I'm saying. We can't. Like the most we have was

488
00:24:46,160 --> 00:24:50,959
Speaker 1: like beer weed. If you have some money, you can

489
00:24:51,000 --> 00:24:57,040
Speaker 1: get a couple of bottles. Yeah, if you had Hennessyne, nigga,

490
00:24:57,119 --> 00:24:59,879
Speaker 1: you rich. You know what I'm saying. You know we was,

491
00:25:01,040 --> 00:25:06,720
Speaker 1: but now it's there's a cocktail of prescription drugs like

492
00:25:06,880 --> 00:25:10,639
Speaker 1: cocaine was like here and there back in the day.

493
00:25:10,760 --> 00:25:12,600
Speaker 1: But I sell you something before I do it, you

494
00:25:12,600 --> 00:25:15,399
Speaker 1: know what I'm saying, Like we was on that. You know,

495
00:25:15,560 --> 00:25:19,480
Speaker 1: I've actually had that thought when I'm hearing like these yeah,

496
00:25:19,600 --> 00:25:22,320
Speaker 1: and I'm thinking, I'm wondering if they're hearing something it

497
00:25:22,800 --> 00:25:29,359
Speaker 1: is completely different. Something here my clean brain is hearing. Yeah. No,

498
00:25:29,960 --> 00:25:33,320
Speaker 1: there's something about what they are ingesting that is totally

499
00:25:33,359 --> 00:25:37,200
Speaker 1: different from when we came up. Therefore, they are entertained

500
00:25:37,200 --> 00:25:40,840
Speaker 1: by things that are working with what they have going on.

501
00:25:41,280 --> 00:25:46,600
Speaker 1: So repetitiveness, you know, very low minibal taking off train

502
00:25:46,640 --> 00:25:48,840
Speaker 1: of thought. They want to stay in that lane. Have

503
00:25:48,880 --> 00:25:51,440
Speaker 1: you ever been to any of those big festivals where

504
00:25:51,520 --> 00:25:55,280
Speaker 1: rapid not rapes even but you're talking like I'm talking,

505
00:25:55,720 --> 00:25:59,040
Speaker 1: you know, those festivals that have multiple acts on them

506
00:25:59,040 --> 00:26:01,800
Speaker 1: and stuff, and you see the crowd in the audience

507
00:26:02,280 --> 00:26:04,399
Speaker 1: that what you're saying makes complete sense because they're on

508
00:26:04,440 --> 00:26:07,720
Speaker 1: the same stuff and that's why it's it's resonating with that.

509
00:26:08,080 --> 00:26:10,080
Speaker 1: Now now it was out of these earbuds and that

510
00:26:10,320 --> 00:26:13,840
Speaker 1: was loud, and now you can see that the uniform

511
00:26:13,920 --> 00:26:16,520
Speaker 1: of what's been going on, and was why everybody's trying

512
00:26:16,520 --> 00:26:19,240
Speaker 1: to sound like the same things because it's hitting something

513
00:26:19,280 --> 00:26:22,439
Speaker 1: that we as you know, consumers of hip hop and

514
00:26:22,560 --> 00:26:25,800
Speaker 1: curators and creators. Yeah, it makes sense because when DJ

515
00:26:25,960 --> 00:26:28,879
Speaker 1: Screw was doing those mixtapes in Texas, everybody was on

516
00:26:29,040 --> 00:26:31,280
Speaker 1: lean so their brain was going slow, so the Screw

517
00:26:31,359 --> 00:26:34,480
Speaker 1: tapes sounded at the right speed to them. I still

518
00:26:34,520 --> 00:26:36,120
Speaker 1: like it screw. I don't even funk with that type

519
00:26:36,119 --> 00:26:39,720
Speaker 1: of ship, but I like I should do a screw

520
00:26:39,760 --> 00:26:42,080
Speaker 1: session on my radio show and slow down ship, like

521
00:26:42,520 --> 00:26:48,479
Speaker 1: like before I let go by Frankie Beverley's so wicked.

522
00:26:48,520 --> 00:26:50,680
Speaker 1: I thought I thought that was creative. I'm gonna be honest,

523
00:26:50,720 --> 00:26:54,120
Speaker 1: but I didn't think. I mean ship drugs was going

524
00:26:54,160 --> 00:26:57,360
Speaker 1: on back Jimmy Marston and the motherfucker's on some crazy ship.

525
00:26:57,440 --> 00:26:59,560
Speaker 1: They were on acid and all that stuff. But at

526
00:26:59,600 --> 00:27:02,040
Speaker 1: the end of the they with hip hop, there's a

527
00:27:02,119 --> 00:27:06,919
Speaker 1: thing about timing delivery, as mcs, if you're not built

528
00:27:06,960 --> 00:27:10,080
Speaker 1: for that ship to to to really take those drugs

529
00:27:10,080 --> 00:27:12,280
Speaker 1: and stick to the script, and it's just it's a

530
00:27:12,320 --> 00:27:15,760
Speaker 1: waste because you can't you can't walk in a vocal booth.

531
00:27:16,160 --> 00:27:19,480
Speaker 1: And how many motherfucker's you shot, how many women you have?

532
00:27:19,640 --> 00:27:21,600
Speaker 1: None of that ship matters if your bars is whacked.

533
00:27:22,000 --> 00:27:24,040
Speaker 1: And a lot of people forgot about that. They forgot

534
00:27:24,080 --> 00:27:27,200
Speaker 1: about that. Spitting is about spitting, you know what I'm saying.

535
00:27:27,359 --> 00:27:29,000
Speaker 1: And and I mean there's a lot of mcs that

536
00:27:29,080 --> 00:27:31,760
Speaker 1: smoked that, but they still seem to make sure that

537
00:27:31,760 --> 00:27:35,240
Speaker 1: that personality comes across there's certain people that just don't

538
00:27:35,240 --> 00:27:39,120
Speaker 1: belong in a vocal booth and they just don't that.

539
00:27:39,119 --> 00:27:40,879
Speaker 1: That means just two types of hip hop though, right,

540
00:27:40,920 --> 00:27:43,760
Speaker 1: because there's the hip hop where the traditional like rappers wrap,

541
00:27:44,240 --> 00:27:47,199
Speaker 1: there's hip hop and there's rap music. Right, that's my

542
00:27:47,200 --> 00:27:49,800
Speaker 1: whole point. So, like when you're talking about you're talking

543
00:27:49,800 --> 00:27:52,240
Speaker 1: about guys that actually have pen game and they wrap

544
00:27:52,280 --> 00:27:57,240
Speaker 1: and they they they work on their craft. Right, But

545
00:27:57,480 --> 00:28:01,080
Speaker 1: what's what's become popular as far as hip hop is

546
00:28:01,080 --> 00:28:03,679
Speaker 1: concerned right now? It has nothing to do with bars.

547
00:28:03,720 --> 00:28:06,640
Speaker 1: There's no bars, right, So there's two different things. There's

548
00:28:06,640 --> 00:28:11,760
Speaker 1: a disconnect. And so again what you're saying it only

549
00:28:11,880 --> 00:28:15,639
Speaker 1: it only applies to a certain type of rapper who's

550
00:28:15,760 --> 00:28:19,280
Speaker 1: you know, arguably an MC. Not everybody is an MC, right,

551
00:28:19,280 --> 00:28:21,719
Speaker 1: Like you you see you watch some of these videos

552
00:28:21,720 --> 00:28:24,400
Speaker 1: where guys go to radio stations and they're supposed to freestyle.

553
00:28:25,320 --> 00:28:27,600
Speaker 1: There's dudes that they can't do it right, They can't

554
00:28:27,760 --> 00:28:29,600
Speaker 1: you know, what if what do Sway? Sway has the

555
00:28:30,160 --> 00:28:32,199
Speaker 1: place five different beats and you're supposed to wrap on

556
00:28:32,240 --> 00:28:34,560
Speaker 1: all five beats and guys that can never do that

557
00:28:34,600 --> 00:28:37,080
Speaker 1: don't mean that you whack though, so some people just

558
00:28:37,119 --> 00:28:39,360
Speaker 1: are not good freestyles, but they know how to make

559
00:28:39,400 --> 00:28:42,040
Speaker 1: good songs. That don't mean that you whack because you

560
00:28:42,080 --> 00:28:44,680
Speaker 1: can't just jump into a freestyle. That just means that

561
00:28:44,680 --> 00:28:47,240
Speaker 1: that's not your forte. But there's some guys who know

562
00:28:47,280 --> 00:28:49,880
Speaker 1: how to sit down and just carve out versus that

563
00:28:49,960 --> 00:28:52,160
Speaker 1: you know, do that. Some dudes don't like spit freestyle

564
00:28:52,240 --> 00:28:54,640
Speaker 1: because it go like people always hit this argument about

565
00:28:54,680 --> 00:28:58,480
Speaker 1: freestyle or freestyle is not written, well, I came up

566
00:28:58,640 --> 00:29:02,120
Speaker 1: a freestyle is what you remember, yeah, in your rhym

567
00:29:02,160 --> 00:29:04,000
Speaker 1: So if the dude had a pre written rhyme in

568
00:29:04,040 --> 00:29:07,040
Speaker 1: his head and he said it and nobody never heard it,

569
00:29:07,360 --> 00:29:09,120
Speaker 1: and it was over a beat like a break beat

570
00:29:09,160 --> 00:29:11,720
Speaker 1: or something, and it was something that's considered a freestyle.

571
00:29:11,800 --> 00:29:14,360
Speaker 1: So the best, the best videos of the dudes who

572
00:29:14,480 --> 00:29:17,080
Speaker 1: had written bars right, and obviously if they added add

573
00:29:17,280 --> 00:29:20,160
Speaker 1: a couple of joints off the top of the head, cool,

574
00:29:20,440 --> 00:29:23,760
Speaker 1: But the ones it's like you listen to hear the

575
00:29:23,840 --> 00:29:28,680
Speaker 1: with the punch lines, the creativity and and there's not

576
00:29:28,760 --> 00:29:30,280
Speaker 1: a lot of people even if you look at some

577
00:29:30,360 --> 00:29:32,960
Speaker 1: of the best you know freestyle, I can't even remember

578
00:29:32,960 --> 00:29:35,000
Speaker 1: their names now, but you know, the dudes that would

579
00:29:35,040 --> 00:29:38,520
Speaker 1: be at new Music seminar, in the battles or whatever. Yes,

580
00:29:38,640 --> 00:29:40,680
Speaker 1: there you go. Those guys, those guys who do you know,

581
00:29:40,920 --> 00:29:42,920
Speaker 1: pick something out of the crowd and show it to

582
00:29:42,920 --> 00:29:45,040
Speaker 1: me and around. That's that's a special skill. That's a

583
00:29:45,080 --> 00:29:48,280
Speaker 1: special skill. But there's but those guys could never make records.

584
00:29:48,280 --> 00:29:50,480
Speaker 1: You ever noticed that, Yeah, a lot of them can't.

585
00:29:50,560 --> 00:29:54,120
Speaker 1: But look at the legend Bis Marquis. One of the

586
00:29:54,160 --> 00:29:58,480
Speaker 1: best performers I've ever seen live is Biz because Biz

587
00:29:59,760 --> 00:30:02,360
Speaker 1: were Bis. And it's like he could take the simplest

588
00:30:02,400 --> 00:30:05,400
Speaker 1: thing and make it funky and and and he didn't

589
00:30:05,440 --> 00:30:08,160
Speaker 1: say a bunch of lyrical stuff, but he says stuff like,

590
00:30:08,160 --> 00:30:09,840
Speaker 1: like you said, you come up. We come up off

591
00:30:09,880 --> 00:30:13,920
Speaker 1: of guys like Starsky, Busy Beat Starsky and all of

592
00:30:13,920 --> 00:30:16,640
Speaker 1: these guys that weren't considers what they considered today as

593
00:30:16,680 --> 00:30:19,600
Speaker 1: a lyricist, but they rocked the party so crazy. So

594
00:30:19,640 --> 00:30:22,719
Speaker 1: people keep forgetting about all these different elements of what

595
00:30:22,920 --> 00:30:26,640
Speaker 1: mcs do. So just because a person can't freestyle and

596
00:30:26,880 --> 00:30:28,920
Speaker 1: embody it off as what they say, like like what

597
00:30:29,000 --> 00:30:32,880
Speaker 1: Supernatural does is incredibly talent. He's a that's a talent.

598
00:30:33,360 --> 00:30:35,440
Speaker 1: And whether he can make records or not. Never mattered

599
00:30:35,440 --> 00:30:37,640
Speaker 1: to me because I look at that's like, that's like

600
00:30:37,720 --> 00:30:40,320
Speaker 1: beat boxes. Guys who beat box, you know they there's

601
00:30:40,360 --> 00:30:42,400
Speaker 1: a handful of beat boxes out there that we know,

602
00:30:42,720 --> 00:30:45,480
Speaker 1: but there's a probably a hundred thousand of the motherfucker's

603
00:30:45,520 --> 00:30:48,240
Speaker 1: around the world that we don't know. So just because

604
00:30:48,280 --> 00:30:51,600
Speaker 1: you don't know, you know, Kenny Mohammed and all these dudes,

605
00:30:52,160 --> 00:30:59,440
Speaker 1: those guys are incredibly talented. Nice is another one right now,

606
00:31:00,400 --> 00:31:03,680
Speaker 1: another one, you know what I'm saying, Like, yeah, I mean,

607
00:31:03,680 --> 00:31:05,120
Speaker 1: look at look at all of these look at all

608
00:31:05,120 --> 00:31:07,080
Speaker 1: of these different types of town. I was working on

609
00:31:07,080 --> 00:31:14,920
Speaker 1: the album. Yeah, you're going to hill when you when

610
00:31:14,960 --> 00:31:17,840
Speaker 1: you have a skill set that nobody else could do

611
00:31:17,920 --> 00:31:21,080
Speaker 1: but you. That keeps you around, keep you. If everybody

612
00:31:21,120 --> 00:31:23,440
Speaker 1: could do what you could do, then you ain't really

613
00:31:23,520 --> 00:31:26,000
Speaker 1: value which is why I say everybody shouldn't be jumping

614
00:31:26,040 --> 00:31:28,160
Speaker 1: on records with just any and everybody. A lot of

615
00:31:28,160 --> 00:31:30,560
Speaker 1: cats feel like you know, I'm I'm I'm in the

616
00:31:30,640 --> 00:31:33,640
Speaker 1: hip hop culture. Yo. Something do to say? Yo? Man?

617
00:31:33,800 --> 00:31:38,800
Speaker 1: How much for a verse? Like no, I get that

618
00:31:38,840 --> 00:31:41,320
Speaker 1: all like like it just for sale? Yeah, like fuck

619
00:31:41,360 --> 00:31:43,560
Speaker 1: you man, Like spink In the freestyles. I remember one

620
00:31:43,560 --> 00:31:46,120
Speaker 1: of exhibits um freestyles from I think it was in

621
00:31:46,160 --> 00:31:48,959
Speaker 1: the morning show, Wake Up Show. That's the one way

622
00:31:48,960 --> 00:31:51,200
Speaker 1: I told you, I said where he said, uh, and

623
00:31:51,280 --> 00:31:54,760
Speaker 1: bring it on Whiffy Oops, I mean wifey so fucked up.

624
00:31:54,840 --> 00:31:58,240
Speaker 1: Can't even I'm writing that ship was joke to me.

625
00:31:58,520 --> 00:32:00,160
Speaker 1: I don't know if it was meant to be like that,

626
00:32:00,840 --> 00:32:02,800
Speaker 1: but it was fucking dope either way because I bought

627
00:32:02,800 --> 00:32:05,760
Speaker 1: it as you was freestyling and we did that. We

628
00:32:05,800 --> 00:32:07,360
Speaker 1: did that back in the days to get on like

629
00:32:07,400 --> 00:32:09,560
Speaker 1: we would go to the Molly Mall would be DJ

630
00:32:09,640 --> 00:32:12,040
Speaker 1: and bls and go off there freestyle. That was always

631
00:32:12,040 --> 00:32:14,240
Speaker 1: the thing. A prerequisite for being nice is go to

632
00:32:14,360 --> 00:32:18,080
Speaker 1: radio station, get on, freestyle live on the show or

633
00:32:18,120 --> 00:32:21,880
Speaker 1: spit live. But now it's it's it's to me, it's

634
00:32:21,880 --> 00:32:24,560
Speaker 1: like now that this record making thing is in play,

635
00:32:24,600 --> 00:32:26,880
Speaker 1: and making a record that comes into it or making

636
00:32:26,880 --> 00:32:29,320
Speaker 1: the salt. People want to make songs. A lot of

637
00:32:29,360 --> 00:32:32,160
Speaker 1: cats don't understand there's a method to songwriting. There's a

638
00:32:32,240 --> 00:32:34,920
Speaker 1: there's a certain technique to writing a song that you

639
00:32:34,960 --> 00:32:37,280
Speaker 1: know that that hook that brings you back to the

640
00:32:37,320 --> 00:32:39,920
Speaker 1: same part. They don't think about that you know, it's

641
00:32:39,960 --> 00:32:42,680
Speaker 1: it's just it's it's certain skills that you have to have,

642
00:32:42,760 --> 00:32:44,880
Speaker 1: just like a DJ. You know, there's people who got

643
00:32:44,880 --> 00:32:47,560
Speaker 1: turntables and all that ship. Like I'm still trying to

644
00:32:47,640 --> 00:32:50,360
Speaker 1: learn how to crab scratch. I'm getting better. I'm getting better,

645
00:32:51,280 --> 00:32:52,959
Speaker 1: getting better at it, you know what I'm saying. But

646
00:32:53,200 --> 00:32:55,240
Speaker 1: I know how to blend and I know how to

647
00:32:55,280 --> 00:32:56,880
Speaker 1: do it. But there's certain things you just want to

648
00:32:56,880 --> 00:32:59,560
Speaker 1: know as a DJ, because it's just it's just what

649
00:32:59,600 --> 00:33:01,440
Speaker 1: they do, you know. I also believe that there's certain

650
00:33:01,440 --> 00:33:04,760
Speaker 1: things that individuals just have that other people just don't,

651
00:33:05,680 --> 00:33:07,520
Speaker 1: you know what I mean. I compared comparing it to

652
00:33:07,520 --> 00:33:10,160
Speaker 1: a comedy. I hear people people refer to us as

653
00:33:10,200 --> 00:33:12,680
Speaker 1: comics or comedians, and I heard Bob new Heart on

654
00:33:12,680 --> 00:33:15,160
Speaker 1: a podcast saying I'm not a comic, I'm a comedian.

655
00:33:15,360 --> 00:33:17,680
Speaker 1: And the guy running this pod said, well, what's the difference.

656
00:33:17,720 --> 00:33:20,520
Speaker 1: He says, A comic as a person who says funny things,

657
00:33:21,320 --> 00:33:23,560
Speaker 1: but a comedian is a person who says things funny.

658
00:33:24,560 --> 00:33:28,160
Speaker 1: It's different. Anybody can say funny things, ship fart, you

659
00:33:28,160 --> 00:33:30,240
Speaker 1: know what I mean. But then there's your personality. There's

660
00:33:30,240 --> 00:33:32,040
Speaker 1: the thing that you that you have that you can't

661
00:33:32,120 --> 00:33:35,040
Speaker 1: teach someone else to do. That's the comedian that just

662
00:33:35,080 --> 00:33:37,840
Speaker 1: says things funny. And I think it's the same thing

663
00:33:37,840 --> 00:33:40,000
Speaker 1: with hip hop, and I think it's like that about

664
00:33:40,000 --> 00:33:42,080
Speaker 1: about rappers. There's people that know how to put the

665
00:33:42,120 --> 00:33:44,600
Speaker 1: words there, but they don't know how to deliver it.

666
00:33:44,600 --> 00:33:45,719
Speaker 1: They don't know how to you know what I mean,

667
00:33:45,720 --> 00:33:47,720
Speaker 1: They don't know how to deliver that they think they

668
00:33:47,760 --> 00:33:50,000
Speaker 1: deliver in it, but they're not really delivering it. Like

669
00:33:50,040 --> 00:33:51,520
Speaker 1: I can't tell how many times I've said, you know,

670
00:33:51,600 --> 00:33:55,640
Speaker 1: this isn't for everyone, okay, just because the Internet makes

671
00:33:55,640 --> 00:33:57,320
Speaker 1: it look like it is, It isn't, you know. But

672
00:33:57,360 --> 00:34:00,720
Speaker 1: that's that's part of the problem now. And I don't know,

673
00:34:00,720 --> 00:34:03,640
Speaker 1: have problems the right word, but there's so many doors

674
00:34:03,680 --> 00:34:08,360
Speaker 1: now that people like that, in my opinion, aren't for funny.

675
00:34:08,400 --> 00:34:11,239
Speaker 1: Are blowing up because they have a YouTube presence or

676
00:34:11,239 --> 00:34:14,719
Speaker 1: they have a TikTok presence, and they just have a presence.

677
00:34:16,840 --> 00:34:19,600
Speaker 1: As you probably know from listening to the show. Music

678
00:34:19,760 --> 00:34:21,600
Speaker 1: is a huge part of my life and whenever I

679
00:34:21,600 --> 00:34:24,080
Speaker 1: need to hype myself up before doing a DJ set

680
00:34:24,680 --> 00:34:27,480
Speaker 1: or comedy show, I know exactly what to listen to

681
00:34:27,480 --> 00:34:30,239
Speaker 1: to make that happen. It depends on my mood. Really.

682
00:34:30,239 --> 00:34:32,560
Speaker 1: It might be Victory by Puff Daddy and the Family,

683
00:34:32,560 --> 00:34:34,879
Speaker 1: which is really just a biggie song, or it might

684
00:34:34,960 --> 00:34:37,759
Speaker 1: be a Broken Language by Smooth the Hustler, which is

685
00:34:37,760 --> 00:34:39,959
Speaker 1: a song that kind of defines my whole brain set.

686
00:34:40,239 --> 00:34:42,759
Speaker 1: Whatever it is, I've got the right music and I

687
00:34:42,840 --> 00:34:45,200
Speaker 1: just need the earbuds that deliver it well when I'm

688
00:34:45,239 --> 00:34:49,480
Speaker 1: out and about. And those earbuds are Raycons. Let me

689
00:34:49,520 --> 00:34:51,719
Speaker 1: tell you right now. Raycons are the best way to

690
00:34:51,760 --> 00:34:54,799
Speaker 1: listen to your favorite music, podcasts and more that come

691
00:34:54,800 --> 00:34:57,239
Speaker 1: with a bunch of gel tips for your comfort, and

692
00:34:57,400 --> 00:34:59,799
Speaker 1: like some other brands, they don't do that annoying thing

693
00:35:00,000 --> 00:35:02,719
Speaker 1: where they stick out of your ears. Recons have a

694
00:35:02,800 --> 00:35:06,279
Speaker 1: thirty two hour battery life, so you can listen to

695
00:35:06,320 --> 00:35:10,840
Speaker 1: what you want, when you want for a really long time. Basically,

696
00:35:10,880 --> 00:35:13,239
Speaker 1: you could use them all day and sleep through the

697
00:35:13,360 --> 00:35:16,480
Speaker 1: night listening to them before they'd ever run out of charge.

698
00:35:16,840 --> 00:35:21,399
Speaker 1: They start at half the price of other premium audio brands,

699
00:35:21,400 --> 00:35:25,080
Speaker 1: but they sound just as good, if not better, and

700
00:35:25,160 --> 00:35:29,000
Speaker 1: Recons come with a forty five day happiness guarantee, so

701
00:35:29,040 --> 00:35:31,560
Speaker 1: you really can't lose. Give them a try and you

702
00:35:31,600 --> 00:35:35,200
Speaker 1: will see what I mean. Create your own soundtrack with

703
00:35:35,320 --> 00:35:39,839
Speaker 1: Raycon Right now, culturally canceled listeners can get off their

704
00:35:39,840 --> 00:35:44,600
Speaker 1: recon order at by recon dot com slash peters. That's

705
00:35:44,920 --> 00:35:51,320
Speaker 1: by raycon dot com slash peters. To say on recons again,

706
00:35:52,080 --> 00:35:56,400
Speaker 1: that's by Raycon. Buy Raycon r A y c o

707
00:35:56,600 --> 00:36:02,360
Speaker 1: N dot com slash peters. What do you think about?

708
00:36:02,360 --> 00:36:05,480
Speaker 1: What do you think about the um the online comedians

709
00:36:05,480 --> 00:36:07,600
Speaker 1: that are blowing up. It's a lot of comedians that

710
00:36:07,640 --> 00:36:10,000
Speaker 1: are just like guys that just have social media that

711
00:36:10,239 --> 00:36:14,640
Speaker 1: do like, uh, a skit voiceover, not like Tony Baker,

712
00:36:14,680 --> 00:36:18,200
Speaker 1: because Tony Baker was already a stand up Tony. Tony

713
00:36:18,280 --> 00:36:20,360
Speaker 1: was already a comic. Tony was already doing this. I

714
00:36:20,520 --> 00:36:24,279
Speaker 1: never knew. And then and then the Internet like not,

715
00:36:24,800 --> 00:36:30,080
Speaker 1: he figured out how to flip that into the Instagram. Yeah,

716
00:36:30,800 --> 00:36:33,600
Speaker 1: he's got a following, he's got a massive following. But

717
00:36:33,640 --> 00:36:40,240
Speaker 1: what happens sometimes he's fucking hilarious. What happens sometimes, Frankie, Frankie, Frankie.

718
00:36:40,440 --> 00:36:41,600
Speaker 1: What happens with a lot of these guys. And it

719
00:36:41,640 --> 00:36:44,440
Speaker 1: happened during the Vine time, remember Vine. It was a

720
00:36:44,440 --> 00:36:47,400
Speaker 1: six second thing. And now comedy clubs were forcing getting

721
00:36:47,400 --> 00:36:50,040
Speaker 1: forced into selling tickets because they're putting butts in the

722
00:36:50,040 --> 00:36:53,239
Speaker 1: seats because at the comedy clubs are restaurants with a

723
00:36:53,320 --> 00:36:56,240
Speaker 1: with a show, and so these guys were selling seats.

724
00:36:56,280 --> 00:36:58,439
Speaker 1: But what happened is that this this kid goes on stage.

725
00:36:58,440 --> 00:37:00,800
Speaker 1: He's supposed to do an hour. He talked for about

726
00:37:00,800 --> 00:37:03,279
Speaker 1: ten minutes and then the rest of his hour was

727
00:37:03,360 --> 00:37:06,160
Speaker 1: a line of meet and greet and picture taking. That

728
00:37:06,239 --> 00:37:09,200
Speaker 1: was the shop, just just being like you were saying earlier,

729
00:37:10,440 --> 00:37:12,040
Speaker 1: it was all about just being Luka. I mean, I

730
00:37:12,080 --> 00:37:13,960
Speaker 1: can't take how many shows I've been on with somebody

731
00:37:13,960 --> 00:37:16,400
Speaker 1: that's more famous than me and that people will come

732
00:37:16,440 --> 00:37:17,760
Speaker 1: up to me and go, man, you were so funny.

733
00:37:17,760 --> 00:37:19,399
Speaker 1: That was the best of her. I'm gonna go get

734
00:37:19,400 --> 00:37:21,760
Speaker 1: a picture with the other guy though, because he's famous.

735
00:37:22,040 --> 00:37:25,359
Speaker 1: You know. I remember like Dick riding one oh one.

736
00:37:25,920 --> 00:37:29,520
Speaker 1: Remember when when Vine, Remember when when Vine was big.

737
00:37:29,600 --> 00:37:33,359
Speaker 1: I remember hosting at the Improv on Melrose and there

738
00:37:33,400 --> 00:37:34,879
Speaker 1: was a Vine kid. I didn't know who the funk

739
00:37:34,920 --> 00:37:38,000
Speaker 1: he was. And I'm already fucking this. I'm already doing

740
00:37:38,040 --> 00:37:40,440
Speaker 1: arenas I've been doing arenas like for a long time

741
00:37:40,480 --> 00:37:42,799
Speaker 1: at that time, and I'm hosting because I liked the host.

742
00:37:42,840 --> 00:37:45,279
Speaker 1: I was like the freestyle and just funk around and

743
00:37:45,280 --> 00:37:46,640
Speaker 1: this I go to. I go to this kid, ago,

744
00:37:46,760 --> 00:37:48,000
Speaker 1: what do you want me to say about you? You

745
00:37:48,040 --> 00:37:50,239
Speaker 1: can tell me. I have over five thousand followers on vine.

746
00:37:50,400 --> 00:37:51,520
Speaker 1: I go, no, seriously, what do you want me to

747
00:37:51,560 --> 00:37:54,399
Speaker 1: say about you? And he goes, it's a big deal, man.

748
00:37:54,520 --> 00:37:57,680
Speaker 1: I go, alright, pal, So I went I brought him up.

749
00:37:57,920 --> 00:38:00,799
Speaker 1: He ate a fat dick. And then I went back

750
00:38:00,880 --> 00:38:02,320
Speaker 1: up and I said, give it up for whatever that

751
00:38:02,400 --> 00:38:04,759
Speaker 1: kid's name, whatever there was listening, give it up him.

752
00:38:04,760 --> 00:38:06,759
Speaker 1: Apparently it's only funny for six seconds at a time.

753
00:38:10,080 --> 00:38:14,040
Speaker 1: It's a difference between somebody who does this and somebody

754
00:38:14,040 --> 00:38:16,560
Speaker 1: who thinks they do. So you don't think you don't

755
00:38:16,560 --> 00:38:19,719
Speaker 1: think it's a good idea that people have more to

756
00:38:19,800 --> 00:38:21,799
Speaker 1: choose from that I think it's I don't. I don't know.

757
00:38:21,920 --> 00:38:23,920
Speaker 1: It's good. It's good that you have more to choose from.

758
00:38:23,960 --> 00:38:27,520
Speaker 1: But then you can't automatically think you're gonna go on

759
00:38:27,560 --> 00:38:29,880
Speaker 1: stage and do this again. No, you forgot that you

760
00:38:30,040 --> 00:38:32,680
Speaker 1: edited all this ship to do this. You're on stage

761
00:38:32,680 --> 00:38:34,920
Speaker 1: just no editing because I don't. I'm not mad. I'm

762
00:38:35,000 --> 00:38:38,759
Speaker 1: a listen, I'm not mad at watered down liquor. You

763
00:38:38,800 --> 00:38:41,600
Speaker 1: can buy. You can buy the Flimancy or the Hennessy.

764
00:38:43,000 --> 00:38:44,480
Speaker 1: Which one you are? You know what I'm saying. It's

765
00:38:44,520 --> 00:38:47,160
Speaker 1: like you got fake Gucci bags, you got real Gucci bag.

766
00:38:47,520 --> 00:38:49,799
Speaker 1: The fake Gucci bag look really real. I'm gonna get

767
00:38:49,840 --> 00:38:52,920
Speaker 1: it some people. You people got to take what they like. Listen,

768
00:38:53,000 --> 00:38:55,080
Speaker 1: if you got I'm not mad at I'm not mad

769
00:38:55,080 --> 00:38:57,000
Speaker 1: at Catch. And I don't mean to call Catch fake

770
00:38:57,080 --> 00:38:59,839
Speaker 1: that that ain't rappid, but I like that's not If

771
00:38:59,840 --> 00:39:02,279
Speaker 1: that how you make your music, that's fine. I think

772
00:39:02,280 --> 00:39:03,920
Speaker 1: that if we get in our lane, to stay in

773
00:39:03,920 --> 00:39:06,040
Speaker 1: the lane. Cats that know how to do this because

774
00:39:06,040 --> 00:39:08,840
Speaker 1: you can't compare. You know, listen, you ever watched that

775
00:39:08,960 --> 00:39:12,400
Speaker 1: video of of them doing the We Are the World

776
00:39:12,560 --> 00:39:15,839
Speaker 1: song and when they start singing, Michael Jackson looks like

777
00:39:16,360 --> 00:39:19,200
Speaker 1: the fund is that, but he never so you see

778
00:39:19,239 --> 00:39:23,759
Speaker 1: there's always even name brandmotherfucker's gotta have these. You hear

779
00:39:23,840 --> 00:39:27,200
Speaker 1: them in the row, in the row, It's like, I'm like,

780
00:39:28,400 --> 00:39:31,120
Speaker 1: you know, younger cats, they got they vibe, they got

781
00:39:31,160 --> 00:39:34,720
Speaker 1: their ways. I'm not mad at that. That's their waves.

782
00:39:35,760 --> 00:39:38,880
Speaker 1: Let them do it. I get disappointed and and older

783
00:39:38,960 --> 00:39:43,120
Speaker 1: dudes that don't wanna embrace who they are and they're

784
00:39:43,120 --> 00:39:46,759
Speaker 1: trying to ride that wave. And that's when I think

785
00:39:46,840 --> 00:39:50,080
Speaker 1: the younger casts look at us and get disrespectful because

786
00:39:50,080 --> 00:39:53,799
Speaker 1: it's like it's old motherfucker trying to be us, you know,

787
00:39:53,880 --> 00:39:56,200
Speaker 1: because like I tell people all the time, you ain't

788
00:39:56,239 --> 00:40:01,000
Speaker 1: never have motherfucking Al Green worried about new edition. You know,

789
00:40:02,760 --> 00:40:05,800
Speaker 1: Al Green was doing Al Green. And I think that's

790
00:40:05,920 --> 00:40:08,920
Speaker 1: when when we're trying to mix the two, they're not

791
00:40:09,000 --> 00:40:12,560
Speaker 1: meant to be mixed. Let's just embrace what we do.

792
00:40:12,640 --> 00:40:15,320
Speaker 1: They do what they do, and that's all has been,

793
00:40:15,600 --> 00:40:18,880
Speaker 1: you know. But once it's trying to mix and older

794
00:40:18,960 --> 00:40:27,000
Speaker 1: dudes are trying to just trying to voice high ye.

795
00:40:28,400 --> 00:40:30,720
Speaker 1: I mean, I wouldn't even know what it would feel

796
00:40:30,760 --> 00:40:34,120
Speaker 1: like to go out on stage, you know, and be

797
00:40:34,200 --> 00:40:38,400
Speaker 1: accepted by some one year old kids. I feel with

798
00:40:38,680 --> 00:40:42,239
Speaker 1: feel creepy, right, yeah, you know, motherfucker's Kelly, but you

799
00:40:42,320 --> 00:40:45,960
Speaker 1: got motherfucker's trying to kind of our count exactly. And

800
00:40:46,000 --> 00:40:49,000
Speaker 1: but so many ways, and is one of those instances

801
00:40:49,080 --> 00:40:51,640
Speaker 1: where you know, like somebody will flip a record from

802
00:40:51,880 --> 00:40:53,960
Speaker 1: back in the day like they like they did Run

803
00:40:54,000 --> 00:40:56,320
Speaker 1: the Jewels and Grand Knife did the hook, you know

804
00:40:56,360 --> 00:40:59,080
Speaker 1: what I'm saying, Like like that, like he was being

805
00:40:59,160 --> 00:41:01,840
Speaker 1: himself in their element and that was fucking fire, you

806
00:41:01,920 --> 00:41:04,920
Speaker 1: know what I'm saying. Like we can coexist on certain

807
00:41:05,200 --> 00:41:07,880
Speaker 1: moments in time, but there there should be like the

808
00:41:07,920 --> 00:41:10,120
Speaker 1: Ghostbusters was you don't cross the beams, you know what

809
00:41:10,120 --> 00:41:15,920
Speaker 1: I'm saying, Like Neros, we gotta of originality. I believe

810
00:41:15,920 --> 00:41:19,279
Speaker 1: originality is very important. We used to do We used

811
00:41:19,280 --> 00:41:21,120
Speaker 1: to come to the park, the battle Cats in the

812
00:41:21,200 --> 00:41:24,080
Speaker 1: park and we knew, okay they got a DJ, we

813
00:41:24,120 --> 00:41:26,640
Speaker 1: gotta DJ. It's five of them is three of us

814
00:41:26,760 --> 00:41:28,840
Speaker 1: because we saw cold Crush battles and we was like,

815
00:41:28,880 --> 00:41:31,880
Speaker 1: oh that if everything is emulated, don't get it twisted,

816
00:41:32,000 --> 00:41:34,399
Speaker 1: because that was. But the influence that you get from

817
00:41:34,400 --> 00:41:37,279
Speaker 1: the the predecessors or the guys that came before you

818
00:41:37,360 --> 00:41:39,879
Speaker 1: rather than the guys that were they're doing it, You're

819
00:41:39,880 --> 00:41:42,279
Speaker 1: gonna get influenced from that. But you gotta add your

820
00:41:42,320 --> 00:41:45,239
Speaker 1: own ship and then you can. It's okay to do that,

821
00:41:45,600 --> 00:41:48,000
Speaker 1: but when you see the copycat ship, all across the

822
00:41:48,040 --> 00:41:51,040
Speaker 1: board and everything starts to sound like like a monotone

823
00:41:51,400 --> 00:41:54,200
Speaker 1: all the way through. Everything is the same flow, same delivery.

824
00:41:54,520 --> 00:41:56,319
Speaker 1: That's when I think it kills the game. And then

825
00:41:57,120 --> 00:41:59,879
Speaker 1: those guys get money. I think a lot of other cash.

826
00:42:00,000 --> 00:42:01,640
Speaker 1: I feel like, damn, I broke my neck to be

827
00:42:01,680 --> 00:42:04,320
Speaker 1: original and then this is what works, and that's what

828
00:42:04,400 --> 00:42:06,520
Speaker 1: that's what forces them into that length you said with

829
00:42:06,560 --> 00:42:09,839
Speaker 1: the originality, I think I'm a big fan of that.

830
00:42:10,160 --> 00:42:14,320
Speaker 1: Like whether you older, whether you knew, I'm just looking

831
00:42:14,360 --> 00:42:18,719
Speaker 1: for something that's different, that's mind blowing out. Really that

832
00:42:18,800 --> 00:42:23,360
Speaker 1: really took thought, Like, um, just seeing something on BT Awards.

833
00:42:23,360 --> 00:42:26,560
Speaker 1: I don't even watch the BAT Awards. Somebody posted the

834
00:42:26,640 --> 00:42:29,680
Speaker 1: clip and it was just one dude that was performing.

835
00:42:29,800 --> 00:42:32,160
Speaker 1: Looked like he was robbing in the storm and it

836
00:42:32,239 --> 00:42:36,200
Speaker 1: was windy and it was blowing them back. Oh man,

837
00:42:36,280 --> 00:42:39,520
Speaker 1: that ship. I looked at that ship like, goddamn, this

838
00:42:39,560 --> 00:42:42,640
Speaker 1: ship has flopped. I ain't know what I was watching,

839
00:42:43,239 --> 00:42:47,080
Speaker 1: but just the artistic part of it made me go

840
00:42:47,400 --> 00:42:52,120
Speaker 1: there because yeah, it was it was he sampled some

841
00:42:52,239 --> 00:42:54,600
Speaker 1: old record. But that's what I'm telling I don't know

842
00:42:54,640 --> 00:42:57,760
Speaker 1: who this dude is at the time. I'm just listening

843
00:42:57,800 --> 00:43:00,440
Speaker 1: to the song and I'm listening to the grap fixing

844
00:43:00,440 --> 00:43:03,839
Speaker 1: the performance, and it grabbed me to make me go, man,

845
00:43:03,920 --> 00:43:06,640
Speaker 1: i gotta find out who this person is because it

846
00:43:06,680 --> 00:43:09,960
Speaker 1: was incredible. It ain't it wasn't the regular Hey we

847
00:43:10,080 --> 00:43:13,200
Speaker 1: got bitches, It wasn't none of that. It was just

848
00:43:13,200 --> 00:43:16,360
Speaker 1: just dude that was rhyming and it was windy, and

849
00:43:16,400 --> 00:43:18,759
Speaker 1: that ship was that ship just had me funked up,

850
00:43:18,800 --> 00:43:22,959
Speaker 1: like right right there is like, Okay, we we got

851
00:43:23,040 --> 00:43:26,880
Speaker 1: some some something incredible going on. Hopefully somebody else go,

852
00:43:27,320 --> 00:43:29,720
Speaker 1: you know what, I'm gonna do something crazy like that too,

853
00:43:30,000 --> 00:43:32,640
Speaker 1: or somewhat like that, but I'm gonna take it to

854
00:43:32,680 --> 00:43:34,960
Speaker 1: another level. But we also came from an era where,

855
00:43:35,360 --> 00:43:38,560
Speaker 1: you know, for the most part, the rappers that got

856
00:43:38,560 --> 00:43:41,440
Speaker 1: to the top, they all sounded different, right like you

857
00:43:41,440 --> 00:43:44,600
Speaker 1: could you could you could put on a mixtape or whatever,

858
00:43:45,000 --> 00:43:48,520
Speaker 1: or even an album. One person's album songs all sounded different.

859
00:43:48,560 --> 00:43:50,640
Speaker 1: I went to a concert with my daughter like four

860
00:43:50,719 --> 00:43:52,200
Speaker 1: or five years and I'm not gonna say the artist,

861
00:43:52,200 --> 00:43:54,320
Speaker 1: and I'm you know, I'm not a fan of that artist.

862
00:43:54,600 --> 00:43:58,840
Speaker 1: This was out at an outdoor giant park. It was

863
00:43:58,880 --> 00:44:01,520
Speaker 1: probably six or seventh. I was in fans they're loving

864
00:44:01,560 --> 00:44:05,000
Speaker 1: this person, and I was there, you know, with my daughter,

865
00:44:05,160 --> 00:44:07,239
Speaker 1: and for an hour and a half or however long

866
00:44:07,280 --> 00:44:09,359
Speaker 1: it was, it sounded like I was listening to one

867
00:44:09,400 --> 00:44:13,120
Speaker 1: song and and that you know, in their defense, I'm

868
00:44:13,120 --> 00:44:15,200
Speaker 1: not a fan. So clearly, if you're a fan, clearly

869
00:44:15,239 --> 00:44:16,880
Speaker 1: you must be able to tell the difference between your

870
00:44:16,880 --> 00:44:19,080
Speaker 1: song and song. But I mean again, we came from

871
00:44:19,080 --> 00:44:22,840
Speaker 1: an era where when you put on BIG's album, the

872
00:44:23,160 --> 00:44:25,200
Speaker 1: one song doesn't sound like next song doesn't sound even

873
00:44:25,200 --> 00:44:27,440
Speaker 1: if they used the same sample in some of them,

874
00:44:27,480 --> 00:44:31,359
Speaker 1: like I mean, on you know whatever, it doesn't sound

875
00:44:31,440 --> 00:44:35,160
Speaker 1: the same. But now artists all sound the same. The

876
00:44:35,560 --> 00:44:39,040
Speaker 1: beats all sound the same, and he sounded the same

877
00:44:39,080 --> 00:44:41,560
Speaker 1: in the park with the DJ was playing breakbeats, so

878
00:44:42,160 --> 00:44:44,360
Speaker 1: there wasn't a lot of different break beats that casts

879
00:44:44,360 --> 00:44:49,640
Speaker 1: wrapped over, love wraps action fucking uh, you know what

880
00:44:49,640 --> 00:44:51,680
Speaker 1: I mean, Tiski Valley was a lot of those break

881
00:44:51,719 --> 00:44:54,040
Speaker 1: beats were the same, and casts were just doing different

882
00:44:54,120 --> 00:44:57,760
Speaker 1: routines over or wraps segments over those breaks. The plethora

883
00:44:57,800 --> 00:45:00,719
Speaker 1: of originality, originality, but don't forget it does that all

884
00:45:00,760 --> 00:45:04,040
Speaker 1: the time. And one rhythm and then that's it. Everybody

885
00:45:04,480 --> 00:45:06,480
Speaker 1: tan artists will do a song over and each song

886
00:45:06,600 --> 00:45:09,200
Speaker 1: was good. Yeah, but don't forget you got to think

887
00:45:09,200 --> 00:45:11,760
Speaker 1: about to one thing we were quick, is that culture

888
00:45:11,880 --> 00:45:14,680
Speaker 1: in different cities, Like what's going on in the South,

889
00:45:14,719 --> 00:45:17,200
Speaker 1: ain't going on New York. It wasn't that way, What's

890
00:45:17,239 --> 00:45:19,080
Speaker 1: going on on the West Coast, wasn't going on on

891
00:45:19,080 --> 00:45:21,160
Speaker 1: the East Coast, was going on in the Midwest, And

892
00:45:21,160 --> 00:45:24,359
Speaker 1: then or even in the Bay everything was different. Hip

893
00:45:24,360 --> 00:45:26,400
Speaker 1: hop was different from every place. And then when it

894
00:45:26,400 --> 00:45:30,040
Speaker 1: all got migrated to the middle of the of the world,

895
00:45:30,080 --> 00:45:32,359
Speaker 1: it all started to sound like one sound or the

896
00:45:32,400 --> 00:45:36,040
Speaker 1: world shrunk with the birth of the internet everything. That's

897
00:45:36,040 --> 00:45:38,160
Speaker 1: what I was gonna ask when we were younger, we

898
00:45:38,160 --> 00:45:41,600
Speaker 1: had to go find things. Now with those six thousand

899
00:45:41,640 --> 00:45:43,880
Speaker 1: fans that were in that audience there, it's just it's

900
00:45:43,880 --> 00:45:47,279
Speaker 1: getting getting fed to them on a constantly fed to

901
00:45:47,320 --> 00:45:50,120
Speaker 1: them on internet, on TikTok. I mean, it's just what

902
00:45:50,160 --> 00:45:52,439
Speaker 1: they're given. So they just go uh and I feel

903
00:45:52,440 --> 00:45:55,520
Speaker 1: like they're just mindless drones now, And it goes back

904
00:45:55,520 --> 00:45:59,000
Speaker 1: to the originality. Yeah, yeah, yeah, it's just what they're

905
00:45:59,080 --> 00:46:01,560
Speaker 1: it's what they're fed and that's that's more or less

906
00:46:01,560 --> 00:46:03,600
Speaker 1: what it feels like now because I have how old

907
00:46:03,640 --> 00:46:06,000
Speaker 1: is your kids? How old are they? Well back then

908
00:46:06,040 --> 00:46:09,880
Speaker 1: you mean or now now to my kids, I have

909
00:46:09,880 --> 00:46:11,799
Speaker 1: a twenty six year old and a thirty one year old,

910
00:46:12,440 --> 00:46:16,360
Speaker 1: so they're still they still listen to like music. And

911
00:46:16,400 --> 00:46:18,560
Speaker 1: then my you know, my brother's daughters who are younger.

912
00:46:18,600 --> 00:46:21,720
Speaker 1: It's just like it's just what they're fed. It's different

913
00:46:22,280 --> 00:46:25,640
Speaker 1: and they don't have to there's no record shop like

914
00:46:25,920 --> 00:46:28,320
Speaker 1: at every corner there. They just wait for the internet

915
00:46:28,360 --> 00:46:30,160
Speaker 1: to hand it to him and then they go, Okay,

916
00:46:30,200 --> 00:46:31,719
Speaker 1: this is what we like, you know what I mean?

917
00:46:31,840 --> 00:46:34,080
Speaker 1: And like being on a magazine cover was a big deal,

918
00:46:34,120 --> 00:46:40,520
Speaker 1: like a physical magazine. We're from the physical era. Yeah, well,

919
00:46:40,560 --> 00:46:44,160
Speaker 1: people don't even know what like album credits are, right

920
00:46:44,200 --> 00:46:46,239
Speaker 1: because you don't get we don't You don't know who

921
00:46:46,280 --> 00:46:49,040
Speaker 1: did it. What we used to actually read love reading

922
00:46:49,040 --> 00:46:52,640
Speaker 1: the liner notes and learned people who wrote, you know,

923
00:46:53,880 --> 00:46:56,520
Speaker 1: freaking a new cool giograph name was Nathaniel because of

924
00:46:57,080 --> 00:47:00,520
Speaker 1: the credits, you know what I mean. Like I only

925
00:47:00,520 --> 00:47:03,719
Speaker 1: find out exhibits name when he texted me. Yeah, and

926
00:47:03,800 --> 00:47:06,880
Speaker 1: it came up as your government was like, oh ship yeah,

927
00:47:06,960 --> 00:47:13,719
Speaker 1: and your brothers Simon and Theater, they're good. My real

928
00:47:13,840 --> 00:47:18,239
Speaker 1: name is Alvin Nathaniel Joyner and his son's name is

929
00:47:18,320 --> 00:47:27,319
Speaker 1: Nathaniel after you. I think, um, people don't understand how

930
00:47:27,600 --> 00:47:31,680
Speaker 1: like we're talking about credits, how important that is. And

931
00:47:31,719 --> 00:47:34,279
Speaker 1: I think without credits, you don't took money out of

932
00:47:34,400 --> 00:47:38,120
Speaker 1: so many people mouths because they live by those credits.

933
00:47:38,880 --> 00:47:42,240
Speaker 1: You can't get those credits with streaming, you know. So

934
00:47:42,760 --> 00:47:45,000
Speaker 1: when you look at the credits, you see the engineer,

935
00:47:45,320 --> 00:47:48,160
Speaker 1: you see the studio they use, might have seen some

936
00:47:48,200 --> 00:47:51,320
Speaker 1: of the writers or musicians that were down with the song.

937
00:47:51,800 --> 00:47:54,239
Speaker 1: It was so many aspects where it got master that

938
00:47:54,960 --> 00:47:58,520
Speaker 1: so when you're doing streaming, you just wiped out all

939
00:47:58,560 --> 00:48:02,120
Speaker 1: those people. So how do those people continue to get work?

940
00:48:02,440 --> 00:48:05,200
Speaker 1: They just know the artists, and they might know the

941
00:48:05,239 --> 00:48:08,120
Speaker 1: producer if the artist screamed his name, and but now

942
00:48:08,120 --> 00:48:10,600
Speaker 1: he in the shout out errors like we want to

943
00:48:10,640 --> 00:48:14,200
Speaker 1: think my man who brought the hendy, and had he

944
00:48:14,320 --> 00:48:19,120
Speaker 1: may brought the wings, had he may just record from two.

945
00:48:21,239 --> 00:48:23,839
Speaker 1: That's how they do that. Everybody just gets shouted out,

946
00:48:23,880 --> 00:48:26,440
Speaker 1: and it's just I want to thank for the mashed potatoes.

947
00:48:28,160 --> 00:48:30,319
Speaker 1: I hate it's making me feel old now though, because

948
00:48:30,360 --> 00:48:33,880
Speaker 1: I'm the guy going all yeah, but that you know

949
00:48:33,920 --> 00:48:37,480
Speaker 1: what I do embrace variety. I think varieties are great thing.

950
00:48:37,480 --> 00:48:40,160
Speaker 1: I don't think everybody should make records like I make records.

951
00:48:41,160 --> 00:48:43,560
Speaker 1: I'm glad that everybody don't make records like I make records.

952
00:48:43,760 --> 00:48:45,640
Speaker 1: But here's something people may not know about you. And

953
00:48:45,719 --> 00:48:47,000
Speaker 1: if you don't want us to have us out, will

954
00:48:47,000 --> 00:48:49,400
Speaker 1: cut it out. But people don't know you wrote a

955
00:48:49,400 --> 00:48:52,319
Speaker 1: lot of other songs to other people. And one of

956
00:48:52,320 --> 00:48:55,120
Speaker 1: the biggest songs he wrote with shoot a Man, What

957
00:48:55,200 --> 00:48:57,200
Speaker 1: a Man? He wrote, what a man? But a man

958
00:48:57,280 --> 00:49:00,640
Speaker 1: grew me big shot. None of your business? Yeah, somebody

959
00:49:00,719 --> 00:49:04,600
Speaker 1: you wouldn't what a man? And and none of your business?

960
00:49:05,800 --> 00:49:07,719
Speaker 1: You know what. Herbie love Bug, who gave me an

961
00:49:07,760 --> 00:49:11,480
Speaker 1: opportunity to do that. I'm always grateful for that because Herbie,

962
00:49:11,560 --> 00:49:13,520
Speaker 1: Herbie said, Yo, he knew I was a writer, he

963
00:49:13,560 --> 00:49:15,520
Speaker 1: knew I could rhyme, and he just asked me to write.

964
00:49:15,960 --> 00:49:18,160
Speaker 1: I didn't have a problem doing that, and it was cool.

965
00:49:18,200 --> 00:49:21,040
Speaker 1: I write for anybody, and I tried to get in

966
00:49:21,040 --> 00:49:24,279
Speaker 1: the heads of I always thought how I wrote that was,

967
00:49:24,360 --> 00:49:26,200
Speaker 1: like I said, let me think about how I would

968
00:49:26,239 --> 00:49:29,440
Speaker 1: want a woman to think about me, and that's how

969
00:49:29,480 --> 00:49:32,279
Speaker 1: I wrote it, you know what I'm saying. And you

970
00:49:32,320 --> 00:49:36,719
Speaker 1: were up on your business aspect of the music business. No,

971
00:49:37,239 --> 00:49:39,920
Speaker 1: I don't know. I'm not saying I didn't get taken

972
00:49:39,920 --> 00:49:43,400
Speaker 1: care of, but I definitely, I definitely don't believe it was.

973
00:49:43,680 --> 00:49:46,160
Speaker 1: I mean, they they kept my name out of that

974
00:49:46,200 --> 00:49:48,239
Speaker 1: ship even to this day, like you you don't see

975
00:49:48,239 --> 00:49:50,719
Speaker 1: my name on none of that ship, you know, But

976
00:49:50,800 --> 00:49:52,759
Speaker 1: that's you know, that was a choice that was made

977
00:49:52,800 --> 00:49:55,719
Speaker 1: and it was what it is. But you know, Spenderella,

978
00:49:55,960 --> 00:49:57,960
Speaker 1: she's the one that really always gave me my props

979
00:49:58,000 --> 00:50:01,640
Speaker 1: for Spinderella talked about it, but everybody else's zip mouth

980
00:50:01,640 --> 00:50:03,640
Speaker 1: because they wanted to seem like they did it. I

981
00:50:03,640 --> 00:50:05,799
Speaker 1: guess I don't know. Everybody wants to and I don't

982
00:50:05,800 --> 00:50:08,440
Speaker 1: give a funk. It's just I'm still happy that Herbie

983
00:50:08,680 --> 00:50:11,480
Speaker 1: and I'm giving the credit to Herbie because Herbie was

984
00:50:11,520 --> 00:50:14,640
Speaker 1: the one who said, go get Fox. I lived right

985
00:50:14,680 --> 00:50:17,400
Speaker 1: around the corner from him in East Elmhurst, and he

986
00:50:17,760 --> 00:50:21,640
Speaker 1: said he sent Pepper around the corner to go knock

987
00:50:21,680 --> 00:50:23,520
Speaker 1: on fox door, tell Fox I need to talk to him,

988
00:50:23,560 --> 00:50:27,920
Speaker 1: and he gave me a cassette tape with five or

989
00:50:28,000 --> 00:50:30,359
Speaker 1: six beats on it, and I wrote I wrote them

990
00:50:30,360 --> 00:50:33,120
Speaker 1: ships in one night overnight, and I went back the

991
00:50:33,160 --> 00:50:35,480
Speaker 1: next day or the day after and I and I

992
00:50:35,320 --> 00:50:38,480
Speaker 1: and I gave them the tape and then they took

993
00:50:38,520 --> 00:50:41,320
Speaker 1: it and I got it back. Actually, so I demoed.

994
00:50:41,360 --> 00:50:45,120
Speaker 1: I actually demoed the verse for them, like I went

995
00:50:45,120 --> 00:50:48,520
Speaker 1: in and said the rhyme the way it should be said. Yeah,

996
00:50:48,960 --> 00:50:51,560
Speaker 1: I demoed it, and then I let the would love

997
00:50:51,600 --> 00:50:53,880
Speaker 1: to hear the demo of you singing one n f

998
00:50:53,920 --> 00:50:58,080
Speaker 1: T right there, somebody's that's an n f T. The

999
00:50:58,120 --> 00:51:00,600
Speaker 1: interesting thing about that when you say Herbie, you know,

1000
00:51:00,640 --> 00:51:04,000
Speaker 1: I mean going back to the days of reading names

1001
00:51:04,000 --> 00:51:08,680
Speaker 1: on record labels. He apparently wrote everything in the early days,

1002
00:51:08,719 --> 00:51:13,920
Speaker 1: Like on the first record is brother Herbie Steve and

1003
00:51:14,239 --> 00:51:16,640
Speaker 1: it was a couple of last something. I think I think,

1004
00:51:16,719 --> 00:51:18,720
Speaker 1: I think, I think they wrote. I think Salton Pepper

1005
00:51:18,760 --> 00:51:21,160
Speaker 1: did write certain things, but not not as much as

1006
00:51:21,200 --> 00:51:24,080
Speaker 1: everybody else. You know, Herbie, Herbie was a Herbie and

1007
00:51:24,120 --> 00:51:27,439
Speaker 1: his brother would write a lot. They were to play stuff. Yeah,

1008
00:51:27,520 --> 00:51:28,960
Speaker 1: I don't know about the kid to play stuff. I

1009
00:51:29,040 --> 00:51:35,400
Speaker 1: never heard. I never heard that. I don't. I don't know.

1010
00:51:35,440 --> 00:51:37,359
Speaker 1: I've never I've never known anybody to write for kid

1011
00:51:37,440 --> 00:51:40,120
Speaker 1: in play. I never knew that Herbie was is still

1012
00:51:40,160 --> 00:51:41,600
Speaker 1: it wasn't. I don't know if he still is, but

1013
00:51:41,640 --> 00:51:44,680
Speaker 1: I know he was always very creative with ship like that.

1014
00:51:44,840 --> 00:51:47,640
Speaker 1: When Herbie moved to Haiti now oh Miami and something

1015
00:51:47,640 --> 00:51:49,160
Speaker 1: like that, I don't know where all the Haitians are

1016
00:51:52,320 --> 00:51:57,239
Speaker 1: shout out to Herbie love bug man herbisation right. Yeah.

1017
00:51:57,640 --> 00:51:59,600
Speaker 1: The mistake I made with music when I was grown,

1018
00:51:59,600 --> 00:52:01,520
Speaker 1: when I got like, I closed my mind to a

1019
00:52:01,520 --> 00:52:03,560
Speaker 1: bunch of their stuff, and I don't think that's healthy either.

1020
00:52:03,640 --> 00:52:06,480
Speaker 1: Just na non. I think it should be a trade

1021
00:52:06,480 --> 00:52:09,520
Speaker 1: off between the I think wisdom and strength is the

1022
00:52:09,600 --> 00:52:12,160
Speaker 1: trade off, because the older you get into business like this,

1023
00:52:12,560 --> 00:52:15,200
Speaker 1: you gain wisdom, and a lot of these young cats

1024
00:52:15,320 --> 00:52:17,360
Speaker 1: need that wisdom from us, and a lot of times

1025
00:52:17,400 --> 00:52:19,440
Speaker 1: when they come up to us. Back when we was

1026
00:52:19,640 --> 00:52:21,880
Speaker 1: a lot of cats was popping. I wasn't one that

1027
00:52:21,920 --> 00:52:23,360
Speaker 1: really did that a lot, but there's a lot of

1028
00:52:23,400 --> 00:52:26,120
Speaker 1: dudes who just shut them young cats down, like they

1029
00:52:26,120 --> 00:52:28,560
Speaker 1: didn't try to show them anything. And then when their

1030
00:52:28,600 --> 00:52:32,120
Speaker 1: sound became popular, they got mad because these casts started

1031
00:52:32,160 --> 00:52:34,719
Speaker 1: get money and started being popular, and the old dudes

1032
00:52:34,760 --> 00:52:37,080
Speaker 1: was shutting the door on them. So it's a lot

1033
00:52:37,080 --> 00:52:40,800
Speaker 1: of you know, new artists that's big now that tried

1034
00:52:40,840 --> 00:52:43,600
Speaker 1: to come through that that passageway and then got the

1035
00:52:43,640 --> 00:52:47,640
Speaker 1: door slamed in their face. So in their defense, you know,

1036
00:52:47,719 --> 00:52:50,279
Speaker 1: when people, you know, look at me, I don't. I'm

1037
00:52:50,320 --> 00:52:53,799
Speaker 1: gonna be honest, I don't. I wasn't treated like, you know,

1038
00:52:53,960 --> 00:52:56,520
Speaker 1: like no great m C in the beginning. I'man But

1039
00:52:56,640 --> 00:52:59,000
Speaker 1: dudes for my I looked up to they wouldn't even

1040
00:52:59,040 --> 00:53:00,799
Speaker 1: shake our hands. They would look one a us like man,

1041
00:53:01,719 --> 00:53:07,680
Speaker 1: funk out of here. You know, Damn, I'm a fan, alright,

1042
00:53:08,440 --> 00:53:10,000
Speaker 1: be a fan over there while I go get this

1043
00:53:10,040 --> 00:53:13,040
Speaker 1: motherfucker wreck. So, you know. And then but you know,

1044
00:53:13,120 --> 00:53:15,600
Speaker 1: to me, I didn't take offense to that because they

1045
00:53:15,600 --> 00:53:17,839
Speaker 1: didn't just hand it to us. You know what I'm saying.

1046
00:53:17,840 --> 00:53:20,040
Speaker 1: You gotta love the You gotta love the motherfucker who

1047
00:53:20,080 --> 00:53:22,919
Speaker 1: tell you, man, listen, get it on your own. Yes,

1048
00:53:23,560 --> 00:53:25,160
Speaker 1: And then you got those years under your belt, and

1049
00:53:25,160 --> 00:53:26,960
Speaker 1: it means so much more. You got these guys in

1050
00:53:27,040 --> 00:53:29,320
Speaker 1: comedy that are doing theaters now and they've been in

1051
00:53:29,360 --> 00:53:32,640
Speaker 1: the game for three years it's a trip. And that's

1052
00:53:32,640 --> 00:53:36,440
Speaker 1: where the old head hand, that guy I'm trying to fix.

1053
00:53:36,480 --> 00:53:38,480
Speaker 1: That she was comedy is different because I'm not. I

1054
00:53:39,120 --> 00:53:41,600
Speaker 1: don't really hate on the younger comics do the same

1055
00:53:41,600 --> 00:53:44,560
Speaker 1: way I hate on music because music is so personal

1056
00:53:44,600 --> 00:53:47,440
Speaker 1: to me. I don't know if it's necessarily the younger comics.

1057
00:53:47,440 --> 00:53:49,680
Speaker 1: I mean, I was hating the process, how it was changing.

1058
00:53:49,840 --> 00:53:52,560
Speaker 1: Oh yeah, but she was comedy funny enough. I accepted

1059
00:53:52,600 --> 00:53:54,839
Speaker 1: the change. See that's important. That's what I was gonna say.

1060
00:53:54,840 --> 00:53:56,520
Speaker 1: It's comedy for me. It was like, Okay, I get it.

1061
00:53:56,560 --> 00:53:58,960
Speaker 1: There's a shortcut now. I would and I look at it.

1062
00:53:59,040 --> 00:54:02,279
Speaker 1: If I was starting now, I take the shortcut too.

1063
00:54:02,920 --> 00:54:05,320
Speaker 1: But I didn't, and I'm glad I didn't. Within the

1064
00:54:05,400 --> 00:54:07,759
Speaker 1: last year, That's where I'm at now. It took him

1065
00:54:07,800 --> 00:54:09,960
Speaker 1: in it, and I'm like, okay, I'll put some comedy

1066
00:54:09,960 --> 00:54:14,080
Speaker 1: on TikTok. There is one fundamental thing that remains the same.

1067
00:54:14,719 --> 00:54:19,520
Speaker 1: Longevity is the key. Longevity. Now, whether you can take

1068
00:54:19,560 --> 00:54:22,439
Speaker 1: your time and take a short cut and get there,

1069
00:54:22,440 --> 00:54:24,680
Speaker 1: it's long. How long can you stay there? And Dre

1070
00:54:24,840 --> 00:54:27,080
Speaker 1: says something to me all the time, He's like, you know,

1071
00:54:27,440 --> 00:54:30,399
Speaker 1: it's easy to make money, it's hard to keep it right.

1072
00:54:30,800 --> 00:54:34,520
Speaker 1: So so what I'm saying is wife about that. Yeah, yeah, yeah,

1073
00:54:35,239 --> 00:54:39,560
Speaker 1: you turn over? Yeah he got that, you turn that turnover.

1074
00:54:40,840 --> 00:54:45,680
Speaker 1: The turnover in music is so fast now, Like like

1075
00:54:45,800 --> 00:54:48,080
Speaker 1: if you look at you know, from the time period

1076
00:54:48,160 --> 00:54:51,160
Speaker 1: and you know, the early the late seventies, early eighties

1077
00:54:51,440 --> 00:54:54,799
Speaker 1: into the two thousand's, the was considered the golden era

1078
00:54:54,960 --> 00:54:58,520
Speaker 1: Hip Hong. Those people and those names and those legacies

1079
00:54:58,520 --> 00:55:01,480
Speaker 1: are still in place. Um, it's hard to get past

1080
00:55:01,560 --> 00:55:03,520
Speaker 1: them because in order to tell the story of now,

1081
00:55:03,600 --> 00:55:05,840
Speaker 1: you have to tell the story of then, right, And

1082
00:55:05,960 --> 00:55:09,520
Speaker 1: so when you see them now, like I can't tell

1083
00:55:09,600 --> 00:55:13,640
Speaker 1: you where uh the nigga who did the walk It

1084
00:55:13,680 --> 00:55:18,719
Speaker 1: Out walk It Out? I arguably where is that guy?

1085
00:55:18,880 --> 00:55:23,000
Speaker 1: You know what I'm saying, because yeah, yeah yeah. And

1086
00:55:23,040 --> 00:55:25,279
Speaker 1: then and then there's so many more of them that

1087
00:55:25,360 --> 00:55:29,319
Speaker 1: you know, like like like stay in the limelight. But

1088
00:55:29,440 --> 00:55:32,960
Speaker 1: they're not there for music. They're not there for hit records.

1089
00:55:33,239 --> 00:55:36,000
Speaker 1: They're there for this persona or this attention that they

1090
00:55:36,000 --> 00:55:38,120
Speaker 1: can they can bring to them. And if they do

1091
00:55:38,239 --> 00:55:41,319
Speaker 1: something crazy or go after somebody or have some kind

1092
00:55:41,320 --> 00:55:45,120
Speaker 1: of train wreck on fucking social media or it's anything

1093
00:55:45,200 --> 00:55:47,640
Speaker 1: and everything except what they're supposed to be good at,

1094
00:55:47,840 --> 00:55:49,680
Speaker 1: which is the music, you know, right, But but my

1095
00:55:49,760 --> 00:55:53,840
Speaker 1: thing is where is there? Because I always felt like, Okay,

1096
00:55:54,320 --> 00:55:56,440
Speaker 1: if you didn't start, if you started rapping and was

1097
00:55:56,560 --> 00:55:59,720
Speaker 1: sleeping on the corner in an old throwing away sleeping

1098
00:55:59,760 --> 00:56:02,560
Speaker 1: bad and and a bunch of cans was your pillow case.

1099
00:56:02,880 --> 00:56:06,120
Speaker 1: And now you own a house, you're there. Where's there?

1100
00:56:06,280 --> 00:56:08,680
Speaker 1: So where's there? For the motherfucker who was raising a

1101
00:56:08,760 --> 00:56:11,080
Speaker 1: house thinks he can rhyme, and now he just don't

1102
00:56:11,120 --> 00:56:13,080
Speaker 1: live in a house. He has a house and a

1103
00:56:13,120 --> 00:56:15,359
Speaker 1: rental property. So we don't never know where there is.

1104
00:56:15,640 --> 00:56:19,000
Speaker 1: So I detached myself away from making it to some

1105
00:56:19,120 --> 00:56:23,600
Speaker 1: specific point of success and just know that I'm I'm

1106
00:56:23,640 --> 00:56:25,279
Speaker 1: I'm okay, you know what I'm saying. I'm all right,

1107
00:56:25,320 --> 00:56:27,880
Speaker 1: I'm not asking nobody for ship. I'm just I'm in.

1108
00:56:28,080 --> 00:56:30,239
Speaker 1: I built me a studio, I can That's where I

1109
00:56:30,360 --> 00:56:31,840
Speaker 1: looked at it that I don't like. I don't know

1110
00:56:31,880 --> 00:56:34,759
Speaker 1: if I look at success as making it to a

1111
00:56:34,800 --> 00:56:36,640
Speaker 1: certain point and then you can stand on this big

1112
00:56:36,719 --> 00:56:40,840
Speaker 1: mountain and go, oh, I made it. I've wrapped my

1113
00:56:40,880 --> 00:56:48,960
Speaker 1: way to the top, Like like, I like, people got

1114
00:56:48,960 --> 00:56:51,880
Speaker 1: these Mount Rushmore's and ship and all this top five,

1115
00:56:52,000 --> 00:56:54,160
Speaker 1: this the top. I hate that ship because I don't

1116
00:56:54,200 --> 00:56:56,239
Speaker 1: think it's I don't I think that ship is more

1117
00:56:56,280 --> 00:56:59,319
Speaker 1: detrimental than anything else because you kind of once you

1118
00:56:59,360 --> 00:57:04,319
Speaker 1: put somebody on the pedestal, then they they feel like

1119
00:57:04,360 --> 00:57:06,719
Speaker 1: they need to try to keep up with that ship,

1120
00:57:06,760 --> 00:57:09,279
Speaker 1: and then they forget about. You know, there's guys that

1121
00:57:09,320 --> 00:57:11,040
Speaker 1: I reached out to that I come up within the

1122
00:57:11,080 --> 00:57:13,880
Speaker 1: game that feel like, you know, they oh, man, Fox,

1123
00:57:13,920 --> 00:57:15,520
Speaker 1: I don't know if I want to be the old

1124
00:57:15,520 --> 00:57:18,040
Speaker 1: guy in the room, you are the old motherfucker in

1125
00:57:18,040 --> 00:57:19,640
Speaker 1: the room. But when you talk abou when you're talking

1126
00:57:19,640 --> 00:57:22,120
Speaker 1: about these about Mount Rushmore's, it's not the artist putting

1127
00:57:22,200 --> 00:57:25,320
Speaker 1: or the producers putting themselves on there. It's the fan base, right,

1128
00:57:25,320 --> 00:57:27,760
Speaker 1: So it's like sometimes it's the artist though, well then

1129
00:57:27,800 --> 00:57:30,760
Speaker 1: they got the problem, right, then that's that's their own thing. Right.

1130
00:57:30,800 --> 00:57:33,200
Speaker 1: So if I'm saying here, these are my top four

1131
00:57:33,800 --> 00:57:37,160
Speaker 1: producers in my lifetime that I consider to be the

1132
00:57:37,200 --> 00:57:40,040
Speaker 1: greatest or whatever, that's me and I don't speaking from

1133
00:57:40,040 --> 00:57:43,000
Speaker 1: a fan perspective, and I'm not and I'm not saying

1134
00:57:43,040 --> 00:57:48,120
Speaker 1: that you know producer x y Z has two lived

1135
00:57:48,240 --> 00:57:51,960
Speaker 1: up to that standard because his track record or her

1136
00:57:52,000 --> 00:57:55,760
Speaker 1: track record already speaks for itself, and that's why they

1137
00:57:55,760 --> 00:57:59,120
Speaker 1: are my greatest. But I never I never believed in

1138
00:58:00,000 --> 00:58:04,560
Speaker 1: and kissing your own ass hurt your back so right,

1139
00:58:04,920 --> 00:58:13,480
Speaker 1: So because it's like, yo, it's like let me I never.

1140
00:58:13,640 --> 00:58:15,680
Speaker 1: I never say to myself I'm a great m C.

1141
00:58:15,880 --> 00:58:18,200
Speaker 1: I'm the best, I'm the dopest. I mean, in a lyric,

1142
00:58:18,280 --> 00:58:20,360
Speaker 1: maybe you could say that, but you never hear me.

1143
00:58:20,400 --> 00:58:22,200
Speaker 1: I never do it because I can show you better.

1144
00:58:22,240 --> 00:58:24,280
Speaker 1: I can tell you. Just put me on the song

1145
00:58:24,320 --> 00:58:28,280
Speaker 1: with anybody, and I guarantee you you'll say two things.

1146
00:58:28,320 --> 00:58:30,880
Speaker 1: My greatest accomplishment ever is when people have said, oh

1147
00:58:30,920 --> 00:58:34,480
Speaker 1: my god, Bump killed it. My worst was Bumpy always

1148
00:58:34,560 --> 00:58:40,400
Speaker 1: kills it. I think I don't all that Rushmore ship.

1149
00:58:40,920 --> 00:58:45,760
Speaker 1: That ship has trashed to me, because to do amount Rushmore,

1150
00:58:47,120 --> 00:58:50,800
Speaker 1: it depends on how far somebody knowledge of the actual

1151
00:58:50,880 --> 00:58:54,160
Speaker 1: culture goes back, because if you won't, if you're born

1152
00:58:54,160 --> 00:58:57,680
Speaker 1: in the nineties, then you ain't gonna really know much

1153
00:58:57,720 --> 00:59:01,440
Speaker 1: about the eighties. If you born in the two thousands,

1154
00:59:01,560 --> 00:59:04,680
Speaker 1: you're not gonna know about the nineties. So ya, your

1155
00:59:04,760 --> 00:59:09,080
Speaker 1: mon rushmore is based on one your opinion, but most

1156
00:59:09,080 --> 00:59:11,640
Speaker 1: of all your knowledge. But but that's what it is though,

1157
00:59:11,640 --> 00:59:13,919
Speaker 1: that that's why it comes from the fast. I don't

1158
00:59:14,000 --> 00:59:17,520
Speaker 1: like it. I call it critics with no credentials because

1159
00:59:17,560 --> 00:59:20,440
Speaker 1: you got all these critics talking about who's number one,

1160
00:59:20,480 --> 00:59:23,480
Speaker 1: who's number two, and most of these motherfucker's ain't even

1161
00:59:23,480 --> 00:59:26,800
Speaker 1: in the craft, you know. So when I'm looking at

1162
00:59:26,840 --> 00:59:31,400
Speaker 1: these lists of these people, all these so called journalists

1163
00:59:31,400 --> 00:59:37,480
Speaker 1: making these lists, I think they, yeah, yeah, they do it,

1164
00:59:37,560 --> 00:59:40,200
Speaker 1: and they're gonna see how many rappers gonna jump in,

1165
00:59:40,120 --> 00:59:44,680
Speaker 1: and they don't hit the clickbait but button that isn't

1166
00:59:44,720 --> 00:59:46,640
Speaker 1: that with anything? Like when you think about let's let's

1167
00:59:46,680 --> 00:59:49,600
Speaker 1: use sports for an example, and they, uh, they get

1168
00:59:49,600 --> 00:59:53,760
Speaker 1: the journalists to rate and vote for who should be

1169
00:59:53,920 --> 00:59:55,840
Speaker 1: m v P of the Season or whatever, and then

1170
00:59:56,240 --> 00:59:59,439
Speaker 1: there's the peer version where the all the players say

1171
00:59:59,480 --> 01:00:02,200
Speaker 1: who they're m v P is it? There's a I

1172
01:00:02,240 --> 01:00:04,680
Speaker 1: think it should be, and then there's fans who are like,

1173
01:00:04,800 --> 01:00:07,320
Speaker 1: I think it should be the actual people that's doing

1174
01:00:07,360 --> 01:00:12,160
Speaker 1: it that make this list versus fucking journalists. Because any

1175
01:00:12,320 --> 01:00:15,880
Speaker 1: artist that's great ship, I know. I feel like motherfucking

1176
01:00:16,000 --> 01:00:19,680
Speaker 1: Samuel Jackson and Fresh you know, this nigga is the

1177
01:00:19,800 --> 01:00:22,400
Speaker 1: king of this, and Checkers and this is the king

1178
01:00:22,440 --> 01:00:25,160
Speaker 1: of this and then put that motherfucking clock on. I

1179
01:00:25,240 --> 01:00:27,440
Speaker 1: tell all these niggas up. And that's just how I feel.

1180
01:00:27,560 --> 01:00:30,080
Speaker 1: You're supposed to feel like You're supposed to feel like that.

1181
01:00:30,320 --> 01:00:32,800
Speaker 1: Rappers have always the whole game about rapping is that

1182
01:00:32,880 --> 01:00:36,160
Speaker 1: you're the nicest, right so you're supposed to. But I

1183
01:00:36,280 --> 01:00:38,880
Speaker 1: just don't there's whack dudes that think they're nice. I

1184
01:00:38,960 --> 01:00:43,200
Speaker 1: just think all that journalists the top fifty, rappers the

1185
01:00:43,240 --> 01:00:46,240
Speaker 1: top because to me, I don't ever want to discredit

1186
01:00:46,280 --> 01:00:50,480
Speaker 1: my heroes. My heroes is like Komod and Mellie Mellon,

1187
01:00:50,560 --> 01:00:53,960
Speaker 1: Grandmaster Kaz and and just because you don't know them

1188
01:00:53,960 --> 01:00:58,280
Speaker 1: don't mean they don't exist. You know, without these people

1189
01:00:58,360 --> 01:01:01,360
Speaker 1: that laid the blueprint, there wouldn't you know, people like me,

1190
01:01:02,200 --> 01:01:05,720
Speaker 1: and and without me, there wouldn't be a lot of

1191
01:01:05,760 --> 01:01:09,680
Speaker 1: other rappers, you know. So I just think when they

1192
01:01:09,720 --> 01:01:12,600
Speaker 1: make these lists and they're looking over all these grades

1193
01:01:12,640 --> 01:01:16,360
Speaker 1: just because they're not the sign of the times right now,

1194
01:01:17,320 --> 01:01:20,600
Speaker 1: you know, come on, slick rick l L. It's just

1195
01:01:20,640 --> 01:01:24,200
Speaker 1: like when you're telling me the name top five. It's

1196
01:01:24,240 --> 01:01:27,280
Speaker 1: just that I know it's gonna be disrespectful to a

1197
01:01:27,280 --> 01:01:29,320
Speaker 1: lot of other my ros. I think that has to

1198
01:01:29,360 --> 01:01:31,240
Speaker 1: do more with what people don't know than what they

1199
01:01:31,280 --> 01:01:33,560
Speaker 1: do know. A lot of times, like you said, casts

1200
01:01:33,560 --> 01:01:37,240
Speaker 1: don't really know or either they listen. Everybody's entitled to

1201
01:01:37,280 --> 01:01:40,000
Speaker 1: their favorite. And then what is it based on? Is

1202
01:01:40,040 --> 01:01:43,760
Speaker 1: it based on lyricism, is it based on some quotable ship,

1203
01:01:44,600 --> 01:01:50,240
Speaker 1: or is it based on you know, success. Now, it

1204
01:01:50,240 --> 01:01:53,120
Speaker 1: shouldn't be a combo everything, because we're talking about a craft,

1205
01:01:53,880 --> 01:01:57,240
Speaker 1: we're not talking about an image. And people confused the

1206
01:01:57,280 --> 01:02:00,840
Speaker 1: two they put them together. That emmy ship don't have

1207
01:02:00,960 --> 01:02:03,640
Speaker 1: nothing to do with it. The image should to get

1208
01:02:03,640 --> 01:02:07,000
Speaker 1: half these niggas destroyed because they'll come in, they pull

1209
01:02:07,080 --> 01:02:09,560
Speaker 1: up in their ship, or they have the biggest chains

1210
01:02:09,600 --> 01:02:13,040
Speaker 1: on whatever it is. You're gonna run into a nigger

1211
01:02:13,520 --> 01:02:17,360
Speaker 1: just fresh out the fucking tenement. That's going just matter

1212
01:02:17,400 --> 01:02:20,640
Speaker 1: on one of these dudes. Yeah, And I mean that's

1213
01:02:20,680 --> 01:02:22,840
Speaker 1: that's like basketball in the park, you know what I'm saying.

1214
01:02:22,840 --> 01:02:24,520
Speaker 1: There's always that one dude in the park that just

1215
01:02:24,880 --> 01:02:27,640
Speaker 1: embarrasses the ship out of all even if with the

1216
01:02:27,680 --> 01:02:30,720
Speaker 1: park ship. I had this just analogy with the park ship,

1217
01:02:31,560 --> 01:02:36,440
Speaker 1: like rap as a as a craft and you have

1218
01:02:36,560 --> 01:02:38,720
Speaker 1: to be nice at the craft in order to get

1219
01:02:38,760 --> 01:02:41,400
Speaker 1: on the court. Now, if you was a young kid

1220
01:02:42,120 --> 01:02:45,040
Speaker 1: and you had a basketball, you know, if that basketball

1221
01:02:45,120 --> 01:02:47,080
Speaker 1: rolled on the court too many times, things are gonna

1222
01:02:47,080 --> 01:02:49,400
Speaker 1: throw that ship out in the streets. Something shot out

1223
01:02:49,400 --> 01:02:52,919
Speaker 1: of here. Same thing. You want to get on the court, yo, man,

1224
01:02:52,960 --> 01:02:55,600
Speaker 1: I want to play this out turn Now, you couldn't

1225
01:02:55,600 --> 01:02:57,720
Speaker 1: just get on the court unless she was put on

1226
01:02:57,760 --> 01:03:01,520
Speaker 1: the team or you was good enough to play. Once again,

1227
01:03:02,320 --> 01:03:04,880
Speaker 1: throw the ball over the over the fence till you

1228
01:03:04,880 --> 01:03:06,840
Speaker 1: get the funk out of here. Shorty, you're gonna go

1229
01:03:06,880 --> 01:03:09,280
Speaker 1: get your uncle. Your uncle gonna come down. You know

1230
01:03:09,360 --> 01:03:11,880
Speaker 1: what happened. You know, we are having a game. He

1231
01:03:12,000 --> 01:03:14,440
Speaker 1: want to play, he ain't ready to play. And then

1232
01:03:14,440 --> 01:03:16,560
Speaker 1: you're gonna go come on, a little junior, let me

1233
01:03:16,560 --> 01:03:18,920
Speaker 1: get your ice cream. You know, let's go get your

1234
01:03:18,960 --> 01:03:21,000
Speaker 1: cart and we're gonna go take you to an empty court.

1235
01:03:21,480 --> 01:03:25,080
Speaker 1: Like it's different now with wrap they're allowing these non

1236
01:03:25,160 --> 01:03:29,400
Speaker 1: talented people to play. The game is everybody gets a

1237
01:03:29,440 --> 01:03:34,200
Speaker 1: trophy at the championship. You know, talk about this in

1238
01:03:34,200 --> 01:03:36,640
Speaker 1: my new act. Right now that we're living and everybody

1239
01:03:36,680 --> 01:03:40,000
Speaker 1: gets a gold medal, I'm like, we're not. You can

1240
01:03:40,000 --> 01:03:42,080
Speaker 1: say we're all creative, but we're not fucking all created.

1241
01:03:43,000 --> 01:03:45,320
Speaker 1: I think I think a lot of these young cats

1242
01:03:45,360 --> 01:03:47,440
Speaker 1: just really want somebody to believe in it. But what

1243
01:03:47,480 --> 01:03:50,840
Speaker 1: they're not understanding is believing in you is one thing.

1244
01:03:51,520 --> 01:03:54,400
Speaker 1: You giving me something to believe in. It's different. You

1245
01:03:54,480 --> 01:03:56,600
Speaker 1: have to you have to say to me, you listen, man,

1246
01:03:56,800 --> 01:03:59,040
Speaker 1: this is what I do. I'm a producer. If you

1247
01:03:59,360 --> 01:04:03,440
Speaker 1: one guys don't, they'll send me fifty seven beats in

1248
01:04:03,520 --> 01:04:06,600
Speaker 1: separate emails. I'm like, nigga, you never heard of we

1249
01:04:06,760 --> 01:04:11,400
Speaker 1: transfer or something different, Like I just need this. If

1250
01:04:11,440 --> 01:04:14,760
Speaker 1: I can't hear something you're doing in three tracks, then

1251
01:04:15,320 --> 01:04:17,240
Speaker 1: I think I kind of we could break it down,

1252
01:04:17,360 --> 01:04:20,640
Speaker 1: kind of got it. After that, let's say, and I

1253
01:04:20,680 --> 01:04:23,200
Speaker 1: hate saying in our error because once we say that,

1254
01:04:23,200 --> 01:04:26,120
Speaker 1: that's all you're old. Once you say you're in our error.

1255
01:04:26,680 --> 01:04:30,280
Speaker 1: But coming up when we were trying to get a deal,

1256
01:04:31,080 --> 01:04:32,680
Speaker 1: you had to do your mix, you had to do

1257
01:04:32,760 --> 01:04:35,600
Speaker 1: your your your you had to do your best three

1258
01:04:35,640 --> 01:04:38,640
Speaker 1: to five songs on the cassette tape. Remember that you

1259
01:04:38,760 --> 01:04:43,120
Speaker 1: shot that shift around and and those those songs took

1260
01:04:43,200 --> 01:04:45,320
Speaker 1: like could have been a couple of months, could have

1261
01:04:45,320 --> 01:04:48,320
Speaker 1: been a year until you felt you had the perfect

1262
01:04:48,320 --> 01:04:53,720
Speaker 1: something that was gonna get you this deal. Now got

1263
01:04:53,720 --> 01:04:56,760
Speaker 1: a mix tape. Mix tape is twelve to a sixteen songs,

1264
01:04:57,560 --> 01:05:01,600
Speaker 1: twelve to sixteen songs, twelve of the sixteen opportunities to

1265
01:05:01,640 --> 01:05:06,440
Speaker 1: show the world you the absolutely nicest twelve the sixteen

1266
01:05:06,560 --> 01:05:12,280
Speaker 1: songs on this one mixtape. You can't expect me to

1267
01:05:12,360 --> 01:05:14,400
Speaker 1: respect you if you tell me you on your fourth

1268
01:05:14,440 --> 01:05:19,320
Speaker 1: mixtape the funk out of here? Does that means you're

1269
01:05:19,320 --> 01:05:22,280
Speaker 1: telling me you forty eight the sixty four songs and

1270
01:05:22,680 --> 01:05:26,520
Speaker 1: with no fucking buzz, You can't be serious. It is

1271
01:05:26,560 --> 01:05:30,080
Speaker 1: easier to get a buzz now than it was when

1272
01:05:30,120 --> 01:05:34,000
Speaker 1: the mixtapes changed from a mixtape to a album, because

1273
01:05:34,080 --> 01:05:37,600
Speaker 1: mixtapes were just DJ mixtapes back and then started selling

1274
01:05:37,640 --> 01:05:40,680
Speaker 1: them when DJ stopped letting the part the two second

1275
01:05:40,720 --> 01:05:46,200
Speaker 1: pars between records. Play it no but album a mix tape.

1276
01:05:46,200 --> 01:05:48,280
Speaker 1: It was a mixtape, and then these cats would make

1277
01:05:48,280 --> 01:05:50,760
Speaker 1: an album called a mixtape. But this is nothing mixed

1278
01:05:50,760 --> 01:05:53,840
Speaker 1: about this more than making money off of it. It was.

1279
01:05:54,080 --> 01:05:57,040
Speaker 1: It wasn't necessarily about the did become a word, but

1280
01:05:57,160 --> 01:06:00,280
Speaker 1: the production it became. It became something that was, Yo,

1281
01:06:00,320 --> 01:06:02,720
Speaker 1: I'm making money off this. And again I don't know

1282
01:06:02,760 --> 01:06:04,400
Speaker 1: all the legalities, but I think a lot of it

1283
01:06:04,440 --> 01:06:08,120
Speaker 1: had to do with they weren't clearing samples, and they

1284
01:06:08,120 --> 01:06:10,920
Speaker 1: weren't they weren't paying the producers or whatever. So they

1285
01:06:10,960 --> 01:06:15,160
Speaker 1: just put the ship out for free, and they put

1286
01:06:15,200 --> 01:06:18,200
Speaker 1: out for free. Their motherfucker's changed. That ship was going

1287
01:06:18,200 --> 01:06:20,360
Speaker 1: out for free with other people's music on it. But

1288
01:06:20,400 --> 01:06:23,680
Speaker 1: when they started making money off of it, yeah, I

1289
01:06:23,760 --> 01:06:26,439
Speaker 1: mean money off this. It's a trick to the whole thing.

1290
01:06:27,400 --> 01:06:30,520
Speaker 1: They'll put it out free on one platform and sell

1291
01:06:30,560 --> 01:06:35,400
Speaker 1: it on about five other different platforms, whether the iTunes,

1292
01:06:35,480 --> 01:06:40,919
Speaker 1: whether it be physical product, but they'll put the illusion that, yeah,

1293
01:06:40,960 --> 01:06:44,600
Speaker 1: I gave it away for free on one platform. You're

1294
01:06:44,600 --> 01:06:49,520
Speaker 1: not continuing the center, but you're selling it. It's published

1295
01:06:49,520 --> 01:06:52,880
Speaker 1: in iTunes. I mean on ascat b M, I you

1296
01:06:53,000 --> 01:06:57,640
Speaker 1: performing a song, you're making money, but in order to

1297
01:06:57,960 --> 01:07:03,720
Speaker 1: escape the the criticism, you're gonna say you gave it

1298
01:07:03,760 --> 01:07:07,120
Speaker 1: away for free, and nobody does research gave it away

1299
01:07:07,160 --> 01:07:10,280
Speaker 1: for free on one platform, but you sold it at

1300
01:07:10,320 --> 01:07:14,400
Speaker 1: your shows, it is registered and bm I or ASCA.

1301
01:07:15,160 --> 01:07:18,280
Speaker 1: You're making money like a motherfucker. But you're given the

1302
01:07:18,360 --> 01:07:22,560
Speaker 1: world like, what what's wrong? He what's wrong? If you

1303
01:07:22,680 --> 01:07:24,520
Speaker 1: gave it away for free? No, you didn't give it

1304
01:07:24,520 --> 01:07:29,280
Speaker 1: away for free. And it's a trick to that, you know,

1305
01:07:29,360 --> 01:07:32,440
Speaker 1: whether clearing samples are taking songs that you don't own

1306
01:07:32,480 --> 01:07:35,600
Speaker 1: and you're doing songs. If I come in your supermarket

1307
01:07:36,200 --> 01:07:40,000
Speaker 1: and I steal some steak and I give it away

1308
01:07:40,160 --> 01:07:43,479
Speaker 1: for free in front of your supermarket, are you cool

1309
01:07:43,520 --> 01:07:47,640
Speaker 1: with that or is it still stolen? See that's what

1310
01:07:47,760 --> 01:07:54,400
Speaker 1: people don't get. And I'm talking from a state of experience,

1311
01:07:55,800 --> 01:07:58,640
Speaker 1: you know. But I think a lot of cats don't understand.

1312
01:07:58,680 --> 01:08:01,320
Speaker 1: They want to make money so oh bad and in

1313
01:08:01,480 --> 01:08:05,160
Speaker 1: so many aspects. Everybody got a way to make money,

1314
01:08:05,240 --> 01:08:09,320
Speaker 1: but you never included in the cut your next You

1315
01:08:09,440 --> 01:08:12,040
Speaker 1: still do beats? Yeah, I still do beats. You'll throw

1316
01:08:12,040 --> 01:08:15,800
Speaker 1: me some of them beats, Nigga, I'm not giving you

1317
01:08:15,840 --> 01:08:22,000
Speaker 1: no ship or it's no risk factor to it. So

1318
01:08:22,520 --> 01:08:25,200
Speaker 1: if you give me some beats after I put my

1319
01:08:25,280 --> 01:08:28,280
Speaker 1: project out, if it do well, I'll give you money

1320
01:08:28,280 --> 01:08:31,559
Speaker 1: on the back end. No, motherfucker. I'm working now and

1321
01:08:31,600 --> 01:08:35,200
Speaker 1: I want to get paid now. You figure out that

1322
01:08:35,280 --> 01:08:38,920
Speaker 1: backing ship. And that's what I think a big problem

1323
01:08:39,080 --> 01:08:43,439
Speaker 1: is is that people don't understand the value of doing

1324
01:08:43,479 --> 01:08:46,320
Speaker 1: good music because it's no risk takers. It's not you

1325
01:08:46,479 --> 01:08:50,240
Speaker 1: paying for studio time no more. You're not paying for producers.

1326
01:08:50,600 --> 01:08:52,719
Speaker 1: So if you put out a project that ship don't sell,

1327
01:08:52,760 --> 01:08:55,200
Speaker 1: you know what, guess what, I'll do another one, and

1328
01:08:55,280 --> 01:08:57,559
Speaker 1: I'll do another one, and yeah, you're on your fourth

1329
01:08:57,560 --> 01:09:02,479
Speaker 1: fixed fifth mix hate with no buzz. We's still thinking like, yo,

1330
01:09:02,560 --> 01:09:06,920
Speaker 1: niggas need to check me out. They're not alcoholic beer. Yeah,

1331
01:09:07,200 --> 01:09:12,759
Speaker 1: they fill you up, but there's no buzz exactly. Hey,

1332
01:09:12,760 --> 01:09:15,920
Speaker 1: thanks for listening. I hope you enjoyed this conversation. If

1333
01:09:15,960 --> 01:09:18,160
Speaker 1: you like the podcast, please be sure to rate and

1334
01:09:18,200 --> 01:09:20,639
Speaker 1: review it on Apple Podcasts so more people can find

1335
01:09:20,680 --> 01:09:22,200
Speaker 1: out about it. And if you didn't like it, go

1336
01:09:22,280 --> 01:09:25,559
Speaker 1: fuck yourself and follow us on Instagram a Culturally Canceled

1337
01:09:25,560 --> 01:09:28,439
Speaker 1: and at culturally RP on Twitter. We're also on YouTube.

1338
01:09:28,439 --> 01:09:29,920
Speaker 1: If you want to see what the backyard kind of

1339
01:09:29,960 --> 01:09:31,640
Speaker 1: looks like. You don't really see the backyard looks like.

1340
01:09:31,840 --> 01:09:34,040
Speaker 1: You just see where my smoking section looks like and

1341
01:09:34,080 --> 01:09:35,720
Speaker 1: you can probably sneak a peek in the house. You're

1342
01:09:35,720 --> 01:09:38,720
Speaker 1: a weirdo. Also, we have a phone line now, so

1343
01:09:38,800 --> 01:09:40,840
Speaker 1: call and leave a message. You can ask me about

1344
01:09:41,040 --> 01:09:43,320
Speaker 1: whatever you want to ask you about hip hop, parenting, food, boxing,

1345
01:09:43,439 --> 01:09:46,240
Speaker 1: mm A, relationships, comedy, sex, so I don't give a shit.

1346
01:09:46,280 --> 01:09:48,679
Speaker 1: Ask me whatever you want and I'll do my best

1347
01:09:48,680 --> 01:09:51,519
Speaker 1: to answer your question. If you want to leave a message,

1348
01:09:51,560 --> 01:09:55,160
Speaker 1: the phone number is four to four six six six.

1349
01:09:56,880 --> 01:10:00,960
Speaker 1: That's four to four six six six, not three. Until

1350
01:10:01,040 --> 01:10:12,240
Speaker 1: next week. I'm murder resident Petz m um hm