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Speaker 1: And this is Drinks Chants, motherfucking podcast.

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Speaker 2: Man, he's a legends every queens rapper.

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Speaker 1: He ain't agreed as your boy in.

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Speaker 2: O R E.

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Speaker 3: He's a Miami hip hop pioneer.

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Speaker 2: What up?

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Speaker 3: It's d J E f N.

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Speaker 4: Together they drink it up with some of the biggest players,

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Speaker 4: you know what I mean.

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Speaker 2: And the most professional, unprofessional podcast and your number one

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Speaker 2: source for drunks.

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Speaker 3: Drink Chants, mother post every day is New Year's cust.

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Speaker 3: It's time for drink Champs. Drink up, motherfuck mother?

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Speaker 1: Would it good? Be? Its your boy in O R E?

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Speaker 2: What up?

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Speaker 1: His DJ E f N and this drink Champs. When

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Speaker 1: me and e f N started this show, we said

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Speaker 1: we want to always give this platform to icons, and

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Speaker 1: we talk about to legends and were talking about right

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Speaker 1: now we have an icon in the building. This man.

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Speaker 1: I just heard mister Lee say, you know he had

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Speaker 1: a flat top. Not only I had a flat top

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Speaker 1: because of this man. My eyes is bushy to this

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Speaker 1: day because of this man. I cat scratches. They was

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Speaker 1: calling it, and they was like, it's can scratches, motherfuckers.

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Speaker 1: This man has been influential, Like I'm listening to his music,

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Speaker 1: and I can smell the jellous driving by my hood.

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Speaker 1: You know what I mean.

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Speaker 3: The Volk wagons.

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Speaker 1: The Volk wagons was be big back then, with the

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Speaker 1: with the vanilla. You know, the trees, the trees sense

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Speaker 1: you know what I'm talking about in the car, Like,

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Speaker 1: oh my god, this man is so influential. He got

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Speaker 1: a documentary. Everyone is participating in the documentary. Everyone is

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Speaker 1: there giving him his flowers. And we had him on before,

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Speaker 1: but we are giving him We got our ship together,

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Speaker 1: so we are giving him the real flowers and we're

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Speaker 1: going talk about him. Pop fifty. We go about everything.

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Speaker 1: In case you don't know what we told about. We

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Speaker 1: told about the one that owner I called it impeccable, motherfucker.

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Speaker 1: So kay yo, let's let's start it with the hip

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Speaker 1: hop fifty. Yeah, some people are so happy about the

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Speaker 1: Hip Hop fifty. Some people are bitter, some.

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Speaker 3: People are amongst the community.

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Speaker 1: What do you think discrepancies came from, in particular the

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Speaker 1: Yankee Stadium.

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Speaker 3: Nah, we've been hearing different. Well, there's there's.

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Speaker 5: People saying that the timeline is off, it's not exactly fifty,

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Speaker 5: that that could be disputed. And then there's people saying

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Speaker 5: that they feel the hip hop fifty is being like

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Speaker 5: a corporate takeover, where it's being over monetized and appropriated

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Speaker 5: is the word that was used with specialized specific people

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Speaker 5: saying that.

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Speaker 2: I mean, you know, if it's giving flowers and paying

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Speaker 2: homage and putting money into artists pockets, right, I don't

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Speaker 2: see that.

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Speaker 6: Being a major problem, absolutely, you know.

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Speaker 2: But as far as the timeline thing, I think that

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Speaker 2: the issue comes from other people that.

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Speaker 6: Like basically did something for hip hop.

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Speaker 2: You know, there there are other people that did things

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Speaker 2: in hip hop before, say what Hollywood. They are the

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Speaker 2: people that you know, did things before HERK, like you know,

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Speaker 2: DJ Hollywood, Eddie Cheaber. You know, these guys was rapping

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Speaker 2: before seventy three. You know, you had DJ's like Grand

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Speaker 2: Master Flowers, Pete, DJ Jones, DJ Plumber, Disco King Mario

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Speaker 2: that was djaying before Cool HERK.

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Speaker 6: You know what I'm saying.

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Speaker 2: But in nineteen seventy three.

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Speaker 6: HERK took all these elements.

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Speaker 2: MCing is only one element, DJing is only one elementineteen

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Speaker 2: seventy three, Kirk took all these elements am seeing DJ

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Speaker 2: and be boys because he had the Nigga Twins dancing

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Speaker 2: Doug in them.

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Speaker 1: You know you heard about the Nigga Twins the other day. Yeah, yeah,

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Speaker 1: I was trying to Peter Rosberg. Can you pronounce their name?

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Speaker 1: Peter Boseburg?

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Speaker 2: He's like no, well, but yeah, you know, HERK took

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Speaker 2: all of these elements and combined them into one. And

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Speaker 2: that's what hip hop is. Hip Hop is not just

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Speaker 2: him seeing. Hip hop is not just DJing. Hip Hop

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Speaker 2: is all these elements. And Herk is the one that combined.

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Speaker 2: He is the one. He's Thanos. He got all the

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Speaker 2: infinity stones, you understand me. So yeah, I give her

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Speaker 2: credit for inventing hip hop in nineteen seventy three.

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Speaker 3: And that's it. Cedric huh what is it? Yeah? And

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Speaker 3: his sister has something to do with it too, right.

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Speaker 6: I believe she's the one to throw the party.

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Speaker 2: Yeah right. But I mean as far as combining the elements,

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Speaker 2: you know, to create what we call hip hop, I

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Speaker 2: credit her for that.

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Speaker 3: You know, that was the culmination of it, and that

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Speaker 3: sparks from there.

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Speaker 2: Yeah. I mean, you know, these people that can debate me,

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Speaker 2: and I can respect that because I was only five

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Speaker 2: years old and set, you know, But I mean basing

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Speaker 2: it on what was done because you know, like Hollywood

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Speaker 2: and Eddieg, but they parties was for adults. You couldn't

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Speaker 2: break dance in their parties and they couldn't pass the

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Speaker 2: mic because they're paid DJs.

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Speaker 6: It's not their party.

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Speaker 2: They're getting paid like fifteen hundred two stacks to dj,

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Speaker 2: So that's what.

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Speaker 6: They're doing a job, you know what I'm saying.

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Speaker 2: Her created an atmosphere what other MC's can get on

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Speaker 2: the mic.

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Speaker 6: B boys could break dance.

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Speaker 2: Without getting kicked out the club for kicking people.

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Speaker 6: In their sin and shit like that. You know what

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Speaker 6: I'm saying.

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Speaker 1: To be sorry, I cut you a but I was

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Speaker 1: having a conversation and certain people were saying that DJ

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Speaker 1: Hollywood wasn't considered hip hop. I don't understand that. What

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Speaker 1: do they mean because he was considered a disco DJ.

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Speaker 6: Yeah, they were saying that.

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Speaker 2: But I mean, at the same time, you got to

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Speaker 2: understand the word hip hop was invented like when like

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Speaker 2: seventy seven. Yeah, you know, so, I mean, it wasn't

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Speaker 2: even called hip hop in seventy three. I mean, you know,

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Speaker 2: I mean, I think that's just a way to just

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Speaker 2: you know, really hate on Wood, to hate on Hollywood,

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Speaker 2: you know, but I mean still in all though, it's

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Speaker 2: like he was the first MC, FIRSTC. So I mean

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Speaker 2: when I say MC, I'm not talking about you know

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Speaker 2: what last Poets, Gil Scott Heron did that. I call

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Speaker 2: that spoken word. Okay, do you agree with me?

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Speaker 6: Do you agreement?

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Speaker 2: Agreement? When I say Gil Scott Hearing, last poets, Well,

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Speaker 2: they did the spoken words.

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Speaker 7: Okay, I'm just always boiling upon each other this spoken word.

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Speaker 2: Good workman on a second, pick me Martham did here

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Speaker 2: comes the judge. Now that would that's what I would

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Speaker 2: consider rapping, right, But that's in the studio over a band.

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Speaker 2: You see what I'm saying. What Hollywood was doing was

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Speaker 2: rhyming over a breakbeat, you know what I'm saying.

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Speaker 6: And that's what we do in hip hop.

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Speaker 3: Right, and that's considered MC.

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Speaker 2: Yeah okay, well, I mean you know, but also like

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Speaker 2: what what cochlar Rock was doing, like you know that

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Speaker 2: that's just doing the announcing stuff, you know, such.

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Speaker 3: Such and such building Yeah yeah, okay, okay, that's.

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Speaker 6: Them seeing as well. Okay, but I'm talking about rhyming.

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Speaker 2: I'm talking about right now with Hollywood.

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Speaker 1: I'm talking I don't want to go saying with my honey.

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Speaker 2: Bun when merse around was actually a rhyme that that

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Speaker 2: he bit from Isaac Hayes song good Love, Oh Yeah,

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Speaker 2: and from the Black Moses album in nineteen seventy one.

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Speaker 2: Out of this, Bonafide was solidifoie, it's not forgot. I

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Speaker 2: know that the punchline was on Its not how good

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Speaker 2: I do it baby? Is how I do it good? Yeah,

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Speaker 2: bona Fide qualified knock on wood, it's not how good

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Speaker 2: I do with baby? Gus that why do with good? Yeah?

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Speaker 6: That's from Isaac Hayes song.

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Speaker 2: That's the first thing that he said over the mic

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Speaker 2: in nineteen seventy one.

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Speaker 1: Was that really one of your highlights of seeing Snoop

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Speaker 1: bring out Hollywood?

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Speaker 2: Yeah? Okay, I was, honestly because it's like, I feel

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Speaker 2: like Hollywood never gets the credit that he deserves. You know.

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Speaker 2: And as we celebrate fifty years of hip hop, we

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Speaker 2: got to acknowledge Cool Herk, we got to acknowledge Cokele Rock,

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Speaker 2: We got to acknowledge DJ Hollywood, Eddie Sheeba, we got

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Speaker 2: to acknowledge the disco twins from Queens. You know, we

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Speaker 2: really need to. We got to acknowledge, Shah Rock, Funky Four,

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Speaker 2: the Cold Crush Brothers, and most definitely Melly Mel, grand

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Speaker 2: Master Flash in the Furious five. I think Melli Yeah,

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Speaker 2: I think.

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Speaker 5: We all have to understand that there's probably a lot

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Speaker 5: of people that we don't even know about him that

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Speaker 5: were a big part of the creation of hip hop.

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Speaker 2: Well, it's like I always refer to when I talk

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Speaker 2: about Hollywood and Melly Mel. I call Hollywood Ray Charles,

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Speaker 2: and I called Melle Mel Sam Cook, you know, because

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Speaker 2: I think that what Hollywood created.

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Speaker 6: Mel perfected Wow.

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Speaker 2: From nineteen seventy seven all the way up till around

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Speaker 2: like twenty thirteen when the drill music and stuff to

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Speaker 2: come in. I think anybody that MC was following Mellie

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Speaker 2: Mel blueprint Wow. He was the first lyricist, and he's

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Speaker 2: the one responsible for making the MC important.

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Speaker 6: Thank you, because.

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Speaker 2: You know, when when when hip hop began with hert

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Speaker 2: it was about the DJ. You know, it was about her,

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Speaker 2: not the Herculeoids. It was about Flash, not the three

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Speaker 2: m c's. You know, it was always about the DJ

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Speaker 2: that was the most important person. Until Melly Mel started

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Speaker 2: spitting real lyrics and made people say, YEA, what the

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Speaker 2: hell did he just say hold on, yo?

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Speaker 6: He just And that's when the MC became important.

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Speaker 2: He's the one that built the platform that's created for

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Speaker 2: us because.

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Speaker 1: If you look at Eric, Eric b name comes first.

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Speaker 2: Yes, that was the thing, like that DJ Jasey, Jeffery

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Speaker 2: Fresh Prince.

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Speaker 3: Let's make some noise for that.

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Speaker 1: So the verses, how did you like doing the verses

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Speaker 1: as a person who's you know, you've actually survived it.

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Speaker 6: I love doing it? Like that was my dream come true?

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Speaker 1: Really?

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Speaker 6: Yeah, man, I mean you know, like back when.

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Speaker 2: Uh, when KRS came out with the bridges over, Yeah,

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Speaker 2: the way he timed it, the way he timed it

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Speaker 2: with down by Law. I'm like, this is a battle

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Speaker 2: of limc. He's a battle of lim ce that that

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Speaker 2: knows the art of combat. I would love to go

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Speaker 2: up against him. But that was my dude though, you

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Speaker 2: know what I'm saying. I mean, Carr is one, that's

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Speaker 2: that's him. Him and Miss Melody helped me move out

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Speaker 2: of my parents' crip, you know, like Chris is Chris.

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Speaker 2: Chris was my dude always, you know, yeah, but.

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Speaker 1: I always would think I always immediately when I heard

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Speaker 1: that you were battling Chris. I immediately thought, what happened

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Speaker 1: with Kine and rock Him? I mean, obviously you and

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Speaker 1: Chris lived up to expectations, did everything, but everyone was

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Speaker 1: kind of leaning towards the Kine and rock Him. Has

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Speaker 1: that beening you like? Your whole like legacy, your whole

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Speaker 1: career is.

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Speaker 2: Like I mean, people always wanted us to batter right

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Speaker 2: about it. I mean that's how this whole thing came

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Speaker 2: information Swiss called and said I need you and write

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Speaker 2: it to a versus Wow. And I said, well, look,

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Speaker 2: talk to the other guy if you can make it happen.

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Speaker 2: I'm in called him the other guy if you know,

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Speaker 2: I don't I don't mean that disrespectful way. I don't

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Speaker 2: mean any disrespectful way. Just like I said, talk to

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Speaker 2: the other guy and see if you can make it happen.

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Speaker 2: But if you can't, you want, Chris, would you entertain

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Speaker 2: me and KRS?

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Speaker 3: So this was your idea?

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Speaker 6: And he said, yeah, WHOA.

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Speaker 2: So he went through it and tried to make it

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Speaker 2: happen and you know, couldn't.

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Speaker 6: Lock it down.

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Speaker 2: And then he, you know, he was like, yeah, I

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Speaker 2: don't think I'm okay.

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Speaker 6: So then what about me and KRS?

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Speaker 1: Wow?

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Speaker 2: And then Swiss says, what about you in LL And

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Speaker 2: I said, you know, versus is really song for song,

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Speaker 2: not you know, battling rhymes.

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Speaker 6: This song for songs. So Ela mop the goddamn floor

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Speaker 6: with me.

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Speaker 2: Like his catalog is too big, you know, but for

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Speaker 2: the sake of hip hop crazy? Yeah, I was like, well,

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Speaker 2: for the sake of hip hop?

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Speaker 6: Fuck? Did I do it? But I mean he's gonna

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Speaker 6: mop the floor with me?

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Speaker 2: This dude. You know, his longevity is crazy. You know

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Speaker 2: his his albums.

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Speaker 6: You know. I'm like, but I do it.

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Speaker 2: And Swiss says, okay, but do you think the people

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Speaker 2: want to see you in l or you and rock Kim?

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Speaker 2: I said, me and rock Kim without a doubt. He's like,

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Speaker 2: and That's what I'm talking about, Kane. So I'm like,

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Speaker 2: all right. So we left it alone and then we

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Speaker 2: entertained it with Trella because this was before they emerged. Yes, right,

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Speaker 2: and Charlie Mack was trying to put that together and

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Speaker 2: Charlie Yeah, shout out to Matt.

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Speaker 6: He couldn't make it happen.

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Speaker 3: Well you and Rob?

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Speaker 2: Yeah, with me and Rob, he tried to make it happen.

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Speaker 2: He couldn't make it happen either. And then here's the

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Speaker 2: funniest thing. They called me and said that this lockdown,

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Speaker 2: me and Rob gonna do it. It was supposed to

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Speaker 2: have been the night that Barrington Levy and super Cat

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Speaker 2: did it.

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Speaker 6: Okay, that's in that we were supposed to do it.

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Speaker 2: They called me and said it's lockdown, right, and I

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Speaker 2: said okay. They said, but Roz using Jesse Jeff, so

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Speaker 2: we want you to use Kick Capri. Okay, So I

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Speaker 2: called Kick Capri and said, yo, they want you to

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Speaker 2: do this versus thing. Caprice said, I don't want to,

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Speaker 2: you know you my man, Rob, my man. I'd rather

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Speaker 2: stay neutral. So I was like, I can respect that.

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Speaker 2: I called Charlie mac Back. I was like, yeah, Kick

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Speaker 2: Caprice said he'll do it. He's in. I mean, I

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Speaker 2: knew this ship wasn't gonna happen. You know what happened.

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Speaker 2: So I'm like, yeah, yeah, he's in. And then they

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Speaker 2: caught me the next day and said, year, now we

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Speaker 2: can't make the thing with him happened. You're still down

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Speaker 2: to do it with KRS. I was like yeah, yeah, absolutely.

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Speaker 2: It was like okay, then need to be you and

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Speaker 2: krest on that day and I was like, well, I

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Speaker 2: can't do it, you know, this weekend coming up, because

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Speaker 2: I'm laying in.

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Speaker 6: Bed with COVID right now. Wow yeah, I'm like.

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Speaker 2: So they switched it to the following weekend and they

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Speaker 2: got Baron to Levy to do it that week because

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Speaker 2: I was I was, I was sick. Wow. Yeah.

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Speaker 1: If Biz would have been alive for that versus which song,

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Speaker 1: you would have broke him out as a surprise.

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Speaker 6: Guest, Oh, just run with Biz, Just run with Biz?

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Speaker 2: Okay, yeah, but I mean I would I know that

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Speaker 2: he would have wanted to at least do the hook

295
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Speaker 2: or just a friend, you know.

296
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Speaker 6: But I was taking no crowd singer.

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Speaker 1: You wrote justin friends?

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Speaker 6: No no, no, no, no no no.

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Speaker 3: Did you get to watch the dog? I did not

300
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Speaker 3: get He's in a right did you? Did you see, because.

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00:15:10,520 --> 00:15:13,480
Speaker 1: Like business, Mark was one of these people that I

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00:15:13,640 --> 00:15:16,520
Speaker 1: all the think would be around hip hop forever. Did

303
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Speaker 1: you see like the demise of the breakdown of Biz

304
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Speaker 1: or no?

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Speaker 6: No, yeah, I didn't see what point. It's like.

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00:15:25,720 --> 00:15:30,400
Speaker 2: Biz had lost a lot of weight from a diet

307
00:15:30,920 --> 00:15:33,960
Speaker 2: and he was looking good, right, feeling good, looking, energetic,

308
00:15:34,200 --> 00:15:40,360
Speaker 2: you know. But but from my understanding, because of him

309
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Speaker 2: being so in shape he wasn't taking his diabetes medicine,

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Speaker 2: you know.

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Speaker 1: Yeah, yeah, man, God bless man, this diabetes thing is

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Speaker 1: running rapping in our neighborhood.

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Speaker 2: Man. Yeah, man, I'm.

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00:15:51,720 --> 00:15:54,560
Speaker 1: Drinking motherfucker ghost race. Kill a coffee? What is this called?

315
00:15:54,960 --> 00:15:55,520
Speaker 6: Kill coffee?

316
00:15:55,560 --> 00:15:58,560
Speaker 1: Killer coffie? Was drinking coast face? Is it a starbus? Couples?

317
00:15:58,840 --> 00:16:01,040
Speaker 1: Had no cups in my grip? So I just did that, you.

318
00:16:01,000 --> 00:16:01,360
Speaker 2: Know what I mean?

319
00:16:01,440 --> 00:16:02,720
Speaker 3: Kill a gup goddamn coffee?

320
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Speaker 5: What was the track? I watched the document of the

321
00:16:05,480 --> 00:16:07,160
Speaker 5: BIZ one? What was the track that he asked you

322
00:16:07,200 --> 00:16:08,880
Speaker 5: to write and you said no f first and then

323
00:16:08,920 --> 00:16:10,120
Speaker 5: after that you learned your lesson?

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00:16:10,960 --> 00:16:12,880
Speaker 6: Just a frind It was just a friend, Yeah yeah,

325
00:16:12,920 --> 00:16:13,600
Speaker 6: just a wrint.

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00:16:15,280 --> 00:16:16,600
Speaker 2: I tell you one.

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Speaker 1: Okay, okay, So how does this happen this this session?

328
00:16:22,120 --> 00:16:25,160
Speaker 6: No, Marty Moore on dis session had nothing to do.

329
00:16:25,400 --> 00:16:26,000
Speaker 3: He just asked him.

330
00:16:26,040 --> 00:16:30,000
Speaker 6: He just went, well, it wasn't Bizz that asked me.

331
00:16:30,160 --> 00:16:33,280
Speaker 2: It was it was actually cool v okay that asked me,

332
00:16:34,040 --> 00:16:37,040
Speaker 2: and me and Biz was was beefing with each other

333
00:16:37,040 --> 00:16:38,200
Speaker 2: at the time. Wow.

334
00:16:38,560 --> 00:16:40,360
Speaker 3: It doesn't say that in the documentary though.

335
00:16:40,240 --> 00:16:41,880
Speaker 6: Ye yeah, yeah, yeah, yeah.

336
00:16:41,920 --> 00:16:42,080
Speaker 2: Yeah.

337
00:16:42,120 --> 00:16:43,800
Speaker 6: We were like, well I was mad at him.

338
00:16:43,920 --> 00:16:45,520
Speaker 3: See what you got mad that you didn't do it?

339
00:16:45,640 --> 00:16:48,840
Speaker 2: That's oh yeah, yeah, absolutely, Doc, absolutely, but I mean

340
00:16:48,840 --> 00:16:51,200
Speaker 2: but now, I honestly it was for me being mad

341
00:16:51,320 --> 00:16:54,400
Speaker 2: upset with him because we had like there was a

342
00:16:54,480 --> 00:16:58,040
Speaker 2: lawsuit going on and Biz dropped out of it, and

343
00:16:58,040 --> 00:17:01,160
Speaker 2: I was upset about that. When V asked me to

344
00:17:01,160 --> 00:17:04,000
Speaker 2: write it, I was like, nah, but damn, I wish

345
00:17:04,040 --> 00:17:04,760
Speaker 2: I would have though.

346
00:17:06,119 --> 00:17:07,240
Speaker 3: That was big record.

347
00:17:07,640 --> 00:17:10,439
Speaker 5: Yeah, oh yeahh and nobody believed at first when he

348
00:17:10,520 --> 00:17:12,520
Speaker 5: was talking about the record, how it was going to be,

349
00:17:12,600 --> 00:17:13,480
Speaker 5: he was going to sing on.

350
00:17:13,480 --> 00:17:16,280
Speaker 2: It, You're The craziest thing is like the day that

351
00:17:16,760 --> 00:17:19,359
Speaker 2: Biz found the beat, it's the same day that he

352
00:17:19,400 --> 00:17:22,119
Speaker 2: gave me the beat for at No. Half Stepping. I

353
00:17:22,160 --> 00:17:27,960
Speaker 2: went to Cool V Crib and half Step yeah set

354
00:17:28,000 --> 00:17:30,480
Speaker 2: up absolute to Cool V. Yeah. I went to COOLV

355
00:17:30,600 --> 00:17:33,440
Speaker 2: Crib and Bizz had a bag of records still, so

356
00:17:33,440 --> 00:17:35,720
Speaker 2: I'm going. I'm like, he's like some records Biz board,

357
00:17:35,720 --> 00:17:37,840
Speaker 2: I'm going through them playing, I'm playing. Then I heard

358
00:17:37,840 --> 00:17:40,320
Speaker 2: the emotions blind owy. I'm like, oh, this is sick.

359
00:17:40,560 --> 00:17:42,840
Speaker 2: So V looped it up in the mixer, you know,

360
00:17:42,880 --> 00:17:45,000
Speaker 2: sample in the mixer. He looped up there and I

361
00:17:45,040 --> 00:17:48,359
Speaker 2: started writing to it. But it's Biz. Next thing, you know,

362
00:17:48,560 --> 00:17:49,600
Speaker 2: Biz calls the crib.

363
00:17:50,119 --> 00:17:52,399
Speaker 3: Ain't no half stepping.

364
00:17:51,840 --> 00:17:52,840
Speaker 2: I'm I'm writing.

365
00:17:53,560 --> 00:17:54,760
Speaker 6: Yeah, I'm not.

366
00:17:55,280 --> 00:17:57,040
Speaker 2: I guess I was writing the rhymes I can't remember,

367
00:17:57,119 --> 00:17:59,800
Speaker 2: but I'm writing to it. Then BIZ called a crib.

368
00:18:00,040 --> 00:18:03,680
Speaker 2: I founded. I found it. I finally found it you

369
00:18:03,760 --> 00:18:07,119
Speaker 2: talking about. He was like, the big I got it.

370
00:18:07,640 --> 00:18:12,560
Speaker 2: You know, you got what I need, Like he found

371
00:18:13,640 --> 00:18:19,159
Speaker 2: Freddy Scott, you got what I need. And he was like,

372
00:18:19,200 --> 00:18:21,359
Speaker 2: you know, like, yeah, I'm telling you this ship gonna

373
00:18:21,359 --> 00:18:21,920
Speaker 2: go platinum.

374
00:18:22,000 --> 00:18:23,640
Speaker 6: I guarantee you, right.

375
00:18:23,840 --> 00:18:27,080
Speaker 2: And I'm like, so, well, since you're so happy about that,

376
00:18:27,160 --> 00:18:29,320
Speaker 2: you probably don't really care about this Blind Alley record,

377
00:18:29,359 --> 00:18:31,879
Speaker 2: right because that was his record, his record. Yeah, you

378
00:18:31,880 --> 00:18:33,639
Speaker 2: probably don't care about this blind either. You can have

379
00:18:33,720 --> 00:18:38,080
Speaker 2: that ship, my man. Yeah that.

380
00:18:48,240 --> 00:18:51,560
Speaker 1: Oh my god, my god, oh my god, holy moly,

381
00:18:51,600 --> 00:18:54,920
Speaker 1: walcome moly, man, you a motherfucker legend. Oh my brother.

382
00:18:56,800 --> 00:18:59,399
Speaker 1: I had so much fun going through your de soccra

383
00:18:59,440 --> 00:19:02,800
Speaker 1: fhe man. Go, but let's talk about the documentary, man,

384
00:19:03,280 --> 00:19:04,160
Speaker 1: this documentary.

385
00:19:06,160 --> 00:19:07,160
Speaker 3: I love you getting your.

386
00:19:07,040 --> 00:19:09,240
Speaker 1: Flowers, man, I love something.

387
00:19:09,440 --> 00:19:10,160
Speaker 3: He shared the clip.

388
00:19:10,359 --> 00:19:13,760
Speaker 1: Yes, I love you giving your flowers man, because you

389
00:19:13,840 --> 00:19:15,639
Speaker 1: want of the smoothest people on earth. Let's make some

390
00:19:15,680 --> 00:19:23,000
Speaker 1: noise and you always cool, calm and collective. But you

391
00:19:23,040 --> 00:19:27,160
Speaker 1: know hip hop owes you you know what I mean? Uh?

392
00:19:27,680 --> 00:19:29,359
Speaker 1: We all o you you know what I'm saying, Like

393
00:19:30,160 --> 00:19:32,359
Speaker 1: what you have brung to the game, Like I said,

394
00:19:32,440 --> 00:19:34,959
Speaker 1: even down from the flattops to the to the to

395
00:19:35,000 --> 00:19:37,080
Speaker 1: the the three because my eyebrows.

396
00:19:36,680 --> 00:19:37,720
Speaker 3: Are sucked up right now.

397
00:19:37,880 --> 00:19:38,120
Speaker 2: Game.

398
00:19:38,480 --> 00:19:40,560
Speaker 1: You know what I'm saying. Because I was like this,

399
00:19:40,720 --> 00:19:42,600
Speaker 1: You know what I'm saying. Did you know how influential

400
00:19:42,720 --> 00:19:45,199
Speaker 1: you was? Was this something that you thought out or

401
00:19:45,240 --> 00:19:47,720
Speaker 1: this was just you was being who exactly who you are.

402
00:19:47,920 --> 00:19:49,840
Speaker 2: I was just being me, but I mean, you know,

403
00:19:49,920 --> 00:19:52,719
Speaker 2: like uh just looking around seeing what was going on.

404
00:19:52,960 --> 00:19:56,080
Speaker 2: I was like wow, you know okay, but I mean

405
00:19:56,119 --> 00:19:58,400
Speaker 2: I felt like it was a beautiful thing because it's

406
00:19:58,520 --> 00:20:02,479
Speaker 2: like I wasn't influencing anybody, do nothing negative? Right, you know?

407
00:20:02,560 --> 00:20:03,680
Speaker 2: So right?

408
00:20:03,880 --> 00:20:06,840
Speaker 3: And it was scoop really a barbera yeah?

409
00:20:07,160 --> 00:20:08,120
Speaker 2: Really? Yeah?

410
00:20:08,359 --> 00:20:09,560
Speaker 3: How does how does this work?

411
00:20:09,600 --> 00:20:09,639
Speaker 2: You?

412
00:20:09,800 --> 00:20:11,800
Speaker 1: You told him you put your clubs down and start dancing?

413
00:20:13,440 --> 00:20:14,240
Speaker 3: How does this work?

414
00:20:14,520 --> 00:20:17,840
Speaker 2: Nah? There was a club called Latin Quarters. You can

415
00:20:18,640 --> 00:20:23,480
Speaker 2: not on ninety sixth Street. That was the older school one. Yeah,

416
00:20:24,800 --> 00:20:26,399
Speaker 2: like you know, I would go there with Biz and

417
00:20:26,400 --> 00:20:30,080
Speaker 2: whatnot to hang out in the mid eighties and school

418
00:20:30,240 --> 00:20:33,639
Speaker 2: was with this dance group called the IOU Dances, and

419
00:20:33,680 --> 00:20:36,480
Speaker 2: they would dance before the artists performed. They would do

420
00:20:36,480 --> 00:20:38,000
Speaker 2: a dance ro team before the artists come on, sage

421
00:20:38,000 --> 00:20:41,200
Speaker 2: you perform, and you know sometimes by the bar me

422
00:20:41,400 --> 00:20:46,080
Speaker 2: school and ladies that manages Mop. Yeah, he was with

423
00:20:46,160 --> 00:20:48,720
Speaker 2: IOU as well. So three of us we were by

424
00:20:48,760 --> 00:20:50,600
Speaker 2: the bar, just you know, having drinks and I was like, yeah,

425
00:20:50,760 --> 00:20:52,760
Speaker 2: you know, Biz getting me a record deal when I

426
00:20:52,800 --> 00:20:54,040
Speaker 2: come out, Man, I.

427
00:20:54,160 --> 00:20:55,280
Speaker 6: Love for you to dance for me.

428
00:20:56,000 --> 00:20:57,679
Speaker 2: And then when I finally made a record, I went

429
00:20:57,720 --> 00:20:59,840
Speaker 2: back to school and was like yo, you ready, wow,

430
00:21:00,040 --> 00:21:01,240
Speaker 2: And yeah that's how we made it happen.

431
00:21:01,600 --> 00:21:04,200
Speaker 1: And so so BIZ was technically on before y'all.

432
00:21:04,400 --> 00:21:08,000
Speaker 5: Yeah, yeah, I'm telling you watched this dark We don't

433
00:21:08,040 --> 00:21:11,680
Speaker 5: know this history like not to make people know how

434
00:21:11,760 --> 00:21:13,440
Speaker 5: influential and how much BIZ had.

435
00:21:13,359 --> 00:21:14,240
Speaker 3: To do with a lot of things.

436
00:21:14,600 --> 00:21:15,880
Speaker 1: Why did you and Biz link up?

437
00:21:16,840 --> 00:21:18,680
Speaker 2: There was this kid from Long Island that used to

438
00:21:18,760 --> 00:21:21,880
Speaker 2: always tell me about this dude Bis Marcky. He knew

439
00:21:22,200 --> 00:21:24,440
Speaker 2: why there's for some reason, I think now the dude

440
00:21:24,440 --> 00:21:27,760
Speaker 2: was from Central Island. He's from Central Island, dude named Wayne.

441
00:21:28,200 --> 00:21:30,520
Speaker 2: He was dating my cousin and he used to always

442
00:21:30,560 --> 00:21:34,000
Speaker 2: tell me about biz Marcky. And finally one day he like, Yo,

443
00:21:34,359 --> 00:21:35,920
Speaker 2: my man, biz Markey, I'll tell you about here. And

444
00:21:35,920 --> 00:21:38,480
Speaker 2: now we squirrelled rat more. Right now, I'll be beatbox

445
00:21:38,560 --> 00:21:41,360
Speaker 2: now he was doing the beat for numbers. Wow, I'm

446
00:21:41,359 --> 00:21:42,879
Speaker 2: like here over there right now. I'm like, all right,

447
00:21:42,960 --> 00:21:44,720
Speaker 2: take me over there and let me meet him. So

448
00:21:44,840 --> 00:21:46,640
Speaker 2: we get in the mall. We're walking up to him.

449
00:21:46,680 --> 00:21:48,440
Speaker 2: I'm like, all right, so listen, I'm asking your man

450
00:21:48,480 --> 00:21:50,159
Speaker 2: for a battle. And after I bust his ass, I

451
00:21:50,160 --> 00:21:57,159
Speaker 2: don't want to hear about this, you know, yeah, I'll

452
00:21:57,280 --> 00:22:01,000
Speaker 2: squid mall. So I asked Biz for a battle. We battled,

453
00:22:01,640 --> 00:22:04,720
Speaker 2: and after the battle, he was like, Yo, you dope man,

454
00:22:05,200 --> 00:22:08,040
Speaker 2: You dope man. He said, Yo, I'll be doing a

455
00:22:08,040 --> 00:22:10,479
Speaker 2: lot of shows and like all them Bronx Long Island.

456
00:22:10,680 --> 00:22:12,879
Speaker 2: You should get down with me, man, like we can

457
00:22:12,960 --> 00:22:15,640
Speaker 2: make some money, and I guarantee you one day I'm

458
00:22:15,640 --> 00:22:16,800
Speaker 2: gonna get you a record deal.

459
00:22:17,160 --> 00:22:21,080
Speaker 1: Ruse because back then, like back then, like a lot

460
00:22:21,080 --> 00:22:23,800
Speaker 1: of people, we didn't have Twitter, like you know what

461
00:22:23,840 --> 00:22:26,480
Speaker 1: I mean, Like they didn't have Twitter. So how did

462
00:22:26,480 --> 00:22:27,800
Speaker 1: you hear about Biz back then?

463
00:22:27,880 --> 00:22:32,840
Speaker 2: Like? Okay, he was always telling me about this dude,

464
00:22:32,880 --> 00:22:35,560
Speaker 2: biz Markie, who said this dude named Wayne.

465
00:22:35,320 --> 00:22:35,879
Speaker 1: From s right.

466
00:22:35,960 --> 00:22:38,480
Speaker 2: Okay, Well, he was always telling me about this dude

467
00:22:38,480 --> 00:22:41,240
Speaker 2: biz Markie, like you know, like I could have just

468
00:22:41,280 --> 00:22:45,280
Speaker 2: battled somebody, you know, you know, tore them out the frame, yo,

469
00:22:45,359 --> 00:22:48,240
Speaker 2: But you got to hear my man Biz, So you know,

470
00:22:48,280 --> 00:22:50,119
Speaker 2: I was sick ahead about this dude man, you know.

471
00:22:52,640 --> 00:22:55,120
Speaker 2: But then you know, we finally got the meet. We battled,

472
00:22:55,200 --> 00:22:58,040
Speaker 2: and after the battle we became friends. He asked me

473
00:22:58,080 --> 00:22:59,720
Speaker 2: to get down with him, and now I was doing

474
00:22:59,760 --> 00:23:01,919
Speaker 2: something never did because I mean I would go to

475
00:23:02,760 --> 00:23:05,000
Speaker 2: block parties and battle people on the mic. And you

476
00:23:05,040 --> 00:23:06,919
Speaker 2: were right in these rhymes. This wasn't coming off freestyle,

477
00:23:07,000 --> 00:23:08,440
Speaker 2: wasn't no. I wasn't doing off the dome. These was

478
00:23:08,480 --> 00:23:10,200
Speaker 2: written freestyle. I was just off the I mean, I

479
00:23:10,240 --> 00:23:11,560
Speaker 2: don't do that. I don't really do it off the

480
00:23:11,560 --> 00:23:14,320
Speaker 2: dome thing, only like in battles, Like if I see

481
00:23:14,320 --> 00:23:17,199
Speaker 2: some raggedy shit, you got on. You know, I'll come

482
00:23:17,280 --> 00:23:24,920
Speaker 2: up with something, you know, but everyone but I mean,

483
00:23:25,000 --> 00:23:26,480
Speaker 2: but you know, but you know it's really you know,

484
00:23:26,480 --> 00:23:30,000
Speaker 2: written freestyles. But it was like we went at it

485
00:23:30,040 --> 00:23:32,440
Speaker 2: and whatnot, and you know, he was like, yo, you dope,

486
00:23:33,800 --> 00:23:35,199
Speaker 2: and you know he wanted me to get down with him.

487
00:23:35,200 --> 00:23:37,560
Speaker 2: But now I'm doing something I've never done before because

488
00:23:37,600 --> 00:23:41,840
Speaker 2: I had, you know, never performed, only battled. Now I'm

489
00:23:41,880 --> 00:23:44,240
Speaker 2: on stage doing shows for these dudes, Mike and Dave

490
00:23:44,320 --> 00:23:46,960
Speaker 2: and all of them wrongs Long Island. You know, he

491
00:23:47,040 --> 00:23:49,240
Speaker 2: got me actually performing on stage. I never did nothing

492
00:23:49,280 --> 00:23:49,800
Speaker 2: like that before.

493
00:23:50,960 --> 00:23:53,000
Speaker 1: Damn, damn, that's crazy, man. Let's play.

494
00:23:56,280 --> 00:23:57,600
Speaker 5: And then and I don't want to get the whole

495
00:23:57,640 --> 00:23:59,639
Speaker 5: doc because I think people need to watch the documentaries.

496
00:23:59,640 --> 00:24:02,960
Speaker 5: You watch, I'm assuming so you feel it's fully accurate

497
00:24:03,080 --> 00:24:04,240
Speaker 5: the way everything's.

498
00:24:03,880 --> 00:24:06,680
Speaker 2: Depicted, right, Yeah, from from what I saw, Yeah.

499
00:24:06,520 --> 00:24:09,600
Speaker 5: The part about you getting in with Marley by coming

500
00:24:10,000 --> 00:24:11,560
Speaker 5: and and then he didn't want to open the door

501
00:24:11,600 --> 00:24:11,879
Speaker 5: for you.

502
00:24:13,119 --> 00:24:18,480
Speaker 2: Yeah, what happened was, uh, this spent the night at

503
00:24:18,520 --> 00:24:22,720
Speaker 2: my crib and then that morning we went to record

504
00:24:22,760 --> 00:24:25,960
Speaker 2: store on No Ocean Avenue and he bought the African

505
00:24:25,960 --> 00:24:30,600
Speaker 2: Life he had center be the boom Bats. He bought

506
00:24:30,640 --> 00:24:35,840
Speaker 2: that and he was like, uh, yo, come ride with

507
00:24:35,840 --> 00:24:37,680
Speaker 2: me into the city. I got to get to see

508
00:24:37,720 --> 00:24:39,720
Speaker 2: a record by the Steve Miller band. He was going

509
00:24:39,760 --> 00:24:44,720
Speaker 2: to rock, rock and soul, No downtown, down stairs records, downstairs,

510
00:24:44,920 --> 00:24:47,200
Speaker 2: You're going to downstairs. And I'm like, yo, I got

511
00:24:47,200 --> 00:24:50,560
Speaker 2: a test today, man, I can't skip school. So I

512
00:24:50,600 --> 00:24:52,800
Speaker 2: went to school. When I took my test, I left

513
00:24:52,800 --> 00:24:55,400
Speaker 2: like half day and went straight to Marley Crib when

514
00:24:55,400 --> 00:24:59,320
Speaker 2: I got there. No, no, no, this was in the story. Okay,

515
00:24:59,440 --> 00:25:01,679
Speaker 2: I wasn't got so I went down to Queensbridge days

516
00:25:02,560 --> 00:25:06,520
Speaker 2: you know. No, I'm just saying I was before my

517
00:25:06,560 --> 00:25:12,320
Speaker 2: time and cut it out, man. But yeah, I went

518
00:25:12,359 --> 00:25:16,359
Speaker 2: to Marley Crib and you know, he like opened the

519
00:25:16,400 --> 00:25:18,320
Speaker 2: door with the chain on and it's like, you know,

520
00:25:18,359 --> 00:25:23,480
Speaker 2: what's up. I'm like, you know, Kane b friend, you know.

521
00:25:23,520 --> 00:25:24,919
Speaker 2: But he was talking to me like he didn't know me,

522
00:25:25,040 --> 00:25:27,480
Speaker 2: you know, and I'm like, uh, you know I was here.

523
00:25:28,280 --> 00:25:30,399
Speaker 2: He's like, bis ain't here. I was like, well, you know,

524
00:25:30,560 --> 00:25:32,119
Speaker 2: I took the train all the way from Brooklyn. He

525
00:25:32,160 --> 00:25:33,480
Speaker 2: told me to meet her because he told me doing

526
00:25:33,760 --> 00:25:36,320
Speaker 2: nobody beats the Biz song b is ain't here money.

527
00:25:36,359 --> 00:25:39,199
Speaker 2: I don't know what to tell you. I was like,

528
00:25:39,200 --> 00:25:41,399
Speaker 2: all right, no doubt. I was like, well, here these

529
00:25:41,440 --> 00:25:43,200
Speaker 2: are the rhymes he's supposed to say today. Just give

530
00:25:43,280 --> 00:25:46,439
Speaker 2: him to him. And he was like you you you right,

531
00:25:46,520 --> 00:25:49,080
Speaker 2: bi ship. I was like, I wrote that, you know.

532
00:25:49,480 --> 00:25:51,680
Speaker 2: He was like I go and I said a little

533
00:25:51,680 --> 00:25:53,280
Speaker 2: bit and then nobody beats the biz thing. He was like,

534
00:25:53,280 --> 00:25:55,679
Speaker 2: you rhyme too. I was like yeah, he said, let

535
00:25:55,720 --> 00:25:58,040
Speaker 2: me hear something. Then I spent a rhyme and he

536
00:25:58,080 --> 00:25:59,600
Speaker 2: took the chain off. I was like, yo, come in here,

537
00:26:00,000 --> 00:26:00,879
Speaker 2: would work on problem.

538
00:26:05,960 --> 00:26:08,320
Speaker 3: That's amazing, Holy shit.

539
00:26:08,480 --> 00:26:13,720
Speaker 2: Because at that time, Marlly was like the go to producer. Correct, Yeah,

540
00:26:14,000 --> 00:26:16,639
Speaker 2: he was getting to be that. Like Marley was not

541
00:26:16,720 --> 00:26:21,320
Speaker 2: only to go to producer. Marlly was the dude that

542
00:26:21,680 --> 00:26:26,720
Speaker 2: reshaped hip hop in the mid to late eighties because

543
00:26:28,080 --> 00:26:31,399
Speaker 2: when hip hop became a music genre, what was happening

544
00:26:31,480 --> 00:26:34,920
Speaker 2: under the Sylvia Robinson umbrella was hip hop artists going

545
00:26:34,960 --> 00:26:38,040
Speaker 2: in the studio recording with bands.

546
00:26:39,119 --> 00:26:41,080
Speaker 6: Yeah you should know your ship.

547
00:26:41,280 --> 00:26:41,639
Speaker 1: Your sugar.

548
00:26:41,760 --> 00:26:42,240
Speaker 2: Yeah yeah.

549
00:26:42,640 --> 00:26:44,400
Speaker 1: I had to have to have to get back yeah yeah, yeah,

550
00:26:44,640 --> 00:26:44,879
Speaker 1: I was.

551
00:26:46,560 --> 00:26:49,120
Speaker 2: She was like she was taking nick flashing them Funky Four,

552
00:26:49,200 --> 00:26:52,280
Speaker 2: Treacherous three. They're going and recording with bands they're not

553
00:26:52,359 --> 00:26:55,439
Speaker 2: doing with cool Heirk created. You know what I said, No, no, no,

554
00:26:55,480 --> 00:26:57,359
Speaker 2: not programming. I mean they're not doing it to a

555
00:26:57,400 --> 00:27:02,840
Speaker 2: break beat. You know, they're rhyming to a band. Then

556
00:27:02,880 --> 00:27:05,720
Speaker 2: the run DMC era comes when that's when they start

557
00:27:05,760 --> 00:27:08,679
Speaker 2: doing the programming beats with Larry Smith, Rick Rubin and

558
00:27:08,720 --> 00:27:09,320
Speaker 2: them casts.

559
00:27:09,359 --> 00:27:11,080
Speaker 6: You know, Davy DMX.

560
00:27:11,680 --> 00:27:14,720
Speaker 2: You know they're using Len drums, DMX drum machines and

561
00:27:14,880 --> 00:27:18,639
Speaker 2: keyboards and sim sim sounds. You know, Marley is the

562
00:27:18,680 --> 00:27:22,720
Speaker 2: one that you know took the sp and brought back

563
00:27:22,840 --> 00:27:26,320
Speaker 2: what Hirk was doing. You're rhyming over the break beat.

564
00:27:26,359 --> 00:27:30,320
Speaker 2: It's just that a DJ not playing it, a producers sampling.

565
00:27:29,880 --> 00:27:35,040
Speaker 4: Itine you're saying it, Yeah, it's the actual break beat

566
00:27:35,320 --> 00:27:38,360
Speaker 4: that Curtis Blast Damn Bodder and.

567
00:27:38,320 --> 00:27:41,119
Speaker 2: All these casts was was cutting up. It's the actual

568
00:27:41,119 --> 00:27:44,359
Speaker 2: break beat and Marlly is sampling it. So you're doing

569
00:27:44,480 --> 00:27:48,600
Speaker 2: exactly what he was doing. You're doing exactly what hip

570
00:27:48,640 --> 00:27:52,760
Speaker 2: hop was made, how it was bringing those breaks and

571
00:27:52,840 --> 00:27:56,640
Speaker 2: Mary Mary the dude that brought it back, so you know, yeah,

572
00:27:56,720 --> 00:28:02,040
Speaker 2: he is definitely uh in a mad in this here culture,

573
00:28:02,400 --> 00:28:04,640
Speaker 2: you know, because of what he did with sampling.

574
00:28:05,280 --> 00:28:13,959
Speaker 3: Yeah, so was was it back then?

575
00:28:14,000 --> 00:28:19,600
Speaker 1: Because like nowadays, when people sample music, they actually, uh

576
00:28:19,880 --> 00:28:21,440
Speaker 1: most of the time, a lot of the times, it's

577
00:28:21,440 --> 00:28:24,600
Speaker 1: one hundred percent of these these publishers claimed the rights.

578
00:28:24,680 --> 00:28:26,640
Speaker 1: Was it like that back then when you were sampling

579
00:28:26,680 --> 00:28:27,520
Speaker 1: his music? Was it?

580
00:28:30,440 --> 00:28:32,919
Speaker 2: The first time I had a problem with it was

581
00:28:33,440 --> 00:28:35,560
Speaker 2: the very when I when I went to Marley Crib

582
00:28:35,600 --> 00:28:35,880
Speaker 2: that day.

583
00:28:36,160 --> 00:28:38,480
Speaker 6: Huh, nobody be abiz.

584
00:28:41,880 --> 00:28:45,080
Speaker 2: He made a beat off of Staple Singers I'll Take

585
00:28:45,080 --> 00:28:47,240
Speaker 2: You Here, And that's when I recorded the song I'll

586
00:28:47,240 --> 00:28:47,640
Speaker 2: Take You Here.

587
00:28:47,640 --> 00:28:49,320
Speaker 6: It's on my first album.

588
00:28:49,320 --> 00:28:53,719
Speaker 2: But uh, fly Tie wanted to put it out and

589
00:28:53,920 --> 00:28:57,840
Speaker 2: Prints owned the Staples Singers publishing and he wasn't digging

590
00:28:57,880 --> 00:29:02,240
Speaker 2: hip hoped in so he wouldn't clear it. Prince Prince

591
00:29:02,240 --> 00:29:05,680
Speaker 2: ain't clear ship well, I mean in the beginning. He

592
00:29:05,760 --> 00:29:07,560
Speaker 2: changed his mind later on before.

593
00:29:07,280 --> 00:29:15,320
Speaker 3: The Chapster As was out. Yes, lose enough after.

594
00:29:15,160 --> 00:29:18,160
Speaker 2: That, But I mean, in all, honestly, I'm glad because

595
00:29:18,200 --> 00:29:20,480
Speaker 2: I think that had I'll Take You There came out

596
00:29:20,560 --> 00:29:23,160
Speaker 2: as a cane debut, I never would have been successful.

597
00:29:23,320 --> 00:29:25,360
Speaker 1: Was he talking about Squid Moore on that record as well.

598
00:29:25,920 --> 00:29:28,160
Speaker 2: No, no, no, I'll take you there is talking about going

599
00:29:28,200 --> 00:29:30,440
Speaker 2: into an imagine every place where everything is beautiful, and

600
00:29:31,440 --> 00:29:36,000
Speaker 2: you know it's like, you know, you get a pass

601
00:29:36,080 --> 00:29:38,560
Speaker 2: on that one because that was an album cut.

602
00:29:38,960 --> 00:29:45,920
Speaker 1: You should know we're gonna be here. All I remember

603
00:29:46,000 --> 00:29:48,560
Speaker 1: I remember hearing alb Square Moore and this is this

604
00:29:48,600 --> 00:29:50,880
Speaker 1: is this's a's a website right now that's dedicated to

605
00:29:51,040 --> 00:29:55,280
Speaker 1: all memories of Alby Square More. And I remember me

606
00:29:55,280 --> 00:29:59,160
Speaker 1: me being from Queen's and there was some fla shit

607
00:29:59,280 --> 00:30:02,040
Speaker 1: going on in Brooke. It was called Dental Gold and

608
00:30:02,080 --> 00:30:05,280
Speaker 1: it was the only place in like New York City

609
00:30:05,320 --> 00:30:08,840
Speaker 1: that had it. And it was well, y'all would call

610
00:30:08,880 --> 00:30:12,480
Speaker 1: it grills in the side, so it was frames, it

611
00:30:12,560 --> 00:30:14,840
Speaker 1: was frames, and they went to Ivy Square. He had

612
00:30:14,880 --> 00:30:17,000
Speaker 1: to get it. Only an IVY script one was dental Gold.

613
00:30:17,280 --> 00:30:20,120
Speaker 1: And what I try to tell you is it looked

614
00:30:20,120 --> 00:30:22,959
Speaker 1: like it came from the dentist, Like this wasn't like caps.

615
00:30:23,080 --> 00:30:25,000
Speaker 1: This was like but it was so flopped. But to

616
00:30:25,120 --> 00:30:26,920
Speaker 1: get the IV squib more, you gotta go to a

617
00:30:27,080 --> 00:30:28,600
Speaker 1: goddamn danger zone.

618
00:30:29,400 --> 00:30:34,320
Speaker 2: Like oh yeah, yeah, shout out the whole dog tig

619
00:30:35,000 --> 00:30:40,760
Speaker 2: slop Miami, you know, big Shop, Big Neil. Yeah, into

620
00:30:40,800 --> 00:30:43,480
Speaker 2: the record, Yeah yeah yeah, all them Brooklyn Grimys dad,

621
00:30:43,560 --> 00:30:46,320
Speaker 2: you know yeah yeah, make you believe we can leave

622
00:30:46,360 --> 00:30:50,320
Speaker 2: them more naked. Man, you went back home sneakless, colds

623
00:30:51,720 --> 00:30:52,360
Speaker 2: all that ship.

624
00:30:52,640 --> 00:30:55,680
Speaker 1: Your ship was crazy, Like do you recognize Brooklyn?

625
00:30:55,760 --> 00:31:01,400
Speaker 2: Still it's completely different, completely completely different. Like I went

626
00:31:01,480 --> 00:31:04,280
Speaker 2: back to my old block to show my son I got.

627
00:31:04,360 --> 00:31:06,520
Speaker 2: I have a ten year old when he was almost younger.

628
00:31:06,720 --> 00:31:08,600
Speaker 2: I took him to my old block because there's like

629
00:31:08,600 --> 00:31:10,560
Speaker 2: a big mural of me on the water, and I

630
00:31:10,600 --> 00:31:12,520
Speaker 2: was showing you this is the building I was raised in,

631
00:31:12,680 --> 00:31:15,240
Speaker 2: you know right there, you know, see a second floor

632
00:31:15,320 --> 00:31:16,520
Speaker 2: right here. I was like, yeah, I used to come

633
00:31:16,560 --> 00:31:18,600
Speaker 2: down here and do the data. While I'm telling him

634
00:31:18,640 --> 00:31:22,080
Speaker 2: the story, white lady comes out of the building with

635
00:31:22,160 --> 00:31:24,000
Speaker 2: a little ass dog and the dog runs up my

636
00:31:24,080 --> 00:31:30,400
Speaker 2: leg and I'm like, but this didn't happen. He's like,

637
00:31:30,760 --> 00:31:34,280
Speaker 2: this is na I it was just bug. You know.

638
00:31:34,280 --> 00:31:36,640
Speaker 6: I'm telling him how I grew up, you know, how

639
00:31:36,720 --> 00:31:37,160
Speaker 6: good it.

640
00:31:37,240 --> 00:31:41,160
Speaker 2: Was, And then all of a sudden, you know, yeah, yeah, yeah,

641
00:31:41,160 --> 00:31:43,600
Speaker 2: so it's a lot different now. It's at no.

642
00:31:43,720 --> 00:31:45,320
Speaker 1: I mean, do you think it changed for the better.

643
00:31:45,360 --> 00:31:46,440
Speaker 1: I think it changed for the better.

644
00:31:48,440 --> 00:31:52,560
Speaker 2: I think that it changed for the better. But I

645
00:31:52,640 --> 00:31:56,760
Speaker 2: think that a lot of the history was erased. You know,

646
00:31:57,120 --> 00:32:00,080
Speaker 2: I think that a lot of history was erased as

647
00:32:00,120 --> 00:32:00,400
Speaker 2: far as.

648
00:32:00,400 --> 00:32:01,120
Speaker 3: Hip hop as well.

649
00:32:02,240 --> 00:32:04,080
Speaker 6: Well, I thought you were talking about the neighborhood.

650
00:32:04,160 --> 00:32:06,320
Speaker 3: Yeah, be a period, Yeah, I mean, does that involve

651
00:32:06,360 --> 00:32:06,760
Speaker 3: hip hop?

652
00:32:07,040 --> 00:32:11,480
Speaker 2: I mean, you know, it's like, I can't take him

653
00:32:11,520 --> 00:32:14,560
Speaker 2: and say this the movie theater that I used to

654
00:32:14,600 --> 00:32:17,280
Speaker 2: go in and have to tuck my pants and my

655
00:32:17,360 --> 00:32:19,720
Speaker 2: socks because rats be running across the floor, and I

656
00:32:19,760 --> 00:32:21,080
Speaker 2: don't want none to run up my pants.

657
00:32:21,160 --> 00:32:23,360
Speaker 6: Like that's gone, you know what I'm saying. I can't.

658
00:32:23,560 --> 00:32:27,480
Speaker 2: I can't say, you know, just to Roy Rogers, you know,

659
00:32:27,760 --> 00:32:30,080
Speaker 2: with cats got stuck up at because you could you

660
00:32:30,120 --> 00:32:31,840
Speaker 2: could rob more Forlton Street and cut.

661
00:32:31,640 --> 00:32:33,040
Speaker 6: Through and come out on flat Bush after.

662
00:32:33,640 --> 00:32:35,840
Speaker 2: I can't. I can't show him none of that, Stuffy.

663
00:32:36,000 --> 00:32:39,640
Speaker 2: It's all gone, like all those memories is gone. I'm shure,

664
00:32:39,680 --> 00:32:41,280
Speaker 2: and your neighborhood is yeah, no, I.

665
00:32:41,200 --> 00:32:42,560
Speaker 3: Mean all over all over.

666
00:32:42,640 --> 00:32:45,760
Speaker 1: But I just never thought, you know what was shocking

667
00:32:45,800 --> 00:32:47,520
Speaker 1: to me. I thought the last two barrels that they

668
00:32:47,520 --> 00:32:50,960
Speaker 1: would actually fix up what's Brooklyn and the Bronx and

669
00:32:51,000 --> 00:32:54,040
Speaker 1: then when the when the what was it the nets?

670
00:32:54,400 --> 00:32:55,080
Speaker 3: As soon as the.

671
00:32:55,000 --> 00:32:57,960
Speaker 1: Nets kind of came, I believe it's the Barclays, right

672
00:32:58,040 --> 00:32:59,680
Speaker 1: as soon as the kind of came to the Barclays,

673
00:33:00,040 --> 00:33:02,480
Speaker 1: seeing that they put the whole fools around, and I

674
00:33:02,520 --> 00:33:04,680
Speaker 1: was like, once they put a whole fool white people coming,

675
00:33:04,840 --> 00:33:06,200
Speaker 1: I was like, yeah, you know what I'm saying. So

676
00:33:06,240 --> 00:33:09,520
Speaker 1: I was just like I didn't think, but now, could

677
00:33:09,520 --> 00:33:14,280
Speaker 1: you not? I went to Dumbo to the Soho House, and

678
00:33:14,320 --> 00:33:16,720
Speaker 1: I kid you not, because it's coming right off the

679
00:33:16,720 --> 00:33:20,040
Speaker 1: Brooklyn Bridge, you know, like coming from like you know,

680
00:33:20,080 --> 00:33:23,000
Speaker 1: the Manhattan side. And I used to I used to

681
00:33:23,040 --> 00:33:24,720
Speaker 1: go there and like used to know, like as soon

682
00:33:24,760 --> 00:33:26,880
Speaker 1: as you got over that bridge, you're in Brooklyn.

683
00:33:26,960 --> 00:33:28,160
Speaker 3: It's not Manhattan no more.

684
00:33:28,600 --> 00:33:31,160
Speaker 1: And now it's like you go over there and you're like,

685
00:33:31,280 --> 00:33:35,400
Speaker 1: I'm still mad, like because you like, am I still bad?

686
00:33:35,560 --> 00:33:36,840
Speaker 3: They puting the trick over me.

687
00:33:37,120 --> 00:33:38,880
Speaker 6: Like the little boats and ship.

688
00:33:39,240 --> 00:33:45,320
Speaker 1: It's crazy, but I understood. And and how about the community,

689
00:33:45,400 --> 00:33:47,960
Speaker 1: because I remember that was a big thing about being

690
00:33:48,000 --> 00:33:50,120
Speaker 1: in Brooklyn, like was it was. It was a lot

691
00:33:50,160 --> 00:33:54,040
Speaker 1: of community, and you think that's gone because of the

692
00:33:54,040 --> 00:33:54,800
Speaker 1: whole hools.

693
00:33:55,440 --> 00:33:57,520
Speaker 6: When you say community, what do you mean, like.

694
00:33:57,440 --> 00:33:59,320
Speaker 1: You know, like the project people used to be there

695
00:33:59,320 --> 00:34:01,640
Speaker 1: together like you, I mean like as opposed to that

696
00:34:01,800 --> 00:34:02,400
Speaker 1: now it's.

697
00:34:02,240 --> 00:34:05,000
Speaker 6: Like, nah, I think that's because I mean.

698
00:34:08,200 --> 00:34:10,160
Speaker 2: Just uh during the Rock the Bells thing, because I

699
00:34:10,200 --> 00:34:14,480
Speaker 2: have Rock to Bells and I had uh Lincoln Center,

700
00:34:15,239 --> 00:34:17,400
Speaker 2: you know, all in New York, but pretty much a

701
00:34:17,440 --> 00:34:18,879
Speaker 2: week apart. So I was like, well, I'm just gonna

702
00:34:18,880 --> 00:34:22,040
Speaker 2: stay in New York, good time. And I got an

703
00:34:22,080 --> 00:34:27,239
Speaker 2: Airbnb and Bushwick Wow. And when I arrived at the Airbnb,

704
00:34:27,800 --> 00:34:30,360
Speaker 2: Bushwick made it known like not nigga, you're still in

705
00:34:30,400 --> 00:34:32,719
Speaker 2: the hush, don't don't get it twisted.

706
00:34:32,719 --> 00:34:42,919
Speaker 8: Perto Ricans was the Puerto Ricans. Yeah, so oh man, yo.

707
00:34:43,320 --> 00:34:43,840
Speaker 1: I mean.

708
00:34:45,680 --> 00:34:46,439
Speaker 3: I mean hip hop?

709
00:34:46,480 --> 00:34:48,040
Speaker 1: Man, did you have a like I noticed a cliche

710
00:34:48,120 --> 00:34:49,680
Speaker 1: type of question, but do you ever think that hip

711
00:34:49,680 --> 00:34:50,600
Speaker 1: hop will make it this far?

712
00:34:50,880 --> 00:34:51,400
Speaker 6: Absolutely?

713
00:34:51,640 --> 00:34:54,560
Speaker 2: You absolutely, absolutely, because you got to you got to understand.

714
00:34:54,680 --> 00:34:58,719
Speaker 2: I mean, like like I love psychedelic rock, right like

715
00:34:59,239 --> 00:35:02,600
Speaker 2: Jimmy Hendrix, Janice Chopplin, I love that type of stuff,

716
00:35:02,640 --> 00:35:06,799
Speaker 2: you know, so as a rock fan to hear like

717
00:35:06,920 --> 00:35:12,000
Speaker 2: you know, like how it was about Chuck Berry doing

718
00:35:12,000 --> 00:35:15,880
Speaker 2: the dunk walk across stage, or Elvis presently gyrating his hips.

719
00:35:16,320 --> 00:35:19,960
Speaker 2: How offensive that was to clean cut America. And they

720
00:35:20,000 --> 00:35:24,800
Speaker 2: said that, you know, it's raunchy music. It's not gonna last.

721
00:35:24,840 --> 00:35:27,200
Speaker 2: It's just a fad. And this is what they said

722
00:35:27,200 --> 00:35:30,640
Speaker 2: about rock and roll. But it was so rebellious for

723
00:35:30,760 --> 00:35:33,279
Speaker 2: the young counter, for the youth to like really show

724
00:35:33,360 --> 00:35:36,360
Speaker 2: out and like and like, now you've got Alan Freed

725
00:35:36,600 --> 00:35:39,440
Speaker 2: taking it in gymnasiums because theaters don't want it, so

726
00:35:39,480 --> 00:35:41,880
Speaker 2: he taking it in gymnasiums, and the young cast is

727
00:35:41,880 --> 00:35:44,879
Speaker 2: coming out, you know, a by the thousands, the pack

728
00:35:44,960 --> 00:35:47,279
Speaker 2: of gymnasium just to hear rock and roll.

729
00:35:47,719 --> 00:35:49,440
Speaker 6: Right, you know, this is what's going on.

730
00:35:49,520 --> 00:35:51,840
Speaker 2: Then all of a sudden, with the war start, you

731
00:35:51,920 --> 00:35:56,759
Speaker 2: got rock artists making anti war songs, so they're using

732
00:35:56,800 --> 00:36:01,479
Speaker 2: their voice, you know, to speak against war. Hip hop

733
00:36:01,560 --> 00:36:03,680
Speaker 2: was following the same thing, you know what I'm saying.

734
00:36:03,920 --> 00:36:05,640
Speaker 2: So when they said that it's just a fair it

735
00:36:05,680 --> 00:36:07,920
Speaker 2: ain't real music, I knew. I'm like, it's gonna be

736
00:36:08,360 --> 00:36:10,239
Speaker 2: just as big or even bigger than rock and roll.

737
00:36:12,760 --> 00:36:15,520
Speaker 1: You know what's so beautiful about what's going on right now?

738
00:36:15,880 --> 00:36:19,880
Speaker 1: Is you see Yankee Stadium sold out, You see Nives

739
00:36:19,880 --> 00:36:23,040
Speaker 1: and Wu Tang sold out, you see fifty cent and

740
00:36:23,120 --> 00:36:26,040
Speaker 1: Busting Robs sold out, you see all of you see

741
00:36:26,080 --> 00:36:28,160
Speaker 1: Rock the Bells sold out, You see all of these

742
00:36:28,239 --> 00:36:31,840
Speaker 1: festivals with these older people that sold out. An elder

743
00:36:31,880 --> 00:36:35,520
Speaker 1: statesman rather tional art. And I've been saying this for

744
00:36:35,560 --> 00:36:37,760
Speaker 1: a long time. This is the reason why we invented

745
00:36:38,040 --> 00:36:40,600
Speaker 1: drink chances, because we wanted to give our elder statesms,

746
00:36:40,640 --> 00:36:43,920
Speaker 1: people that have been around, you know, seasons, they flowers.

747
00:36:44,120 --> 00:36:45,920
Speaker 3: And then when you see this, it's like damn.

748
00:36:46,920 --> 00:36:48,759
Speaker 1: When you like I said this the other day, Like

749
00:36:48,800 --> 00:36:51,799
Speaker 1: when you want someone to cook Thanksgiving dinner, you don't

750
00:36:51,840 --> 00:36:54,440
Speaker 1: want that eighteen year old girl that just you just met.

751
00:36:54,520 --> 00:36:56,279
Speaker 1: You don't want that twenty two year old girl. She

752
00:36:56,320 --> 00:36:59,520
Speaker 1: don't know how to smothered the chickens. She don't know

753
00:36:59,520 --> 00:37:03,520
Speaker 1: how to make the candy ams bounce the way they're

754
00:37:03,520 --> 00:37:05,680
Speaker 1: supposed to be shaking. She don't know how to do

755
00:37:05,760 --> 00:37:06,320
Speaker 1: the stuffing.

756
00:37:07,320 --> 00:37:10,200
Speaker 3: She don't know how to cook corn bread. And heart

757
00:37:10,239 --> 00:37:13,359
Speaker 3: of this cook corn bread. You gotta have experience.

758
00:37:14,320 --> 00:37:16,520
Speaker 1: So when they come to days Giving dinner, you don't

759
00:37:16,520 --> 00:37:19,520
Speaker 1: want that new young hobouy no.

760
00:37:19,680 --> 00:37:23,200
Speaker 6: I agree.

761
00:37:20,560 --> 00:37:29,200
Speaker 7: You want Papa helping us, you understand, and that's what

762
00:37:29,280 --> 00:37:29,680
Speaker 7: life is.

763
00:37:29,719 --> 00:37:33,399
Speaker 1: Your young women, snappists, you'll be over here talk about

764
00:37:33,400 --> 00:37:35,160
Speaker 1: the O G no motherfucker.

765
00:37:34,719 --> 00:37:37,160
Speaker 3: With seasoned what seasons?

766
00:37:37,200 --> 00:37:39,680
Speaker 1: Then we're out here, man looking looking like he ready

767
00:37:39,719 --> 00:37:47,200
Speaker 1: to pip right now. I love when Bussey said that,

768
00:37:47,280 --> 00:37:49,319
Speaker 1: he said, we gotta look the part, man. And that's

769
00:37:49,360 --> 00:37:52,880
Speaker 1: one thing about you. Man. You've been sharp since the eighties.

770
00:37:52,920 --> 00:37:54,480
Speaker 1: You ain't never had a day off.

771
00:37:54,560 --> 00:38:03,000
Speaker 2: Man, appreciate you come. I will say this though, man,

772
00:38:03,560 --> 00:38:06,520
Speaker 2: when it comes to people like myself and even your errors,

773
00:38:06,680 --> 00:38:10,640
Speaker 2: you know, I mean, I feel like we're cemented and

774
00:38:10,719 --> 00:38:13,080
Speaker 2: we have a solid fan base that's going to love

775
00:38:13,080 --> 00:38:16,120
Speaker 2: and respect us like you know Charlie Wilson fans, you know,

776
00:38:16,200 --> 00:38:21,360
Speaker 2: Ronald Eisley fans. But we do need to connect with

777
00:38:21,480 --> 00:38:25,759
Speaker 2: the youth so that they can gain state power and

778
00:38:25,800 --> 00:38:28,000
Speaker 2: they learn how to be artists. I don't think that

779
00:38:28,080 --> 00:38:30,839
Speaker 2: we should leave them alone or look at it in

780
00:38:30,840 --> 00:38:33,520
Speaker 2: a way of like, ha, I'm packing shows you not.

781
00:38:34,160 --> 00:38:36,440
Speaker 2: I think that we need to work with them, you

782
00:38:36,480 --> 00:38:39,160
Speaker 2: know what I'm saying, and try to help them because

783
00:38:39,200 --> 00:38:41,759
Speaker 2: it's like we're not gonna be here forever. Our music will,

784
00:38:41,800 --> 00:38:45,200
Speaker 2: but we not. So when we're gone, what's going to

785
00:38:45,280 --> 00:38:48,080
Speaker 2: be left. If they don't know what they're doing. They

786
00:38:48,800 --> 00:38:51,680
Speaker 2: can evaporate hip hop canny vaporate. So we got to

787
00:38:51,680 --> 00:38:53,920
Speaker 2: give them the Jews. We got to teach them and

788
00:38:54,120 --> 00:38:56,640
Speaker 2: educate them and try to uplift them. And I think

789
00:38:56,680 --> 00:38:59,480
Speaker 2: that that's something important for us to do as the

790
00:38:59,600 --> 00:39:02,040
Speaker 2: you know, the older generation, you know, to teach the

791
00:39:02,120 --> 00:39:03,560
Speaker 2: youth like, yo, this is how you perform. You know,

792
00:39:04,040 --> 00:39:06,520
Speaker 2: you don't need the vocals playing to an instrumental. You

793
00:39:06,560 --> 00:39:08,560
Speaker 2: know what I'm saying. Don't just stand there once by

794
00:39:08,600 --> 00:39:10,560
Speaker 2: their stage left and stage right, it's even front of

795
00:39:10,600 --> 00:39:12,799
Speaker 2: the stage, shake a motherfucker hand when you're looking at

796
00:39:12,800 --> 00:39:14,800
Speaker 2: you and stuff like that. You know, we have to

797
00:39:14,840 --> 00:39:17,279
Speaker 2: give them game, you know, we have. We need to

798
00:39:17,280 --> 00:39:20,279
Speaker 2: do that because they are the future. But they're not

799
00:39:20,320 --> 00:39:23,319
Speaker 2: going to be the future much longer. If if if

800
00:39:23,320 --> 00:39:27,719
Speaker 2: they can't sell our shows or sell streams up whatever.

801
00:39:27,760 --> 00:39:29,720
Speaker 5: You know, you got to make sure the history continues

802
00:39:29,760 --> 00:39:31,440
Speaker 5: to be told so it's not lost.

803
00:39:31,680 --> 00:39:33,439
Speaker 1: I mean a lot of them know better e FM,

804
00:39:33,480 --> 00:39:35,560
Speaker 1: because you know why they know better. They wear Jordan's

805
00:39:35,800 --> 00:39:37,879
Speaker 1: They don't want Kyrie. I heard you say, but that's

806
00:39:37,920 --> 00:39:40,439
Speaker 1: not true. That is true, that's not that's not knowing

807
00:39:40,520 --> 00:39:42,360
Speaker 1: history because you wear no no. What I'm trying to

808
00:39:42,360 --> 00:39:44,759
Speaker 1: say is when you sit down, they'll talk. They'll sit

809
00:39:44,760 --> 00:39:47,359
Speaker 1: there and talk about a Michael Jordan game. You are

810
00:39:47,360 --> 00:39:50,120
Speaker 1: wearing these Jordan's because Jordan's scored this amount. So if

811
00:39:50,120 --> 00:39:52,279
Speaker 1: you know that amount, why don't you know about when

812
00:39:52,360 --> 00:39:54,560
Speaker 1: Biggie Small's did this one about when.

813
00:39:54,960 --> 00:39:57,840
Speaker 3: Kid doesn't know who cool work is. Right, that's what

814
00:39:57,960 --> 00:39:58,560
Speaker 3: they wear.

815
00:39:58,440 --> 00:39:58,919
Speaker 6: In the Jordan.

816
00:39:59,360 --> 00:40:01,640
Speaker 3: That might not be their fault, it's our fault in

817
00:40:01,640 --> 00:40:04,239
Speaker 3: the city generation. I believe that there was a fine time.

818
00:40:04,400 --> 00:40:06,200
Speaker 3: Like I didn't grow up on corel work. I was

819
00:40:06,200 --> 00:40:06,600
Speaker 3: too young.

820
00:40:07,040 --> 00:40:08,880
Speaker 5: There was the music that I was listening to that

821
00:40:09,040 --> 00:40:11,240
Speaker 5: was telling you, and I was like, hold up a second,

822
00:40:11,280 --> 00:40:13,680
Speaker 5: I need to know this these people that I'm listening to.

823
00:40:13,800 --> 00:40:15,440
Speaker 1: But you being in DJs, but you'll be in a

824
00:40:15,560 --> 00:40:17,520
Speaker 1: DJ and you being loyal to the culture, you win

825
00:40:17,600 --> 00:40:18,920
Speaker 1: and you search schoolhurd correct.

826
00:40:19,040 --> 00:40:21,439
Speaker 3: Absolutely, Yeah, that's that's that's what we before the inn.

827
00:40:21,480 --> 00:40:23,160
Speaker 3: At times I was literally digging in the.

828
00:40:23,320 --> 00:40:25,440
Speaker 2: That's the problem though, you know what I'm saying nobody,

829
00:40:25,520 --> 00:40:29,040
Speaker 2: like like, nobody searches anything no more. Nobody studies nothing

830
00:40:29,040 --> 00:40:31,000
Speaker 2: no more. They just google shit, you know.

831
00:40:31,840 --> 00:40:33,239
Speaker 3: But we're not giving reasons either.

832
00:40:33,280 --> 00:40:35,600
Speaker 5: I feel like like now hip hop fifty Like you said,

833
00:40:35,600 --> 00:40:38,600
Speaker 5: the positive side is younger younger kids might be like.

834
00:40:38,640 --> 00:40:41,440
Speaker 3: Yo, this is wild. Look at these packed stadiums. What

835
00:40:41,800 --> 00:40:42,640
Speaker 3: is this all about?

836
00:40:42,719 --> 00:40:45,400
Speaker 5: And they might start to gravitate to certain artists they

837
00:40:45,400 --> 00:40:48,080
Speaker 5: wouldn't have normally gravitate it to, and then learn about

838
00:40:48,080 --> 00:40:51,000
Speaker 5: the history indirectly, like a drink champs. They might learn

839
00:40:51,000 --> 00:40:53,839
Speaker 5: indirectly by the entertainment of it, say oh, these people

840
00:40:53,840 --> 00:40:57,120
Speaker 5: are wilding out, and then oh, wait, I'm learning something now.

841
00:40:57,280 --> 00:40:58,040
Speaker 6: I let me tell you something.

842
00:40:58,080 --> 00:41:01,239
Speaker 2: Man, the BET Awards, I was sitting in my seat,

843
00:41:01,280 --> 00:41:03,520
Speaker 2: the recent one one to just passed. I was sitting

844
00:41:03,520 --> 00:41:06,919
Speaker 2: in my seat patiently waiting to see all the young

845
00:41:07,000 --> 00:41:09,760
Speaker 2: cats perform. I wanted to see what type of energy

846
00:41:09,760 --> 00:41:12,960
Speaker 2: they bring in. And then especially since you know, you

847
00:41:13,040 --> 00:41:16,919
Speaker 2: have people like myself, m see like Red Man, Bust

848
00:41:17,040 --> 00:41:20,919
Speaker 2: Uncle Luke. You know what well, I mean, Buster's still

849
00:41:20,960 --> 00:41:22,960
Speaker 2: doing his thing. You know what I'm saying, He's still going.

850
00:41:23,080 --> 00:41:24,640
Speaker 2: But I mean, but you know, you you got all

851
00:41:24,640 --> 00:41:26,520
Speaker 2: these I mean, it's like for them to look at

852
00:41:26,640 --> 00:41:29,920
Speaker 2: and see. Okay, okay, right, So I wanted to see

853
00:41:30,000 --> 00:41:33,319
Speaker 2: what they were going to do on stage, and the

854
00:41:33,400 --> 00:41:38,280
Speaker 2: Migos and Lola Brook they did not let me down. Wow.

855
00:41:38,880 --> 00:41:43,319
Speaker 2: I thought that Lola and the Migos gave amazing performances.

856
00:41:43,560 --> 00:41:44,839
Speaker 6: That's the type of ship I like to see.

857
00:41:44,880 --> 00:41:46,479
Speaker 1: And it was the first time seeing the Migos together

858
00:41:46,480 --> 00:41:47,160
Speaker 1: in a long time.

859
00:41:47,280 --> 00:41:50,000
Speaker 6: Yeah yeah, yeah exactly.

860
00:41:50,280 --> 00:41:54,480
Speaker 2: But with even with that being a factor when it's

861
00:41:54,480 --> 00:41:58,439
Speaker 2: time to get it on, yeah, yeah, man, it looked

862
00:41:58,440 --> 00:42:03,000
Speaker 2: beautiful and like to see lower Brook like, you know,

863
00:42:03,280 --> 00:42:06,400
Speaker 2: actually really spitting and then jumping back and dancing with

864
00:42:06,440 --> 00:42:07,359
Speaker 2: her dances and ship.

865
00:42:07,760 --> 00:42:08,560
Speaker 3: She was not playing with it.

866
00:42:08,640 --> 00:42:09,160
Speaker 6: Yeah yeah, she.

867
00:42:11,239 --> 00:42:12,960
Speaker 3: Was go ahead.

868
00:42:15,239 --> 00:42:16,680
Speaker 1: Brooklyn energy right from Brooklyn.

869
00:42:16,760 --> 00:42:16,880
Speaker 6: Right.

870
00:42:19,880 --> 00:42:26,040
Speaker 1: Yeah, you could never take a Brooklyn dude out of

871
00:42:26,040 --> 00:42:26,600
Speaker 1: be in Brooklyn.

872
00:42:26,640 --> 00:42:28,120
Speaker 6: Man.

873
00:42:28,320 --> 00:42:33,320
Speaker 1: Specialist, But let's let's smoke about that for a second,

874
00:42:33,320 --> 00:42:38,080
Speaker 1: because special gave us a different perspective on it. He

875
00:42:38,200 --> 00:42:40,080
Speaker 1: was like that he felt like that I dont know,

876
00:42:40,080 --> 00:42:42,520
Speaker 1: we spoke about it earlier, but he felt like that

877
00:42:43,160 --> 00:42:45,960
Speaker 1: the hip hop fifty is more for corporations, it's not

878
00:42:46,000 --> 00:42:48,920
Speaker 1: really for us. And I disagree, but I let him vent.

879
00:42:51,880 --> 00:42:53,480
Speaker 1: Like you just said you said earlier. He was like,

880
00:42:53,640 --> 00:42:55,560
Speaker 1: as long as you know the artist is getting paid

881
00:42:55,719 --> 00:42:57,040
Speaker 1: and this is something that we want to do. I

882
00:42:57,080 --> 00:43:00,000
Speaker 1: don't think that Yankee Stadium was commercialized. I think Yanks

883
00:43:00,120 --> 00:43:00,600
Speaker 1: it was still in.

884
00:43:01,320 --> 00:43:05,040
Speaker 2: But it was because I mean, his his house, Okay,

885
00:43:08,120 --> 00:43:16,120
Speaker 2: Mally mal cold Crush, all the pioneers, right, they went

886
00:43:16,160 --> 00:43:17,399
Speaker 2: on like twelfth Noon. Yeah.

887
00:43:17,400 --> 00:43:19,120
Speaker 3: I was thinking they should have been the headliners.

888
00:43:19,160 --> 00:43:21,120
Speaker 6: All no, no, no, no, no, not the headline.

889
00:43:22,120 --> 00:43:24,400
Speaker 2: Yeah, they should have like fit them in like in between,

890
00:43:24,600 --> 00:43:26,200
Speaker 2: like you know, oh what kind.

891
00:43:26,000 --> 00:43:28,279
Speaker 1: Of look at the flyer wrong? When they were at

892
00:43:28,320 --> 00:43:30,120
Speaker 1: the bottom, I was looking at it as if it

893
00:43:30,239 --> 00:43:30,840
Speaker 1: was the top.

894
00:43:30,680 --> 00:43:31,879
Speaker 6: Of the black you know, the pie.

895
00:43:31,920 --> 00:43:34,160
Speaker 2: And then it's like you say, I understand that they

896
00:43:34,160 --> 00:43:38,440
Speaker 2: don't have hit records, and the ones that did have

897
00:43:38,520 --> 00:43:41,960
Speaker 2: hit records in the early eighties, a younger generation are

898
00:43:41,960 --> 00:43:44,719
Speaker 2: not aware of that. I get that. Still, in all,

899
00:43:45,160 --> 00:43:49,280
Speaker 2: if we really celebrating hip fifty years of hip hop, right,

900
00:43:49,680 --> 00:43:54,279
Speaker 2: then respect those that created the platform for it to

901
00:43:54,320 --> 00:43:59,000
Speaker 2: get here, right, you know, I mean, you know Russell Simmons,

902
00:43:59,000 --> 00:44:02,280
Speaker 2: Tyrone Williams, are Andre Harel, they did a great job.

903
00:44:02,440 --> 00:44:05,800
Speaker 2: You know, jay Z, Shook, Knight, Puffy, so many of

904
00:44:05,880 --> 00:44:07,440
Speaker 2: us did a great job. You know what I'm saying

905
00:44:07,680 --> 00:44:10,160
Speaker 2: as keeping it going and all that there. But I

906
00:44:10,160 --> 00:44:15,000
Speaker 2: do respect those that helped create this platform, you know,

907
00:44:15,840 --> 00:44:19,319
Speaker 2: sugar Hill Gang, Grand Master Flash, in the Furious Five,

908
00:44:19,400 --> 00:44:22,160
Speaker 2: Cold Cush Brothers, make it where they can be seen.

909
00:44:22,440 --> 00:44:24,560
Speaker 2: That's why that meant so much to me. For Snoop

910
00:44:24,600 --> 00:44:27,000
Speaker 2: to bring out Hollywood, that meant the world.

911
00:44:27,120 --> 00:44:29,239
Speaker 1: I believe that was Russell Simmons pulling those strings too.

912
00:44:29,320 --> 00:44:31,240
Speaker 2: Yeah, yeah, yeah, yeah, of course. Yeah.

913
00:44:31,640 --> 00:44:33,920
Speaker 1: Oh man, and let me so, let me ask you

914
00:44:33,920 --> 00:44:36,000
Speaker 1: why we're on this subject, and especially while we're in

915
00:44:36,040 --> 00:44:37,960
Speaker 1: the South, A lot of people like one of the

916
00:44:37,960 --> 00:44:40,880
Speaker 1: first things that we heard, especially living in Miami, was

917
00:44:41,000 --> 00:44:44,520
Speaker 1: Uncle LUTH's voice. Uncle Luke was like, he felt like,

918
00:44:46,000 --> 00:44:49,000
Speaker 1: I don't I don't believe he said the South. I

919
00:44:49,000 --> 00:44:52,000
Speaker 1: believe he said Florida. He said Florida. But there's a

920
00:44:52,120 --> 00:44:54,200
Speaker 1: different regions like the West. I'm here and there because

921
00:44:54,200 --> 00:44:56,880
Speaker 1: now I'm seeing Jermaine Duprie saying the same thing, and

922
00:44:57,360 --> 00:44:58,879
Speaker 1: it bugged me out a little bit because I seen

923
00:44:58,960 --> 00:45:02,759
Speaker 1: Jermaine Duprie happy backstage like he was. He was back there,

924
00:45:02,760 --> 00:45:04,920
Speaker 1: he was filming himself, and then when he went back

925
00:45:04,920 --> 00:45:07,520
Speaker 1: home to Atlanta, he was He's basically like, uh, you know,

926
00:45:08,440 --> 00:45:10,880
Speaker 1: that was a New York thing, and New York doesn't

927
00:45:10,880 --> 00:45:15,319
Speaker 1: really recognize Atlanta. That's what Jabani the preset, and then

928
00:45:15,400 --> 00:45:18,680
Speaker 1: Luke pretty much said the same thing, but he uh,

929
00:45:19,120 --> 00:45:20,360
Speaker 1: I did de fight it with Florida.

930
00:45:20,440 --> 00:45:20,720
Speaker 2: Correct.

931
00:45:21,040 --> 00:45:23,000
Speaker 1: When you hear things like that, what do you think?

932
00:45:23,200 --> 00:45:24,400
Speaker 3: What does come.

933
00:45:25,840 --> 00:45:28,440
Speaker 6: Like that? Don't it identify?

934
00:45:28,800 --> 00:45:29,160
Speaker 2: This sound?

935
00:45:29,280 --> 00:45:32,960
Speaker 5: Wasn't enough representation of the whole country in terms of well,

936
00:45:33,040 --> 00:45:34,760
Speaker 5: like I mean the regions.

937
00:45:34,840 --> 00:45:38,040
Speaker 2: Yeah, I mean it probably wasn't. I mean, it's too

938
00:45:38,040 --> 00:45:40,800
Speaker 2: many goddamn artists, man, you know, for one night, you

939
00:45:40,880 --> 00:45:42,279
Speaker 2: know what I mean, it's too many artists, man.

940
00:45:42,440 --> 00:45:43,560
Speaker 6: I mean it probably wasn't.

941
00:45:44,040 --> 00:45:49,280
Speaker 2: But I mean, to me, that's only reason enough to

942
00:45:49,640 --> 00:45:55,040
Speaker 2: do a hip hop fiftyth in Atlanta, you know, yeahs right, Yeah,

943
00:45:55,080 --> 00:46:00,080
Speaker 2: you get on outcast together, you know the brat you know, so,

944
00:46:00,120 --> 00:46:02,520
Speaker 2: I mean, you know, even bring out what's what's my

945
00:46:02,600 --> 00:46:05,160
Speaker 2: man name? I think he was like the first Southern

946
00:46:05,280 --> 00:46:05,800
Speaker 2: was Sha.

947
00:46:05,800 --> 00:46:07,880
Speaker 3: D y D.

948
00:46:08,080 --> 00:46:11,120
Speaker 2: Yeah. Yeah, Uncle Luke called me bring them all out,

949
00:46:11,120 --> 00:46:13,719
Speaker 2: se Lo Green, Goodie, Marb you know, like boys with

950
00:46:13,880 --> 00:46:17,919
Speaker 2: your crew. Yeah, yeah, bring them out, Daddy, Trina, bring

951
00:46:17,960 --> 00:46:19,040
Speaker 2: them all out, you know.

952
00:46:19,160 --> 00:46:21,239
Speaker 1: Because Trina was on the show, and so it was

953
00:46:22,600 --> 00:46:26,880
Speaker 1: Florider and t I Florid was on. Yeah, I seemed

954
00:46:27,320 --> 00:46:30,120
Speaker 1: Publar getting me bring out floor Rider. Really yeah, it

955
00:46:30,280 --> 00:46:32,680
Speaker 1: was something. I don't know if he's Yankee Stadium.

956
00:46:32,280 --> 00:46:32,640
Speaker 2: But it was.

957
00:46:32,680 --> 00:46:35,160
Speaker 1: He was there that during that fifty about week.

958
00:46:35,239 --> 00:46:35,479
Speaker 2: Yeah.

959
00:46:35,920 --> 00:46:38,759
Speaker 6: See with this, with with what m seeing became.

960
00:46:40,680 --> 00:46:47,439
Speaker 2: Thanks to Mellie mel was a way of ghetto expression, right,

961
00:46:48,400 --> 00:46:53,719
Speaker 2: and there's more ghettos than New York. You know when

962
00:46:53,760 --> 00:46:56,960
Speaker 2: we heard straight out of Compton and what n w

963
00:46:56,960 --> 00:46:59,960
Speaker 2: A was talking about, you know, we got an expanse

964
00:47:00,560 --> 00:47:04,279
Speaker 2: of what the streets was like in l A. You know,

965
00:47:06,400 --> 00:47:09,280
Speaker 2: when the Ghetto Boys came out, we had a chance

966
00:47:09,360 --> 00:47:12,719
Speaker 2: to experience what the streets was like Houston and what

967
00:47:12,760 --> 00:47:15,600
Speaker 2: do you call that is Southwest.

968
00:47:15,280 --> 00:47:16,640
Speaker 3: In the wars right in the wards.

969
00:47:17,000 --> 00:47:19,719
Speaker 2: Yeah yeah, I mean like the region is that those

970
00:47:20,000 --> 00:47:23,960
Speaker 2: that would that be considered Southwest, Now this is the

971
00:47:24,040 --> 00:47:28,600
Speaker 2: South is so okay, but yeah, you got to experience that,

972
00:47:28,920 --> 00:47:35,680
Speaker 2: you know, I mean even even with eminem because not

973
00:47:35,760 --> 00:47:41,760
Speaker 2: only well oh yeah, not only is that Detroit hood,

974
00:47:42,239 --> 00:47:44,040
Speaker 2: but it's not our hood.

975
00:47:45,239 --> 00:47:46,919
Speaker 6: Yeah, no, he talking trailer parks.

976
00:47:48,280 --> 00:47:51,080
Speaker 2: I'm saying, so you you get to hear by the

977
00:47:51,120 --> 00:47:53,359
Speaker 2: white hood. You know what I'm saying. I mean, I'm

978
00:47:53,400 --> 00:47:56,600
Speaker 2: other than Roseanne. I don't know nothing about no trailer parks.

979
00:47:57,120 --> 00:47:57,680
Speaker 6: You know what I'm saying.

980
00:47:58,800 --> 00:48:01,319
Speaker 2: Eminem gave gave us like what it was like in

981
00:48:01,360 --> 00:48:03,319
Speaker 2: his hood growing up. You know what I'm saying. So

982
00:48:03,360 --> 00:48:06,279
Speaker 2: it's like it's the way what ghetto expression can be. Man.

983
00:48:06,320 --> 00:48:08,560
Speaker 2: It's beautiful man, you know so, I mean it's it's

984
00:48:08,600 --> 00:48:11,120
Speaker 2: out there in all types of different regions man. You know. So,

985
00:48:11,160 --> 00:48:14,120
Speaker 2: I mean, you don't have to just end the Yankee Stadium,

986
00:48:14,160 --> 00:48:16,600
Speaker 2: but you're still young and shit. Throw something in Atlanta,

987
00:48:16,640 --> 00:48:19,000
Speaker 2: throw something in Detroit, throw something in la you know.

988
00:48:19,200 --> 00:48:20,680
Speaker 1: That was one of the things that I noticed about

989
00:48:20,719 --> 00:48:23,919
Speaker 1: your documentary, sorry bounced around, was that you had Eminem

990
00:48:24,040 --> 00:48:27,399
Speaker 1: in the documentary. For those that haven't seen the trailer yet,

991
00:48:27,719 --> 00:48:30,319
Speaker 1: and you know, this is one of them unicorn guys, right,

992
00:48:30,360 --> 00:48:32,600
Speaker 1: this is a guy like no one could get Eminem, right.

993
00:48:33,360 --> 00:48:35,759
Speaker 1: Was it hard for you to reach Eminem or this

994
00:48:35,840 --> 00:48:37,960
Speaker 1: was something that you know, because I know he's a

995
00:48:38,000 --> 00:48:38,960
Speaker 1: real hip hop fan.

996
00:48:39,120 --> 00:48:47,120
Speaker 2: So showed love. When we reached out he said yeah, wow,

997
00:48:48,840 --> 00:48:53,400
Speaker 2: when well, no, let me not say that, but but

998
00:48:54,800 --> 00:48:57,680
Speaker 2: he showed love. He showed love and he made it

999
00:48:57,760 --> 00:48:59,080
Speaker 2: will let me let me, let me see, let me

1000
00:48:59,080 --> 00:49:01,520
Speaker 2: word it this way. He made it where we wouldn't

1001
00:49:01,520 --> 00:49:05,080
Speaker 2: have no problems, and you know it was okay with

1002
00:49:05,200 --> 00:49:08,360
Speaker 2: you know, using his likeness in order, Like he showed

1003
00:49:08,400 --> 00:49:10,439
Speaker 2: love and showed up with a with a Big Daddy

1004
00:49:10,480 --> 00:49:11,680
Speaker 2: Gang show on to do the interview.

1005
00:49:11,800 --> 00:49:12,680
Speaker 1: Wow, goddamn.

1006
00:49:12,840 --> 00:49:17,160
Speaker 2: And the craziest thing is he told me stuff about

1007
00:49:17,200 --> 00:49:21,359
Speaker 2: myself that I never even thought about, you know, because

1008
00:49:21,360 --> 00:49:23,840
Speaker 2: I mean you as an MC, you're writing, yes, but

1009
00:49:23,960 --> 00:49:27,040
Speaker 2: it's like you're not sitting there thinking like you know,

1010
00:49:27,360 --> 00:49:30,680
Speaker 2: I gotta add something that does this, I gotta add something.

1011
00:49:30,840 --> 00:49:34,279
Speaker 2: You just writing what comes to mind. So that's what

1012
00:49:34,320 --> 00:49:36,879
Speaker 2: I'm doing. And he pointed out stuff that I did,

1013
00:49:36,920 --> 00:49:39,080
Speaker 2: and I'm sitting there listening and talking and when I'm

1014
00:49:39,120 --> 00:49:40,680
Speaker 2: the whole time looking at him, but in my mind,

1015
00:49:40,719 --> 00:49:45,239
Speaker 2: I'm like, real, I did that. Now I'm sitting there

1016
00:49:45,239 --> 00:49:46,759
Speaker 2: and then like you know, we finished, I had to

1017
00:49:46,760 --> 00:49:49,080
Speaker 2: like go back and listen to records from the mid

1018
00:49:49,120 --> 00:49:51,719
Speaker 2: eighties early eighties, like now they had to be someone

1019
00:49:51,760 --> 00:49:55,759
Speaker 2: that did this before me, Like damn, Like I never

1020
00:49:55,840 --> 00:49:58,399
Speaker 2: thought about that. Like, yeah, he said some deep stuff, man,

1021
00:49:58,440 --> 00:50:00,520
Speaker 2: he said some real deep stuff. He's a suitor of

1022
00:50:00,560 --> 00:50:01,160
Speaker 2: the game for sure.

1023
00:50:01,440 --> 00:50:02,359
Speaker 3: I love that fact.

1024
00:50:02,400 --> 00:50:05,200
Speaker 1: I love the fact that when it comes to the ogs,

1025
00:50:05,239 --> 00:50:06,759
Speaker 1: like he always you know what I mean. I mean,

1026
00:50:06,920 --> 00:50:08,439
Speaker 1: didn't he accept the award.

1027
00:50:08,400 --> 00:50:12,480
Speaker 3: And he listed off, Yeah, mad people almost, But him.

1028
00:50:12,320 --> 00:50:16,600
Speaker 1: And Melly Mail were at it, like you can't call

1029
00:50:16,680 --> 00:50:17,760
Speaker 1: Mellie mill as they relax.

1030
00:50:19,400 --> 00:50:19,919
Speaker 2: Me and Mel.

1031
00:50:20,760 --> 00:50:23,160
Speaker 6: Me and Mel actually did talk. See.

1032
00:50:24,120 --> 00:50:28,319
Speaker 2: The thing that a lot of people don't understand is like,

1033
00:50:29,360 --> 00:50:34,040
Speaker 2: I have a perspective on hip hop because of the

1034
00:50:34,080 --> 00:50:36,879
Speaker 2: way I understood it first time I heard hip hop

1035
00:50:36,920 --> 00:50:41,360
Speaker 2: was seventy seven. I have a perspective, you know, from

1036
00:50:41,800 --> 00:50:44,600
Speaker 2: what I learned from that point. Whenever it was that

1037
00:50:44,680 --> 00:50:46,600
Speaker 2: you heard it, whenever it was that you heard it.

1038
00:50:46,800 --> 00:50:52,520
Speaker 2: His perspectives that we all have, right, Melly Mel has

1039
00:50:52,560 --> 00:50:56,600
Speaker 2: a perspective from the origin. Okay, and a lot of

1040
00:50:56,600 --> 00:51:01,439
Speaker 2: those cats feel that when it went to record, hip

1041
00:51:01,480 --> 00:51:05,400
Speaker 2: hop was ruined at that point. The purest form of

1042
00:51:05,480 --> 00:51:08,520
Speaker 2: hip hop was ruined as soon as it went to record,

1043
00:51:08,800 --> 00:51:11,120
Speaker 2: When it became an official music genre.

1044
00:51:11,320 --> 00:51:15,439
Speaker 3: Became a business. Yeah, okay, yeah, that gang. I would

1045
00:51:15,440 --> 00:51:18,640
Speaker 3: assume that was the first time they felt that way.

1046
00:51:19,239 --> 00:51:21,799
Speaker 2: It's possible, but I mean it's like, well, I would

1047
00:51:21,800 --> 00:51:23,879
Speaker 2: assume maybe a year so later, because it's like now

1048
00:51:23,920 --> 00:51:27,359
Speaker 2: you're seeing the effects. You're seeing what's happening to what

1049
00:51:27,440 --> 00:51:30,680
Speaker 2: y'all created and what y'all been doing. Now it's going

1050
00:51:30,719 --> 00:51:34,160
Speaker 2: a different direction and how it's being driven. So it's

1051
00:51:34,280 --> 00:51:38,960
Speaker 2: like you have to understand his bitterness, you know, because

1052
00:51:38,960 --> 00:51:40,400
Speaker 2: it's it's not about hate.

1053
00:51:41,000 --> 00:51:44,000
Speaker 6: It's about, you know, what happened.

1054
00:51:43,719 --> 00:51:46,359
Speaker 3: To his baby, right, you can't dismiss that.

1055
00:51:46,440 --> 00:51:48,440
Speaker 2: You know her cast as well, you know a lot

1056
00:51:48,480 --> 00:51:51,240
Speaker 2: of them, you know, so it's what happened to their baby,

1057
00:51:51,840 --> 00:51:55,400
Speaker 2: you know. So I mean it's like I respect their anger,

1058
00:51:55,719 --> 00:51:57,880
Speaker 2: but at the same time, you know, I try to,

1059
00:51:57,960 --> 00:52:00,640
Speaker 2: you know, in a you know, diplomatic wage, just build

1060
00:52:00,640 --> 00:52:03,960
Speaker 2: with the brother and say listen, man, it ain't work,

1061
00:52:04,040 --> 00:52:06,040
Speaker 2: you know, just you know, you know.

1062
00:52:06,440 --> 00:52:08,759
Speaker 1: Yeah, because at one point I felt like Melly Mill

1063
00:52:08,840 --> 00:52:10,759
Speaker 1: had a problem with everybody he does.

1064
00:52:11,920 --> 00:52:15,640
Speaker 2: Mel cursed my ass out one night, Bell's jumped up

1065
00:52:15,680 --> 00:52:19,600
Speaker 2: over me, kicked the fucking Ottoman. Was like motherfucker. You

1066
00:52:19,680 --> 00:52:22,560
Speaker 2: wasn't there. He was a baby when it ship started.

1067
00:52:22,600 --> 00:52:32,520
Speaker 2: You wasn't he was. I ain't gonna bring it up, man.

1068
00:52:34,960 --> 00:52:38,040
Speaker 1: But so it's not just a couple of us, it's everyone.

1069
00:52:38,400 --> 00:52:43,160
Speaker 2: Yeah. Yeah, if you relax, be like, all right, yeah,

1070
00:52:43,200 --> 00:52:46,080
Speaker 2: I mean, that's just mal, that's just mel Man. I mean,

1071
00:52:46,200 --> 00:52:49,399
Speaker 2: but I mean it's like, the bottom line is just man,

1072
00:52:49,520 --> 00:52:57,560
Speaker 2: you know, rather he right or wrong. I feel like myself, you, Eminem,

1073
00:52:57,640 --> 00:53:01,280
Speaker 2: and so many others wouldn't have been here or wouldn't

1074
00:53:01,320 --> 00:53:03,920
Speaker 2: have been gifted at this if it wasn't for Mail.

1075
00:53:03,920 --> 00:53:10,040
Speaker 5: Right, you know, let me ask you, in the same

1076
00:53:10,120 --> 00:53:12,560
Speaker 5: vein of all this, what do you think? What's your

1077
00:53:12,600 --> 00:53:16,800
Speaker 5: perspective on the state of MC today.

1078
00:53:18,760 --> 00:53:21,360
Speaker 2: I think that there are a lot of dope mcs

1079
00:53:21,400 --> 00:53:24,880
Speaker 2: out there. You just have to find them, right you know.

1080
00:53:25,280 --> 00:53:27,839
Speaker 2: I think that there's a lot of dope mcs out there,

1081
00:53:27,840 --> 00:53:31,560
Speaker 2: you just have to find them right now because of

1082
00:53:31,640 --> 00:53:37,400
Speaker 2: what radio does right now. Because of what radio does,

1083
00:53:37,760 --> 00:53:42,200
Speaker 2: they focus on a certain kind of music, you know,

1084
00:53:43,320 --> 00:53:45,600
Speaker 2: and because of that, that's what's put to the forefront,

1085
00:53:46,960 --> 00:53:50,720
Speaker 2: and that's all you think about. So you're not thinking about,

1086
00:53:50,920 --> 00:53:55,000
Speaker 2: you know, who's lyrical and then the other thing. And

1087
00:53:55,000 --> 00:53:59,799
Speaker 2: I'm gonna say this to all my lyrical MC's, with

1088
00:54:00,080 --> 00:54:03,719
Speaker 2: the exception of Lady London, She's not included.

1089
00:54:03,920 --> 00:54:04,480
Speaker 6: Here's why.

1090
00:54:05,440 --> 00:54:09,120
Speaker 2: As a lyrical MC, I think that it's very important

1091
00:54:09,160 --> 00:54:12,759
Speaker 2: for you to look the part as well look fly

1092
00:54:13,040 --> 00:54:16,200
Speaker 2: so that people if they're not paying attention to what

1093
00:54:16,239 --> 00:54:19,719
Speaker 2: they say, what you say, they're paying attention to how

1094
00:54:19,760 --> 00:54:24,280
Speaker 2: you look and then they gravitate, gravitate to the lyrics,

1095
00:54:24,880 --> 00:54:29,160
Speaker 2: you know. But there are a lot of lyrical mcs,

1096
00:54:29,440 --> 00:54:31,640
Speaker 2: you just have to find them. But at this point

1097
00:54:31,680 --> 00:54:34,160
Speaker 2: in time, what's more important really is like you know,

1098
00:54:34,520 --> 00:54:36,840
Speaker 2: a catchy tune, you know, and.

1099
00:54:37,200 --> 00:54:40,640
Speaker 5: I'll you said, the look, but also the production, because

1100
00:54:40,680 --> 00:54:45,719
Speaker 5: you'll have an incredible lyrically you know, lyrical MC that

1101
00:54:45,920 --> 00:54:48,440
Speaker 5: doesn't pick good production to put.

1102
00:54:48,280 --> 00:54:49,000
Speaker 3: Those lyrics too.

1103
00:54:49,360 --> 00:54:53,080
Speaker 2: Well, it's not he don't pick good production, is that

1104
00:54:53,520 --> 00:54:58,759
Speaker 2: he doesn't pick commercial productions. Most lyrical MC is like

1105
00:54:58,800 --> 00:55:02,480
Speaker 2: bone BAP and that's not what's really selling or what's

1106
00:55:02,680 --> 00:55:06,000
Speaker 2: playing on the radio, you know. But you do have

1107
00:55:06,080 --> 00:55:10,040
Speaker 2: lyrical mcs that you know, rhyme over the uh that

1108
00:55:10,200 --> 00:55:11,840
Speaker 2: modern style production.

1109
00:55:11,600 --> 00:55:12,840
Speaker 6: Like J Cole.

1110
00:55:13,160 --> 00:55:14,480
Speaker 1: Government documentary as well.

1111
00:55:14,560 --> 00:55:18,840
Speaker 2: He kills Kendrick J. Cole is my favorite MC of

1112
00:55:18,920 --> 00:55:21,600
Speaker 2: this era. Shout out to Conway the Machine. I love

1113
00:55:21,680 --> 00:55:23,160
Speaker 2: him to death. Billy Butcher.

1114
00:55:24,280 --> 00:55:27,480
Speaker 1: Yeah, on the flag stables out there.

1115
00:55:27,040 --> 00:55:31,720
Speaker 2: J Cole, J Cole, Oh man, like he's a problem

1116
00:55:31,719 --> 00:55:31,920
Speaker 2: to me.

1117
00:55:32,040 --> 00:55:34,400
Speaker 3: Cole and Kendrick, they're they're tied to me.

1118
00:55:34,920 --> 00:55:40,200
Speaker 2: I love Kendrick. But you got to understand Cole said,

1119
00:55:41,040 --> 00:55:42,080
Speaker 2: no Cosby shipped.

1120
00:55:42,080 --> 00:55:44,000
Speaker 6: But if they're sleeping on me, fuck them.

1121
00:55:52,440 --> 00:55:53,560
Speaker 1: I didn't even catch that.

1122
00:55:54,800 --> 00:55:57,080
Speaker 3: No Cosh but sleeping on them.

1123
00:55:59,280 --> 00:56:02,840
Speaker 2: But if they sleeping on me, there's a lot. I

1124
00:56:02,880 --> 00:56:04,000
Speaker 2: don't believe that right there?

1125
00:56:04,680 --> 00:56:05,640
Speaker 3: Where do you say that that?

1126
00:56:11,080 --> 00:56:20,840
Speaker 2: However, y'all want to come back to this, Yeah, yeah, no, no,

1127
00:56:20,640 --> 00:56:29,839
Speaker 2: no for Jake Paul. Now, while we're on this subject matter,

1128
00:56:31,560 --> 00:56:35,360
Speaker 2: as I said, I'm speaking about everyone except Lady London.

1129
00:56:35,400 --> 00:56:37,960
Speaker 2: The reason why I say that is because Lady London

1130
00:56:38,080 --> 00:56:41,399
Speaker 2: she does look the part. She stay fly from head

1131
00:56:41,400 --> 00:56:45,600
Speaker 2: to toe, you know what I'm saying. And her bars

1132
00:56:45,880 --> 00:56:49,120
Speaker 2: are ridiculous, ridiculous, you know.

1133
00:56:50,040 --> 00:56:51,360
Speaker 6: And not only.

1134
00:56:51,200 --> 00:56:55,080
Speaker 2: That she she don't be half naked, not say anything

1135
00:56:55,120 --> 00:56:57,319
Speaker 2: negative about the women that do. I'm just saying that,

1136
00:56:57,680 --> 00:57:00,799
Speaker 2: you know, she don't rely on that you rely on

1137
00:57:00,880 --> 00:57:05,400
Speaker 2: her beauty and her lyrics, mainly her lyrics, you know.

1138
00:57:06,120 --> 00:57:11,960
Speaker 2: And Lady London, m she said, I go on a

1139
00:57:12,080 --> 00:57:14,839
Speaker 2: date just for a date. Just I let that sit

1140
00:57:14,880 --> 00:57:18,920
Speaker 2: there for them, catch up, take.

1141
00:57:18,800 --> 00:57:27,520
Speaker 3: Your time.

1142
00:57:26,400 --> 00:57:27,320
Speaker 2: For Lady London.

1143
00:57:33,840 --> 00:57:35,960
Speaker 1: That was woman.

1144
00:57:35,760 --> 00:57:43,640
Speaker 2: Didn't get that. Somebody please explain matter of fact, let

1145
00:57:43,720 --> 00:57:48,240
Speaker 2: me explain that that that that don't understand. I go

1146
00:57:48,320 --> 00:57:51,400
Speaker 2: on a date just for a date, just date, just

1147
00:57:51,480 --> 00:57:55,480
Speaker 2: as a rolex. Yes, that's a kind of rolex. So

1148
00:57:55,560 --> 00:57:57,360
Speaker 2: she's saying, yeah, I go on a date just just

1149
00:57:57,600 --> 00:58:01,520
Speaker 2: for for a dude to buy me a Rolex. Don't

1150
00:58:01,520 --> 00:58:08,320
Speaker 2: play with that girl, quick time, let's do it.

1151
00:58:10,040 --> 00:58:15,919
Speaker 1: Okay, Oh yeah, yeah, well ka, big daddy king my brother.

1152
00:58:16,200 --> 00:58:18,040
Speaker 1: Let me just tell you something. Our show is about

1153
00:58:18,080 --> 00:58:21,120
Speaker 1: giving people their flowers. Were always wanted to have this

1154
00:58:21,200 --> 00:58:25,000
Speaker 1: show to, you know, to to to to salute our ogs,

1155
00:58:25,040 --> 00:58:28,760
Speaker 1: the people that made this life possible for us to

1156
00:58:28,800 --> 00:58:30,200
Speaker 1: live the life that we live. And we want to

1157
00:58:30,200 --> 00:58:35,560
Speaker 1: give you, face to face your flowers. Said, It's like

1158
00:58:35,560 --> 00:58:48,560
Speaker 1: a Grammy because it comes from your own people and.

1159
00:58:43,600 --> 00:58:44,320
Speaker 2: We have you back.

1160
00:58:44,400 --> 00:58:49,440
Speaker 1: Yes, yeah yeah. And by the way, he always drinks

1161
00:58:49,440 --> 00:58:52,960
Speaker 1: so exclusive ship drink some Exclusive ship let me just

1162
00:58:52,960 --> 00:58:58,160
Speaker 1: tell you something, young whipper snappers. He is og to

1163
00:58:58,320 --> 00:59:03,800
Speaker 1: the per talking about anything about him, his motherfucking impeccable.

1164
00:59:03,920 --> 00:59:05,040
Speaker 3: Goddamn. Let's go one.

1165
00:59:05,040 --> 00:59:07,160
Speaker 1: All right, we're gonna you wanna splain them, Thomas.

1166
00:59:07,520 --> 00:59:10,600
Speaker 5: Yeah, We're gonna give you two choices. If you pick one,

1167
00:59:11,280 --> 00:59:14,800
Speaker 5: nobody's drinking. This is a drinking game, by the way. Okay,

1168
00:59:14,200 --> 00:59:17,280
Speaker 5: so if you pick one, nobody's drinking. If you say

1169
00:59:17,440 --> 00:59:21,720
Speaker 5: both or neither, we all drink.

1170
00:59:22,080 --> 00:59:22,880
Speaker 3: I mean he could do whatever.

1171
00:59:22,880 --> 00:59:24,800
Speaker 2: He yeah, he can, we don't.

1172
00:59:25,480 --> 00:59:27,320
Speaker 1: Yeah, yeah, yeah, yeah, that's okay, you can do it.

1173
00:59:27,360 --> 00:59:30,880
Speaker 2: Now what what what? What's the answer if someone has.

1174
00:59:31,440 --> 00:59:33,920
Speaker 5: If I'm saying, we're gonna give you two choices, if

1175
00:59:33,960 --> 00:59:35,480
Speaker 5: you pick one, that said, would we just go on

1176
00:59:35,520 --> 00:59:38,000
Speaker 5: to the next one. If you say both, like you say,

1177
00:59:38,040 --> 00:59:41,200
Speaker 5: well that I'm picking both or I'm picking neither of them,

1178
00:59:41,720 --> 00:59:42,400
Speaker 5: then we're drinking.

1179
00:59:42,840 --> 00:59:44,040
Speaker 3: Cool all right?

1180
00:59:46,000 --> 00:59:48,280
Speaker 9: No, no, no, why yeah, yeah, le's keep it with the wine.

1181
00:59:48,280 --> 00:59:58,360
Speaker 9: That's right, Okay, Tupac or d m X. It's your

1182
00:59:58,400 --> 01:00:00,520
Speaker 9: mind and you can explain it. You don't have takes place.

1183
01:00:00,600 --> 01:00:01,760
Speaker 9: It's all up to you.

1184
01:00:03,640 --> 01:00:12,040
Speaker 2: If if we talking artists, Tupac, if we're talking lyricists X.

1185
01:00:12,400 --> 01:00:14,120
Speaker 3: That sounds like a drink to me. Sounds like both

1186
01:00:14,240 --> 01:00:14,680
Speaker 3: sounds like.

1187
01:00:17,880 --> 01:00:21,720
Speaker 1: Again, all right, I like this one Primo or Lars pro.

1188
01:00:24,280 --> 01:00:30,280
Speaker 2: Mm hmmm. I would have to say I would have

1189
01:00:30,520 --> 01:00:37,160
Speaker 2: I would I would have to say I would have

1190
01:00:37,200 --> 01:00:41,040
Speaker 2: to say Primo okay. I would have to say Primo.

1191
01:00:41,080 --> 01:00:43,240
Speaker 3: Okay, kick Apri or DJ Scratch.

1192
01:00:44,280 --> 01:00:45,400
Speaker 6: You ain't putting me in that ship.

1193
01:00:46,760 --> 01:00:47,240
Speaker 3: That's a good.

1194
01:00:47,320 --> 01:00:54,880
Speaker 2: That's a good. I'll say like this said Rock a Party,

1195
01:00:55,240 --> 01:00:58,000
Speaker 2: Kick Apri, DJ Battle Scratch.

1196
01:00:58,600 --> 01:01:03,400
Speaker 1: That sounds like a drink to me, because that was

1197
01:01:03,440 --> 01:01:04,960
Speaker 1: the big debate that night.

1198
01:01:06,800 --> 01:01:11,160
Speaker 2: Uh, the verses, right, Yeah, I kind of take blame

1199
01:01:11,240 --> 01:01:12,840
Speaker 2: for that, man, Okay, let's just play.

1200
01:01:13,160 --> 01:01:15,360
Speaker 1: I can see your face.

1201
01:01:16,240 --> 01:01:22,280
Speaker 2: No, because like when I told you earlier, he didn't

1202
01:01:22,280 --> 01:01:24,760
Speaker 2: want to do it, okay, but then when when they

1203
01:01:24,800 --> 01:01:27,320
Speaker 2: got cares to do it, he got he agreed to

1204
01:01:27,320 --> 01:01:31,160
Speaker 2: do it with KRS got. So then when Charlie Max said, Yo,

1205
01:01:31,400 --> 01:01:34,880
Speaker 2: we want you to use DJ Scratch, I said, okay, fine,

1206
01:01:35,920 --> 01:01:38,760
Speaker 2: and then I called Scratch and I was like, yo,

1207
01:01:39,000 --> 01:01:46,520
Speaker 2: his as you know, but I didn't know that. You

1208
01:01:46,560 --> 01:01:49,200
Speaker 2: know that, you know, they had a little something going

1209
01:01:49,240 --> 01:01:53,160
Speaker 2: on and you know, and you know when when Scratch

1210
01:01:53,280 --> 01:01:55,960
Speaker 2: went the sucker DJ, and I was like, I was like, no,

1211
01:01:56,160 --> 01:01:58,960
Speaker 2: hold no, just like you know, yeah, I came with

1212
01:01:59,080 --> 01:02:05,320
Speaker 2: bars right and I spit some some simple ship, you know,

1213
01:02:05,520 --> 01:02:07,840
Speaker 2: hoping that Chris was going to, you know, bite off

1214
01:02:07,840 --> 01:02:10,560
Speaker 2: of it, you'll come but but he didn't. But I mean,

1215
01:02:12,160 --> 01:02:15,760
Speaker 2: even with what I had locked and loaded, I wasn't

1216
01:02:15,800 --> 01:02:18,800
Speaker 2: gonna call him no sucker and see nothing that degrading.

1217
01:02:18,880 --> 01:02:20,600
Speaker 2: You know what I'm saying. That's my brother. It's like

1218
01:02:20,680 --> 01:02:22,760
Speaker 2: I would spit some battle rounds, but I'm not going

1219
01:02:22,760 --> 01:02:24,400
Speaker 2: to do. I love him, you know what I'm saying.

1220
01:02:24,640 --> 01:02:26,440
Speaker 2: And you know I didn't know. I love k Caprice,

1221
01:02:26,440 --> 01:02:28,600
Speaker 2: so I don't want you don't call him a sucker DJ.

1222
01:02:29,160 --> 01:02:31,480
Speaker 6: A gentleman's yeah.

1223
01:02:31,520 --> 01:02:35,400
Speaker 1: I mean I didn't take it that way. Asked me

1224
01:02:35,480 --> 01:02:37,840
Speaker 1: watching it, I'll be watching it. I really did take

1225
01:02:37,840 --> 01:02:39,880
Speaker 1: it as a DJ type type of thing. But when

1226
01:02:40,440 --> 01:02:42,000
Speaker 1: Caprite didn't indulged back.

1227
01:02:41,880 --> 01:02:43,560
Speaker 3: That's what I was like, Oh, maybe this wasn't right.

1228
01:02:44,480 --> 01:02:46,120
Speaker 2: I mean it was like, you know, it was like

1229
01:02:46,240 --> 01:02:48,600
Speaker 2: at that moment when scratched, I said, you know what,

1230
01:02:49,200 --> 01:02:53,760
Speaker 2: I forgot you the funk I was talking to I'm like,

1231
01:02:53,840 --> 01:02:56,200
Speaker 2: this is what the ship stra he was he was

1232
01:02:56,240 --> 01:03:01,640
Speaker 2: going scratch. This was just me being being upset with Caprie.

1233
01:03:01,760 --> 01:03:05,320
Speaker 2: You know, so now you can do it. Okay, answer

1234
01:03:05,920 --> 01:03:08,640
Speaker 2: you know, but but you know, but I forgot who

1235
01:03:08,680 --> 01:03:10,600
Speaker 2: I was dealing with. That was that was about fault

1236
01:03:10,640 --> 01:03:13,800
Speaker 2: man poo. I'm sorry, brother, I'm sorry, brother.

1237
01:03:14,080 --> 01:03:16,520
Speaker 3: Okay, care ras one or rock.

1238
01:03:16,400 --> 01:03:26,800
Speaker 2: Him hm hmm. Once again, it's it depends. It's like.

1239
01:03:28,280 --> 01:03:29,240
Speaker 3: You're gonna get a lot of it.

1240
01:03:32,280 --> 01:03:32,960
Speaker 2: On a song.

1241
01:03:33,680 --> 01:03:36,000
Speaker 6: Rock him in the battle Karres.

1242
01:03:36,640 --> 01:03:42,920
Speaker 1: Okay, this sounds like.

1243
01:03:43,680 --> 01:03:44,960
Speaker 2: Why are you all in our.

1244
01:03:46,600 --> 01:03:49,640
Speaker 5: I was trying to avoid I get the next? Okay,

1245
01:03:51,480 --> 01:03:54,360
Speaker 5: good one, by the way, all right, Guru or big

1246
01:03:54,480 --> 01:03:56,680
Speaker 5: l rest in pieces of both.

1247
01:03:59,280 --> 01:04:01,600
Speaker 2: I don't want to I don't. I mean these brothers

1248
01:04:01,680 --> 01:04:03,320
Speaker 2: and they're not here no more, I don't. I don't

1249
01:04:03,320 --> 01:04:03,960
Speaker 2: want to do that one.

1250
01:04:04,040 --> 01:04:07,720
Speaker 1: Yes, we're gonna drink for that, so we're drinking. That

1251
01:04:07,800 --> 01:04:12,600
Speaker 1: sounds like bo you one the next word because didn't

1252
01:04:12,600 --> 01:04:14,680
Speaker 1: mister C bring Biggie to your career?

1253
01:04:15,600 --> 01:04:15,760
Speaker 2: No?

1254
01:04:15,760 --> 01:04:18,640
Speaker 6: No, no, okay, mister C.

1255
01:04:18,880 --> 01:04:22,200
Speaker 2: Let me hear them. Okay, like he he did the

1256
01:04:22,240 --> 01:04:24,560
Speaker 2: thing in his house with Biggie Ryman over the blind

1257
01:04:24,600 --> 01:04:27,520
Speaker 2: alley beat that I just have stepping let me hear it.

1258
01:04:27,640 --> 01:04:29,600
Speaker 6: Oh wow, yeah, Like she used to be like, yo,

1259
01:04:29,760 --> 01:04:30,440
Speaker 6: you don't hear it.

1260
01:04:31,000 --> 01:04:34,320
Speaker 2: I'm like because she thought that we sounded similar, and

1261
01:04:34,360 --> 01:04:36,360
Speaker 2: I'm like, I don't really. Yeah, I'm like, I don't

1262
01:04:36,400 --> 01:04:39,080
Speaker 2: hear it. Big I could see it. I didn't see

1263
01:04:39,080 --> 01:04:41,520
Speaker 2: it though, Oh I could no, no, no, But eventually

1264
01:04:41,520 --> 01:04:44,360
Speaker 2: I did, like I think with partying bullshit came out

1265
01:04:44,440 --> 01:04:48,560
Speaker 2: and I was like even then, I was telling see,

1266
01:04:48,640 --> 01:04:49,280
Speaker 2: I don't see it.

1267
01:04:49,440 --> 01:04:49,720
Speaker 3: Wow.

1268
01:04:49,880 --> 01:04:52,760
Speaker 2: Then the One More Chance remix came out and I called, see, yeah,

1269
01:04:52,800 --> 01:04:55,120
Speaker 2: I see it.

1270
01:04:56,520 --> 01:05:01,840
Speaker 1: I'm like, okay, quests or day I soul.

1271
01:05:06,520 --> 01:05:09,960
Speaker 2: Pour up. That's a that's a tough one, man, because

1272
01:05:10,000 --> 01:05:12,800
Speaker 2: you know, like Mace is my dude, like my brother.

1273
01:05:13,280 --> 01:05:18,840
Speaker 2: But I probably I probably listened to more and then

1274
01:05:19,000 --> 01:05:21,800
Speaker 2: what you call it. Dave was such a dope MC too.

1275
01:05:23,040 --> 01:05:24,880
Speaker 2: Dave was such a dope see, but I don't know

1276
01:05:24,920 --> 01:05:28,000
Speaker 2: make it. I probably listened to more tribe records. I

1277
01:05:28,000 --> 01:05:30,400
Speaker 2: probably listened to more tribe records.

1278
01:05:29,960 --> 01:05:34,160
Speaker 1: And bigger Dave try day I saw because they you know,

1279
01:05:34,240 --> 01:05:37,080
Speaker 1: recently got their master's back. Is that something that you

1280
01:05:37,200 --> 01:05:38,360
Speaker 1: you have your masters as well?

1281
01:05:38,480 --> 01:05:39,800
Speaker 6: I'm in the process now.

1282
01:05:39,720 --> 01:05:42,560
Speaker 1: Okay, yeah, that's what all of the Oh Jesus is saying.

1283
01:05:43,360 --> 01:05:44,800
Speaker 1: I'm glad the next.

1284
01:05:44,560 --> 01:05:51,160
Speaker 5: One DJ Hollywood or Cool Hirk. I'm kind of already well, I.

1285
01:05:51,120 --> 01:05:54,680
Speaker 2: Mean, naturally, I would have to pick Hollywood because I'm

1286
01:05:54,680 --> 01:05:57,520
Speaker 2: an MC, like I would expect the DJ would pick herk.

1287
01:05:58,040 --> 01:06:00,080
Speaker 2: I'm an MC, so I mean, you know, I feel like,

1288
01:06:00,160 --> 01:06:01,760
Speaker 2: you know, he birthed me, you know what I mean.

1289
01:06:02,080 --> 01:06:03,880
Speaker 6: So I would they have to pick Hollywood just for

1290
01:06:03,920 --> 01:06:04,440
Speaker 6: that reason.

1291
01:06:04,560 --> 01:06:17,320
Speaker 5: Right right next one, Latifa Queen Latifa drink. Oh and

1292
01:06:17,360 --> 01:06:19,200
Speaker 5: we need both of them on drinks. Yeah, we've been

1293
01:06:19,240 --> 01:06:24,720
Speaker 5: asking for years. Yeah, okay, Molly mal or Pete Rock.

1294
01:06:29,040 --> 01:06:31,360
Speaker 2: I would have to go with Mally for the simple

1295
01:06:31,440 --> 01:06:38,240
Speaker 2: fact that there would be no Pete Rock. Primo Large

1296
01:06:38,280 --> 01:06:41,640
Speaker 2: Professor just blazed, none of them. It wasn't for mallypet

1297
01:06:41,800 --> 01:06:45,480
Speaker 2: that's who you know, brought that sample. Like I think

1298
01:06:45,520 --> 01:06:48,080
Speaker 2: Curtis Blow is the first person to use a sample,

1299
01:06:48,680 --> 01:06:52,360
Speaker 2: but it's just percussions from a Troublefunk record. The person

1300
01:06:52,400 --> 01:06:55,840
Speaker 2: that really made sample and the way of hip hop

1301
01:06:56,000 --> 01:06:58,200
Speaker 2: production is Marley. So I gotta go with Mally.

1302
01:06:58,320 --> 01:07:03,200
Speaker 3: God damn it. Latin quarters are the fever Latin quarters.

1303
01:07:03,600 --> 01:07:05,400
Speaker 2: I was so young for the fever, ok like yeah,

1304
01:07:05,720 --> 01:07:08,600
Speaker 2: like right now, like south from the Fever. Yeah, even

1305
01:07:08,720 --> 01:07:11,560
Speaker 2: be like, yo, man, I need you to do this

1306
01:07:11,560 --> 01:07:14,800
Speaker 2: here show for me by I got like ten grand

1307
01:07:14,800 --> 01:07:16,360
Speaker 2: come on and this is me, Sally sal came and

1308
01:07:16,400 --> 01:07:22,040
Speaker 2: this me Salid. Y'all fucking twelve, man, I wasn't. I

1309
01:07:22,080 --> 01:07:24,520
Speaker 2: don't owe you nothing, man, I'm fucking twelve years old,

1310
01:07:24,600 --> 01:07:29,000
Speaker 2: so man, don't. But I love Salve Man. I love

1311
01:07:29,120 --> 01:07:32,000
Speaker 2: Salve Man as matter of fact. Man, It's like, you know,

1312
01:07:32,240 --> 01:07:35,000
Speaker 2: if I'm correct, I believe that's the first hip hop club, right.

1313
01:07:37,000 --> 01:07:39,080
Speaker 3: No, the fever, the fever, Oh I'm not. I'm not

1314
01:07:39,120 --> 01:07:39,800
Speaker 3: sureing that.

1315
01:07:39,640 --> 01:07:42,760
Speaker 2: Fever's like what seventy eight seventy seven, because fever's before

1316
01:07:42,800 --> 01:07:47,400
Speaker 2: Halem World, right, yeah, I don't know. I figure it out.

1317
01:07:47,840 --> 01:07:48,680
Speaker 3: Yeah.

1318
01:07:48,720 --> 01:07:51,360
Speaker 2: If I'm right, then sal you deserve this right right,

1319
01:07:51,400 --> 01:07:54,240
Speaker 2: right right?

1320
01:07:54,280 --> 01:07:54,560
Speaker 1: Okay?

1321
01:07:55,160 --> 01:07:57,919
Speaker 6: Sam Cook? Oh right, y'alls, Sam Cook.

1322
01:08:00,560 --> 01:08:03,040
Speaker 2: You know I think Ray Charles, you know, yeah, I

1323
01:08:03,080 --> 01:08:06,800
Speaker 2: think he's the first one to take gospel chords and

1324
01:08:07,520 --> 01:08:09,680
Speaker 2: sing love music over it.

1325
01:08:09,760 --> 01:08:12,560
Speaker 6: But Sam Cook perfected it.

1326
01:08:13,200 --> 01:08:16,200
Speaker 2: He put a much more sexier voice to it, and

1327
01:08:16,280 --> 01:08:18,519
Speaker 2: perfected the way it was done, you know.

1328
01:08:18,920 --> 01:08:24,080
Speaker 3: Yeah, Okay, run DMC or a p M d.

1329
01:08:28,439 --> 01:08:28,880
Speaker 2: M hmm.

1330
01:08:36,920 --> 01:08:38,880
Speaker 3: Yeah, Lord Fess or.

1331
01:08:38,800 --> 01:08:50,920
Speaker 2: Oc Well, I would say, Lord Finess. I think that

1332
01:08:52,920 --> 01:08:57,960
Speaker 2: Lord Finess is a great levers system, great livers system,

1333
01:08:58,080 --> 01:09:03,880
Speaker 2: and and also he's responsible for a lot of other

1334
01:09:03,920 --> 01:09:04,879
Speaker 2: people having careers.

1335
01:09:05,000 --> 01:09:13,880
Speaker 1: Absolutely flat top or gumby.

1336
01:09:12,840 --> 01:09:21,880
Speaker 2: You fucking serious, he's got war man. I mean as

1337
01:09:21,960 --> 01:09:24,880
Speaker 2: much as I love my my Man Bobby Man, come on,

1338
01:09:25,040 --> 01:09:26,160
Speaker 2: man who flat top rules?

1339
01:09:26,200 --> 01:09:35,120
Speaker 5: And Jimmy Hendrix or Santana, I.

1340
01:09:35,000 --> 01:09:39,880
Speaker 2: Love Santana man, but I gotta go with Jimmy just

1341
01:09:39,920 --> 01:09:45,400
Speaker 2: for the simple fact of, like, you know, the blues

1342
01:09:45,479 --> 01:09:48,960
Speaker 2: stuff that he did, the way he would make his

1343
01:09:49,160 --> 01:09:53,800
Speaker 2: rock guitar talk on a blues song, right, I don't know.

1344
01:09:53,840 --> 01:09:56,080
Speaker 5: That's what I think somebody told us here on Drink Sham.

1345
01:09:56,200 --> 01:10:01,040
Speaker 5: I think so taught himself. It was Jeordie Clinton that

1346
01:10:01,080 --> 01:10:01,559
Speaker 5: told us that.

1347
01:10:03,439 --> 01:10:05,960
Speaker 1: Master Ace or Special ad.

1348
01:10:09,280 --> 01:10:11,800
Speaker 2: Ace is juice crew man that.

1349
01:10:13,760 --> 01:10:18,959
Speaker 1: Says it all okay, fat Joe or Rick Ross.

1350
01:10:26,880 --> 01:10:27,400
Speaker 6: It's like.

1351
01:10:31,280 --> 01:10:38,519
Speaker 2: I I I kind of want to lean towards Rick

1352
01:10:38,600 --> 01:10:43,400
Speaker 2: Ross and see the dark skin chubby dude. But you know, Joe,

1353
01:10:43,520 --> 01:10:46,479
Speaker 2: my dude, man, Joe, my dude. That's that's always showed

1354
01:10:46,520 --> 01:10:48,920
Speaker 2: me love man, Joe, Joe, Joe, my dude. Man.

1355
01:10:49,240 --> 01:10:53,880
Speaker 1: Okay, so we're gonna let that one sly ice Cube

1356
01:10:53,960 --> 01:10:54,600
Speaker 1: or Scarface.

1357
01:10:58,160 --> 01:11:02,200
Speaker 2: That's a hard one there, man, real hard and that

1358
01:11:02,200 --> 01:11:05,439
Speaker 2: that's a good one. Yeah yeah, yeah, yeah, yeah, that.

1359
01:11:05,439 --> 01:11:06,880
Speaker 6: Actually would have been a great verses.

1360
01:11:07,000 --> 01:11:10,559
Speaker 2: Yeah yeah, that would have been a great verse That's

1361
01:11:10,600 --> 01:11:11,680
Speaker 2: that's that's a hard one.

1362
01:11:11,840 --> 01:11:12,960
Speaker 6: I don't know, I don't.

1363
01:11:13,040 --> 01:11:16,360
Speaker 2: I don't know both because it's it's like, you know,

1364
01:11:16,439 --> 01:11:24,280
Speaker 2: Scarface I think is the better storyteller. But oh man,

1365
01:11:24,320 --> 01:11:26,320
Speaker 2: I don't know. Man, I don't that one. I don't know.

1366
01:11:26,680 --> 01:11:30,360
Speaker 2: I don't know. I mean because like Cube c got

1367
01:11:30,360 --> 01:11:34,840
Speaker 2: some joints man, Anywright movies, well they ain't got nothing

1368
01:11:34,880 --> 01:11:35,439
Speaker 2: to do with hip hop.

1369
01:11:36,880 --> 01:11:38,040
Speaker 3: Let's just try and help you out.

1370
01:11:39,439 --> 01:11:43,000
Speaker 6: I mean, I mean yeah, I mean, I don't back

1371
01:11:43,000 --> 01:11:43,800
Speaker 6: to n W a Q.

1372
01:11:44,040 --> 01:11:48,040
Speaker 2: It's just yeah, Cube man, Like like I remember when

1373
01:11:48,040 --> 01:11:50,880
Speaker 2: I heard a Bitch is a Bitch from that song alone,

1374
01:11:51,000 --> 01:11:52,599
Speaker 2: I was like, this is is gonna be a problem,

1375
01:11:53,520 --> 01:11:58,120
Speaker 2: you know. Yeah, so we say both, Yeah, I guess

1376
01:11:58,720 --> 01:12:01,480
Speaker 2: Lola Brook or Lady London.

1377
01:12:03,680 --> 01:12:04,320
Speaker 6: Lady London.

1378
01:12:04,439 --> 01:12:04,799
Speaker 2: Okay.

1379
01:12:05,880 --> 01:12:07,280
Speaker 3: Video music Box or your.

1380
01:12:07,240 --> 01:12:09,280
Speaker 2: TV matter of fact, come back ask me that question again.

1381
01:12:10,040 --> 01:12:15,000
Speaker 2: Load of Brook or Lady lo Okay, Okay, I mean no, listen,

1382
01:12:15,400 --> 01:12:17,880
Speaker 2: Lola Brook. I'm gonna be honest with you. I really

1383
01:12:18,200 --> 01:12:20,400
Speaker 2: would love to link up with her and work with

1384
01:12:20,439 --> 01:12:22,880
Speaker 2: her because what I saw at the BET Awards, I'm

1385
01:12:22,880 --> 01:12:28,000
Speaker 2: a fan. Yeah, she goes all out, but Lady London,

1386
01:12:28,240 --> 01:12:32,000
Speaker 2: like I would love to actually be in a studio

1387
01:12:32,680 --> 01:12:36,439
Speaker 2: with male artists. When Lady London walk in, I got

1388
01:12:36,439 --> 01:12:38,439
Speaker 2: a funny feeling that I'm gonna see something I've seen

1389
01:12:38,520 --> 01:12:42,559
Speaker 2: before me And like back when I used to DJ

1390
01:12:42,680 --> 01:12:45,880
Speaker 2: for Shante, I used to see Shante come in dressing

1391
01:12:45,960 --> 01:12:51,559
Speaker 2: rooms and mail artists turn around to avoid smoke. No

1392
01:12:52,160 --> 01:12:55,160
Speaker 2: establish male artists that had hit records will turn their

1393
01:12:55,280 --> 01:12:57,920
Speaker 2: back to avoid their make an eye contact with rock

1394
01:12:58,000 --> 01:13:00,960
Speaker 2: Sanne Shante scared to death for a little sixteen year

1395
01:13:01,000 --> 01:13:01,400
Speaker 2: old girl.

1396
01:13:01,680 --> 01:13:04,320
Speaker 5: Wow, yeah, we can't let it go. And notice he

1397
01:13:04,360 --> 01:13:07,400
Speaker 5: said when he's the DJ for Shant, Yes, I caught that.

1398
01:13:07,640 --> 01:13:09,400
Speaker 5: I cut that. I cut that. That was hard.

1399
01:13:09,840 --> 01:13:12,960
Speaker 3: Okay. Video music Box or your TV.

1400
01:13:12,880 --> 01:13:17,120
Speaker 6: Raps, video music box, Hideo music Box.

1401
01:13:17,240 --> 01:13:20,880
Speaker 1: Big up to Ralph mc dames, mob Deep or Mop.

1402
01:13:25,400 --> 01:13:30,400
Speaker 2: I mean I love both, but you know, Mop, that's

1403
01:13:30,439 --> 01:13:33,760
Speaker 2: that Brooklyn ship, Man, that's that Brooklyn ship. It ain't

1404
01:13:34,280 --> 01:13:39,679
Speaker 2: ain't nothing like heying, you know, slap and dance, scream,

1405
01:13:39,720 --> 01:13:44,360
Speaker 2: they fucking lungs out on the song. Man. Ain't nothing

1406
01:13:44,439 --> 01:13:47,400
Speaker 2: like that energy. Yeah, that energy is just something else

1407
01:13:47,439 --> 01:13:47,720
Speaker 2: we need.

1408
01:13:47,800 --> 01:13:51,200
Speaker 3: Mop on here too. Scoop a scrap mm hmm.

1409
01:13:54,439 --> 01:14:00,320
Speaker 2: Those my brothers. Man, drink that, yeah, drink you mean

1410
01:14:00,400 --> 01:14:04,040
Speaker 2: school band scrash? What what you said? I said, I

1411
01:14:04,080 --> 01:14:07,439
Speaker 2: said school you know he's no, he said school or scrap.

1412
01:14:07,840 --> 01:14:10,360
Speaker 2: I said, you mean school band scrap. I look at

1413
01:14:10,400 --> 01:14:12,440
Speaker 2: them as one man, all together.

1414
01:14:13,960 --> 01:14:18,160
Speaker 3: This because of my shirt. Bro oh yeah, all in

1415
01:14:18,200 --> 01:14:18,840
Speaker 3: the same game.

1416
01:14:22,400 --> 01:14:25,120
Speaker 2: I mean, I'm gonna say both man, because they both

1417
01:14:25,160 --> 01:14:26,760
Speaker 2: served a beautiful.

1418
01:14:26,360 --> 01:14:33,240
Speaker 5: Cause it was a great movement man, guy Michael or Prince.

1419
01:14:38,920 --> 01:14:47,760
Speaker 2: It's like it's multi talented. As as as as Prince was.

1420
01:14:50,320 --> 01:14:55,080
Speaker 2: I don't I don't think that you know, we're ever

1421
01:14:55,200 --> 01:14:58,839
Speaker 2: going to see another artist like Michael Jackson.

1422
01:14:58,840 --> 01:15:01,479
Speaker 1: Man, you said Mike was Prince in the verses.

1423
01:15:02,040 --> 01:15:06,320
Speaker 2: In the verses, yeah, okay, versus where on.

1424
01:15:06,400 --> 01:15:09,599
Speaker 1: Stage and Kingston.

1425
01:15:10,120 --> 01:15:16,080
Speaker 2: No, no Mike in the versus. I mean because you

1426
01:15:16,080 --> 01:15:24,400
Speaker 2: you you got to understand Prince play numerous instruments. Prince

1427
01:15:24,680 --> 01:15:33,600
Speaker 2: vocal range was ridiculous, you know, ridiculous, you know. So,

1428
01:15:33,920 --> 01:15:35,960
Speaker 2: I mean, and he can and he could, and he

1429
01:15:36,000 --> 01:15:38,280
Speaker 2: could and he could, he could dance, but he couldn't

1430
01:15:38,320 --> 01:15:39,000
Speaker 2: dance like Mike.

1431
01:15:39,760 --> 01:15:40,920
Speaker 6: He can't dance like Mike.

1432
01:15:41,400 --> 01:15:45,360
Speaker 2: Mike is but Mike is that the better performer though

1433
01:15:46,160 --> 01:15:51,040
Speaker 2: Mike is the better performer, you know, So.

1434
01:15:52,680 --> 01:15:54,360
Speaker 6: In the versus it's hard to say.

1435
01:15:54,840 --> 01:15:58,840
Speaker 2: Because if if, if, if Prince is strategic, he could

1436
01:15:58,880 --> 01:16:03,040
Speaker 2: get the edge. But if he's not, Michael, Michael tell

1437
01:16:03,080 --> 01:16:06,360
Speaker 2: him apart. But I mean overall, just it's like it's like,

1438
01:16:06,400 --> 01:16:09,200
Speaker 2: I don't think I think that Michael Jackson is the

1439
01:16:09,280 --> 01:16:11,280
Speaker 2: biggest artist ever.

1440
01:16:11,400 --> 01:16:13,080
Speaker 6: I don't think we're gonna ever see another Michael jack

1441
01:16:13,280 --> 01:16:13,920
Speaker 6: Michael Jackson.

1442
01:16:14,680 --> 01:16:18,360
Speaker 2: No, I had the opportunity, but it was just so

1443
01:16:18,400 --> 01:16:23,479
Speaker 2: many people crowded around, and I just was like, I'm good, Prince. Yes,

1444
01:16:23,600 --> 01:16:24,360
Speaker 2: I haven't met Prince.

1445
01:16:25,000 --> 01:16:26,280
Speaker 3: Where was y'all at We.

1446
01:16:26,360 --> 01:16:30,520
Speaker 2: Was in Warner Brothers in more Austin office.

1447
01:16:30,920 --> 01:16:31,679
Speaker 3: Was he purple?

1448
01:16:32,200 --> 01:16:33,400
Speaker 6: Was he?

1449
01:16:33,760 --> 01:16:36,000
Speaker 2: No? I'm correct, I think he has some white shit on.

1450
01:16:38,240 --> 01:16:40,160
Speaker 2: He has some white shit or but he was, you know,

1451
01:16:40,240 --> 01:16:42,960
Speaker 2: sitting down at more Austin.

1452
01:16:42,720 --> 01:16:45,919
Speaker 3: Deaths, you know, hyper dedicated.

1453
01:16:47,280 --> 01:16:53,400
Speaker 2: He was like Michael Nah, he was like, you know,

1454
01:16:54,280 --> 01:16:56,519
Speaker 2: how may I help you out today? Like acting like

1455
01:16:56,520 --> 01:16:58,240
Speaker 2: he was more Awston. He was playing around and act

1456
01:16:58,280 --> 01:16:59,080
Speaker 2: like he was more Awson.

1457
01:16:59,640 --> 01:17:00,679
Speaker 3: You like this Prince?

1458
01:17:00,680 --> 01:17:04,160
Speaker 2: I know you are. Yeah. I was like atually I

1459
01:17:04,200 --> 01:17:06,679
Speaker 2: was like like Shot, you know you like, oh Ship,

1460
01:17:06,760 --> 01:17:07,360
Speaker 2: this is Prince.

1461
01:17:07,439 --> 01:17:10,400
Speaker 3: You know Prince had a deep voice. Yeah yeah, yeah,

1462
01:17:10,760 --> 01:17:12,680
Speaker 3: really that's the truth. So I say, you sound like

1463
01:17:12,680 --> 01:17:13,720
Speaker 3: Michael Jackson.

1464
01:17:14,920 --> 01:17:15,160
Speaker 2: Prince.

1465
01:17:16,040 --> 01:17:20,120
Speaker 5: I thought he Mike was the same Prince. Imagine we

1466
01:17:20,120 --> 01:17:22,120
Speaker 5: would have had both of them still around to this day.

1467
01:17:22,640 --> 01:17:25,000
Speaker 6: I would love to see that. That would have been crazy.

1468
01:17:26,720 --> 01:17:32,480
Speaker 1: We did w A, n w A or public Enemy.

1469
01:17:34,400 --> 01:17:38,320
Speaker 2: I'm not playing with Shot. I mean, this ain't my thing,

1470
01:17:38,360 --> 01:17:43,320
Speaker 2: you know, honestly, I don't you know, I'm I'm I'm

1471
01:17:43,880 --> 01:17:46,160
Speaker 2: like uncomfortable with putting artists against each other.

1472
01:17:46,160 --> 01:17:47,240
Speaker 6: That's something I never raised.

1473
01:17:48,160 --> 01:17:49,920
Speaker 2: I know we're playing, I know we're playing, but I

1474
01:17:49,960 --> 01:17:51,920
Speaker 2: mean that's just something I just ain't really.

1475
01:17:53,080 --> 01:17:54,559
Speaker 1: This one, this one and did I'm gonna get up

1476
01:17:54,560 --> 01:17:56,520
Speaker 1: out of here digital or analog?

1477
01:17:58,160 --> 01:18:03,080
Speaker 2: Analog? Analog? Right? I mean, it's so like the capabilities

1478
01:18:03,080 --> 01:18:07,920
Speaker 2: are endless with digital. But that feel of analog, man,

1479
01:18:08,000 --> 01:18:12,160
Speaker 2: that that's feel that his. I mean, just just the

1480
01:18:12,479 --> 01:18:16,800
Speaker 2: the tape alone create a hum noise that fills up

1481
01:18:16,800 --> 01:18:17,920
Speaker 2: the track, you know what I mean.

1482
01:18:18,240 --> 01:18:20,640
Speaker 6: It's just just.

1483
01:18:20,439 --> 01:18:21,720
Speaker 3: It records the energy.

1484
01:18:21,439 --> 01:18:21,840
Speaker 4: In the room.

1485
01:18:21,960 --> 01:18:22,960
Speaker 2: Yeah, sure you right.

1486
01:18:23,080 --> 01:18:26,000
Speaker 1: Yeah, So this last one, say the movie one. I

1487
01:18:26,000 --> 01:18:28,000
Speaker 1: think the movie one's fair for him? You do it

1488
01:18:28,360 --> 01:18:29,639
Speaker 1: New Jack City or Juice?

1489
01:18:32,720 --> 01:18:45,840
Speaker 2: Mm hm hm hmm. That's interesting. Oh man, you know

1490
01:18:45,880 --> 01:18:50,320
Speaker 2: what I think I might say. I think I might

1491
01:18:50,360 --> 01:18:55,880
Speaker 2: say Juice. I think I might say Juice. I mean

1492
01:18:56,320 --> 01:19:05,599
Speaker 2: my reason is because, uh, Juice felt real New York. Right.

1493
01:19:06,600 --> 01:19:10,840
Speaker 2: You know, I didn't know any drug dealers that act

1494
01:19:10,960 --> 01:19:15,320
Speaker 2: like Nino in the eighties. Like all the drug dealers

1495
01:19:15,320 --> 01:19:18,479
Speaker 2: I knew in the eighties, they didn't act like my

1496
01:19:18,560 --> 01:19:20,880
Speaker 2: Wesley played the Nino character, right right?

1497
01:19:21,240 --> 01:19:24,400
Speaker 5: Jack said, Yeah, and you got a song on the

1498
01:19:24,479 --> 01:19:28,160
Speaker 5: Juice soundtrack. That's an amazing song.

1499
01:19:28,240 --> 01:19:28,400
Speaker 2: I do.

1500
01:19:28,520 --> 01:19:30,559
Speaker 6: It's an amazing song. Thank you, thank you.

1501
01:19:31,640 --> 01:19:33,639
Speaker 1: Last one, and then we're gonna go back to the interview.

1502
01:19:33,840 --> 01:19:35,760
Speaker 1: Loyalty or respect?

1503
01:19:38,439 --> 01:19:41,759
Speaker 6: Loyalty or respect? Can I get them both? Of course?

1504
01:19:42,400 --> 01:19:46,680
Speaker 3: That's that's the time we'recording ring your klecoffee.

1505
01:19:46,760 --> 01:19:51,920
Speaker 1: Yeah yeah, I'm drinking killer. That's the time where we

1506
01:19:51,960 --> 01:19:53,680
Speaker 1: always say we should say both. You know what I mean,

1507
01:19:53,760 --> 01:19:54,639
Speaker 1: because I think one.

1508
01:19:54,520 --> 01:19:56,880
Speaker 3: Goes hand to hand. You think that absolutely.

1509
01:19:57,880 --> 01:20:01,280
Speaker 1: So let me ask you because this is something I

1510
01:20:01,360 --> 01:20:04,679
Speaker 1: always wanted to know when I first, you know, came

1511
01:20:04,720 --> 01:20:08,400
Speaker 1: in and to knowledge with the five percent Nation. One

1512
01:20:08,400 --> 01:20:10,880
Speaker 1: of the things that they said it was a stop

1513
01:20:10,920 --> 01:20:17,280
Speaker 1: for law. You cannot do, you cannot have was yellow, right, yes,

1514
01:20:17,680 --> 01:20:20,640
Speaker 1: And the biz mark says, daddy can't my mic my

1515
01:20:20,720 --> 01:20:21,800
Speaker 1: mellow you know on the.

1516
01:20:21,840 --> 01:20:23,240
Speaker 3: Mike, because you know you yellow.

1517
01:20:23,760 --> 01:20:25,240
Speaker 1: I always wanted to act.

1518
01:20:29,520 --> 01:20:30,240
Speaker 2: Like wait a.

1519
01:20:30,160 --> 01:20:36,559
Speaker 1: Minute, always want to like wait a minute.

1520
01:20:37,439 --> 01:20:40,040
Speaker 6: I mean, you know, nobody take this serious.

1521
01:20:40,120 --> 01:20:44,000
Speaker 2: I mean he was just making something round with mellow,

1522
01:20:46,320 --> 01:20:47,640
Speaker 2: make around with mellow. You know.

1523
01:20:48,120 --> 01:20:50,839
Speaker 3: So no one never said hey, hey, god.

1524
01:20:51,840 --> 01:20:59,559
Speaker 10: No no, because that's workin ye pork the coloring like

1525
01:21:00,080 --> 01:21:00,880
Speaker 10: the cars too.

1526
01:21:01,600 --> 01:21:04,120
Speaker 2: Now, the guards was pissed at me about the Madonna book,

1527
01:21:04,200 --> 01:21:06,599
Speaker 2: but never about the jell O Ship book.

1528
01:21:07,840 --> 01:21:09,040
Speaker 3: When you was finger popping.

1529
01:21:12,720 --> 01:21:13,040
Speaker 1: Immed.

1530
01:21:17,160 --> 01:21:21,160
Speaker 3: You know, you know what's crazy. That was a different time.

1531
01:21:21,320 --> 01:21:22,519
Speaker 3: Must have been a crazy time.

1532
01:21:23,240 --> 01:21:26,839
Speaker 1: But but did you only see backlash from the guards

1533
01:21:27,080 --> 01:21:29,560
Speaker 1: or what from everybody?

1534
01:21:29,560 --> 01:21:32,960
Speaker 2: From everybody, you know, but I mean but yeah, yeah, yeah,

1535
01:21:33,000 --> 01:21:36,639
Speaker 2: but I mean like there was like a lot of guards. Hey, yo,

1536
01:21:36,800 --> 01:21:39,240
Speaker 2: god man, you need to we need to have a bill, man,

1537
01:21:39,280 --> 01:21:41,479
Speaker 2: I need to don't know the science behind that, man,

1538
01:21:41,520 --> 01:21:46,000
Speaker 2: you know, you know, but I mean, you know, I

1539
01:21:46,000 --> 01:21:50,280
Speaker 2: mean at that point in time, man, you know those

1540
01:21:50,400 --> 01:21:54,439
Speaker 2: that really understand, you know, the culture Islam. You know,

1541
01:21:55,120 --> 01:22:00,920
Speaker 2: you know that there are white Muslims you know does

1542
01:22:00,960 --> 01:22:05,040
Speaker 2: not approve and they don't he probably wouldn't, but they

1543
01:22:05,040 --> 01:22:10,759
Speaker 2: don't identify as white, nor the black ones identify as black.

1544
01:22:10,800 --> 01:22:15,880
Speaker 2: They all identify as Muslim, right, you know, so you know,

1545
01:22:16,000 --> 01:22:20,559
Speaker 2: with that understanding understood, I mean, you know, I'm not gonna,

1546
01:22:21,479 --> 01:22:26,200
Speaker 2: you know, be against Madonna because or anybody because they're white.

1547
01:22:26,320 --> 01:22:28,760
Speaker 1: You know, It's true, like once she went game, she

1548
01:22:28,960 --> 01:22:50,120
Speaker 1: still remains. Man. Yes, so I know we covering this

1549
01:22:50,160 --> 01:22:54,880
Speaker 1: the last time. But that Nam Campbell photo shoot? What

1550
01:22:54,960 --> 01:22:56,000
Speaker 1: was that for Calvin Klein?

1551
01:22:56,280 --> 01:22:57,080
Speaker 3: What was that?

1552
01:22:57,200 --> 01:22:57,840
Speaker 6: The Madonna book?

1553
01:22:58,600 --> 01:23:01,479
Speaker 1: The same thing? Okay, okay, you was you was outside, man,

1554
01:23:02,160 --> 01:23:03,080
Speaker 1: You was outside?

1555
01:23:03,120 --> 01:23:09,479
Speaker 3: Man, I ain't gonna lie, brother, Yes, great, yes, yes,

1556
01:23:09,680 --> 01:23:11,840
Speaker 3: because nah, this I don't know.

1557
01:23:11,880 --> 01:23:12,960
Speaker 6: There's a cartoon.

1558
01:23:13,960 --> 01:23:17,240
Speaker 2: There's a cartoon where someone like redid the photo with

1559
01:23:17,280 --> 01:23:20,439
Speaker 2: the characters from the cartoon. I don't know what cartoon

1560
01:23:20,479 --> 01:23:22,320
Speaker 2: it is, but that's why I was like, yeah, I'm

1561
01:23:22,320 --> 01:23:23,479
Speaker 2: like I need that on the T shirt.

1562
01:23:24,840 --> 01:23:26,120
Speaker 6: But it is a known cartoon.

1563
01:23:26,160 --> 01:23:28,640
Speaker 2: But they did it like with the one in the

1564
01:23:28,640 --> 01:23:30,599
Speaker 2: water with me, Naomi and Madonna.

1565
01:23:31,000 --> 01:23:32,680
Speaker 6: But I was like, oh, I need that on the T.

1566
01:23:32,720 --> 01:23:41,120
Speaker 1: Shirt because you know, like again, you faved a way

1567
01:23:41,479 --> 01:23:45,120
Speaker 1: for like, you know, these big hip records, these big

1568
01:23:46,760 --> 01:23:50,240
Speaker 1: moments in hip hop, right, because I remember it seemed

1569
01:23:50,240 --> 01:23:54,200
Speaker 1: like there was nothing bigger than Big Daddy came, like

1570
01:23:54,360 --> 01:23:58,519
Speaker 1: I remember like my whole childhood, like like I said,

1571
01:23:58,880 --> 01:24:02,040
Speaker 1: my flat top was and correct like I was, you know,

1572
01:24:02,080 --> 01:24:03,720
Speaker 1: I was trying to get my flat top right. I

1573
01:24:03,760 --> 01:24:07,160
Speaker 1: was trying to get and and then I remember there

1574
01:24:07,240 --> 01:24:09,880
Speaker 1: was one point I believe it was like when I

1575
01:24:09,960 --> 01:24:13,200
Speaker 1: Get the Job Done record came out and people was like, man,

1576
01:24:13,640 --> 01:24:17,479
Speaker 1: we lost Kane, like Caine is transcended hip hops into

1577
01:24:17,520 --> 01:24:21,400
Speaker 1: this whole nother world like they was like that. I

1578
01:24:21,439 --> 01:24:23,640
Speaker 1: believe it was using commercial at the time. Was that

1579
01:24:23,760 --> 01:24:25,960
Speaker 1: something that you received the backlash for, like I know

1580
01:24:26,200 --> 01:24:26,759
Speaker 1: we spoke.

1581
01:24:26,520 --> 01:24:31,080
Speaker 2: About the absolutely oh yeah, a whole lot of it,

1582
01:24:31,120 --> 01:24:32,120
Speaker 2: A whole lot of it.

1583
01:24:32,120 --> 01:24:33,200
Speaker 3: The record wasn't the video.

1584
01:24:34,800 --> 01:24:37,200
Speaker 2: I think the record okay, But I mean there was

1585
01:24:37,479 --> 01:24:38,800
Speaker 2: several songs, you know.

1586
01:24:39,479 --> 01:24:45,280
Speaker 6: But let me ask you this in hip hop.

1587
01:24:45,120 --> 01:24:52,479
Speaker 2: Today, right, I'm ready, how many songs do you hear

1588
01:24:53,240 --> 01:24:58,000
Speaker 2: that sound commercial? Yes? How many songs do you hear

1589
01:24:58,920 --> 01:25:05,839
Speaker 2: that have singing on them? Right? And how many songs

1590
01:25:05,840 --> 01:25:10,040
Speaker 2: do you hear on the radio that sound like boom back?

1591
01:25:11,160 --> 01:25:16,559
Speaker 2: Not a lot? See me as a student of hip hop,

1592
01:25:17,400 --> 01:25:24,519
Speaker 2: one thing I've always understood is that hip hop music

1593
01:25:25,080 --> 01:25:32,560
Speaker 2: musically has no origin. Grandmaster Cas said it best. I

1594
01:25:32,960 --> 01:25:37,920
Speaker 2: didn't invent anything. It reinvented everything. Musically, it has no

1595
01:25:38,080 --> 01:25:43,719
Speaker 2: origin because what herk was doing was taking other people

1596
01:25:43,840 --> 01:25:49,639
Speaker 2: music and bringing the breakbeat part playing that other people music,

1597
01:25:49,680 --> 01:25:52,839
Speaker 2: and that's what rappers rhyme to. That's what beat boys

1598
01:25:52,920 --> 01:26:00,519
Speaker 2: danced so right. Even though Human beat Box when they

1599
01:26:00,560 --> 01:26:05,280
Speaker 2: started out, they was doing beatboxing to break from records.

1600
01:26:06,080 --> 01:26:09,760
Speaker 2: There was other people music and those records were what

1601
01:26:15,160 --> 01:26:20,439
Speaker 2: impeached to President by Royal c. Soul song soul music,

1602
01:26:21,439 --> 01:26:29,640
Speaker 2: not hip hop soul music. Good Times by Chic Disco

1603
01:26:31,080 --> 01:26:36,519
Speaker 2: Rocket James Brown, Funk, Rocket in the Pocket by Saron

1604
01:26:37,600 --> 01:26:43,040
Speaker 2: Techno or Electronic or whichever one you want to use.

1605
01:26:44,120 --> 01:26:49,559
Speaker 2: Big Beat by Billy Squire, rock and roll, you see

1606
01:26:49,560 --> 01:26:54,920
Speaker 2: what I'm saying. Nautilists by Bob James Jazz. So all

1607
01:26:54,960 --> 01:26:57,599
Speaker 2: of those elements always been a part of hip hop.

1608
01:26:58,560 --> 01:27:02,040
Speaker 2: And that's all I was doing, was incorporating elements that

1609
01:27:02,200 --> 01:27:05,640
Speaker 2: already been a part of hip hop. Right you know?

1610
01:27:06,600 --> 01:27:10,120
Speaker 1: Do you think that because like, like you said, like

1611
01:27:10,280 --> 01:27:12,080
Speaker 1: it's so many hooks, like if you look at job RULs,

1612
01:27:12,200 --> 01:27:13,880
Speaker 1: so many things that do you think that was the

1613
01:27:14,360 --> 01:27:17,519
Speaker 1: invention of like people thinking that this is the way

1614
01:27:17,560 --> 01:27:21,080
Speaker 1: to go at the commercial route? Matter fact, let me

1615
01:27:21,080 --> 01:27:24,439
Speaker 1: rephrase that question. Was that more of a record label

1616
01:27:24,520 --> 01:27:26,800
Speaker 1: thing or was that a cane thing when you were

1617
01:27:26,800 --> 01:27:28,120
Speaker 1: saying let me let me go down?

1618
01:27:28,320 --> 01:27:29,040
Speaker 6: That was a cane thing.

1619
01:27:29,080 --> 01:27:33,080
Speaker 2: When I was doing it, I wanted to explore different

1620
01:27:33,120 --> 01:27:36,720
Speaker 2: things and try to open the mind frame of my

1621
01:27:36,840 --> 01:27:40,920
Speaker 2: fan base, you know, to see a bigger picture. That's

1622
01:27:40,960 --> 01:27:43,800
Speaker 2: what I was really trying to do. I just was

1623
01:27:43,880 --> 01:27:48,000
Speaker 2: a little too early with it, right you know. Had

1624
01:27:48,040 --> 01:27:52,320
Speaker 2: I waited till like nineteen ninety four, and it did

1625
01:27:52,360 --> 01:27:53,880
Speaker 2: it on Bad Boy Records, I would have been a

1626
01:27:53,880 --> 01:27:59,559
Speaker 2: bad mon I mean Puff sort of vision Puff, you know,

1627
01:28:00,280 --> 01:28:04,200
Speaker 2: you know, like like I love and respect Puff for that.

1628
01:28:04,360 --> 01:28:07,559
Speaker 2: Like he's like clearly he must have told Big like no, no,

1629
01:28:07,640 --> 01:28:12,280
Speaker 2: go ahead, kick all your gangster ship, but do it

1630
01:28:12,320 --> 01:28:14,920
Speaker 2: on this beat right here, right you know what I'm saying.

1631
01:28:15,000 --> 01:28:17,200
Speaker 1: That's what's the crazy thing about him is Big. If

1632
01:28:17,240 --> 01:28:19,200
Speaker 1: you look at all of his lyrics, it's as hard

1633
01:28:19,240 --> 01:28:22,519
Speaker 1: as but he, like, like you said, Puff kind of

1634
01:28:22,560 --> 01:28:25,320
Speaker 1: like puts soft beats under it and you kind of

1635
01:28:25,320 --> 01:28:26,320
Speaker 1: like don't see it.

1636
01:28:26,760 --> 01:28:28,360
Speaker 2: Well, I mean, I mean I'm not even gonna call

1637
01:28:28,400 --> 01:28:32,000
Speaker 2: it soft beasts because I mean ship we used to know,

1638
01:28:32,080 --> 01:28:34,000
Speaker 2: I mean we should lose get me out, We used

1639
01:28:34,040 --> 01:28:36,160
Speaker 2: to lose our mind in the club when Juicy Fruit

1640
01:28:36,200 --> 01:28:39,120
Speaker 2: came on. But you can't call it a soft song

1641
01:28:39,240 --> 01:28:41,400
Speaker 2: because there's that Ship used to bang in the club

1642
01:28:41,760 --> 01:28:44,920
Speaker 2: Juicy Fruit, you know, banging the club.

1643
01:28:45,040 --> 01:28:46,120
Speaker 3: And your era too.

1644
01:28:46,160 --> 01:28:49,160
Speaker 5: On the other side, you had Hammer pushing that envelope

1645
01:28:49,200 --> 01:28:52,280
Speaker 5: of of going commercial and catching a lot of fleck

1646
01:28:52,320 --> 01:28:52,719
Speaker 5: as well.

1647
01:28:53,200 --> 01:28:55,000
Speaker 6: But I mean he was a commercial artist.

1648
01:28:55,280 --> 01:28:58,360
Speaker 2: But I mean I don't see what I honestly don't

1649
01:28:58,400 --> 01:29:02,000
Speaker 2: see what the problem is. Like, I don't have a

1650
01:29:02,040 --> 01:29:04,439
Speaker 2: problem with Hammer music. I didn't have a problem with

1651
01:29:04,520 --> 01:29:08,800
Speaker 2: Fresh Prince music. I mean because it was hip hop

1652
01:29:08,840 --> 01:29:13,360
Speaker 2: from a commercial standpoint. You know, everything don't need to

1653
01:29:13,400 --> 01:29:17,759
Speaker 2: be thubbed out. We got artists like Okay, for example,

1654
01:29:19,000 --> 01:29:23,320
Speaker 2: what if Will Smith would have put out some gangster

1655
01:29:23,360 --> 01:29:27,280
Speaker 2: stuff in the eighties and and some some some real

1656
01:29:27,320 --> 01:29:30,840
Speaker 2: live street dudes would have tried them, it would have

1657
01:29:30,840 --> 01:29:36,960
Speaker 2: been you know what I'm saying. You know, you know,

1658
01:29:37,240 --> 01:29:39,519
Speaker 2: it's like, you know, he he did what was right

1659
01:29:39,560 --> 01:29:43,559
Speaker 2: for him, and the bars was right, like like lyrically

1660
01:29:43,600 --> 01:29:44,240
Speaker 2: he was spitting.

1661
01:29:44,880 --> 01:29:45,800
Speaker 6: I thought it was dope.

1662
01:29:46,479 --> 01:29:48,960
Speaker 2: It was commercial, but it was dope, and he was

1663
01:29:48,960 --> 01:29:50,840
Speaker 2: coming from a different perspective. I don't see what the

1664
01:29:50,880 --> 01:29:53,640
Speaker 2: problem was, you know, but I mean, you know, it's like,

1665
01:29:53,720 --> 01:29:56,240
Speaker 2: you know, you know, people just love to find something

1666
01:29:56,240 --> 01:29:58,160
Speaker 2: wrong with everything everything.

1667
01:29:58,280 --> 01:30:01,360
Speaker 1: How about Buella likes how you feel about him?

1668
01:30:01,600 --> 01:30:04,320
Speaker 2: Same thing with Aillis. I don't think that you know

1669
01:30:05,840 --> 01:30:09,479
Speaker 2: that the music was bad. You know what I'm saying.

1670
01:30:09,479 --> 01:30:12,080
Speaker 2: I don't have a problem with him making commercial hip hop.

1671
01:30:12,240 --> 01:30:15,000
Speaker 2: You know, I think that some of the things that

1672
01:30:15,040 --> 01:30:21,040
Speaker 2: he said in interviews was bad. You know, it's like

1673
01:30:21,040 --> 01:30:21,559
Speaker 2: like you know.

1674
01:30:21,560 --> 01:30:24,840
Speaker 3: The discrepancies where he was from.

1675
01:30:25,760 --> 01:30:27,840
Speaker 2: Yeah, all types of stuff, and he invented the yep

1676
01:30:27,960 --> 01:30:31,880
Speaker 2: yep and all this other stuff, and it was like,

1677
01:30:32,000 --> 01:30:37,320
Speaker 2: you know, just just just just be this successful hip

1678
01:30:37,320 --> 01:30:40,320
Speaker 2: hop artists, you know, just winning in the commercial market.

1679
01:30:41,000 --> 01:30:44,080
Speaker 2: Just be him. You know, I think that that would

1680
01:30:44,120 --> 01:30:48,280
Speaker 2: have worked so much better for him. You know, it's

1681
01:30:48,320 --> 01:30:51,719
Speaker 2: just the backlash I think got the better of him,

1682
01:30:52,160 --> 01:30:56,559
Speaker 2: because I mean, you look at like Eminem, he never

1683
01:30:56,600 --> 01:30:59,920
Speaker 2: tried to be black. He never tried to be black,

1684
01:31:01,080 --> 01:31:04,080
Speaker 2: and he talking hood ship but it's his hood trailer park,

1685
01:31:04,400 --> 01:31:08,200
Speaker 2: you know what I'm saying. But even though there was

1686
01:31:08,240 --> 01:31:10,320
Speaker 2: a lot of people that you know, wanted to hate

1687
01:31:10,360 --> 01:31:14,040
Speaker 2: on him.

1688
01:31:12,360 --> 01:31:14,320
Speaker 3: You couldn't because he was himself.

1689
01:31:14,520 --> 01:31:17,519
Speaker 2: Yeah, because it's like there's there's nothing that's back in

1690
01:31:17,640 --> 01:31:21,240
Speaker 2: what you're saying, because he's not trying to be black.

1691
01:31:22,400 --> 01:31:25,320
Speaker 2: In fact, he's employing a whole bunch of black people,

1692
01:31:26,560 --> 01:31:30,920
Speaker 2: you know, on the label and working for the label,

1693
01:31:31,520 --> 01:31:33,080
Speaker 2: you know what I'm saying. So it's like, you know,

1694
01:31:33,840 --> 01:31:36,080
Speaker 2: it's like he didn't go through it when the lights

1695
01:31:36,160 --> 01:31:36,839
Speaker 2: went through.

1696
01:31:37,479 --> 01:31:39,479
Speaker 1: And he was lyrically respected through underground.

1697
01:31:39,880 --> 01:31:42,280
Speaker 6: Oh yeah, Well that played the heavy part too. He

1698
01:31:42,320 --> 01:31:43,000
Speaker 6: paid his dues.

1699
01:31:44,080 --> 01:31:51,240
Speaker 5: I forgot the outside, Yeah, the outside.

1700
01:31:48,080 --> 01:31:51,160
Speaker 2: You I mean, being nice as fuck on the mic too,

1701
01:31:51,200 --> 01:31:52,960
Speaker 2: and play heavy a major part too.

1702
01:31:53,840 --> 01:31:56,080
Speaker 5: But it boils down to authenticities what you're saying, Like,

1703
01:31:56,120 --> 01:31:57,040
Speaker 5: I think that's one.

1704
01:31:56,880 --> 01:31:59,160
Speaker 3: Of the pillars of hip hop that is important.

1705
01:31:59,160 --> 01:32:02,880
Speaker 5: Like if you're truly authentically who you are, that'll shine

1706
01:32:02,880 --> 01:32:03,760
Speaker 5: through and get you through a lot.

1707
01:32:03,840 --> 01:32:04,960
Speaker 1: But what's the last one?

1708
01:32:05,080 --> 01:32:05,479
Speaker 3: They group?

1709
01:32:05,520 --> 01:32:07,000
Speaker 6: I thought today was called ever Last.

1710
01:32:06,880 --> 01:32:07,559
Speaker 3: Year of Pain?

1711
01:32:08,320 --> 01:32:08,800
Speaker 2: Ever Last.

1712
01:32:08,880 --> 01:32:10,840
Speaker 5: He was down with Ryme Syndicate with Iced ty in

1713
01:32:10,880 --> 01:32:12,840
Speaker 5: them right and then and then he did House of Pain.

1714
01:32:13,240 --> 01:32:15,880
Speaker 1: I we think it insane. Clown Posse is authentic to

1715
01:32:15,880 --> 01:32:17,280
Speaker 1: what they do and to where they're from.

1716
01:32:17,600 --> 01:32:22,559
Speaker 2: Yeah, for real, even even Beastie Boys, absolutely, you know,

1717
01:32:22,600 --> 01:32:27,680
Speaker 2: because these is punk rockers turned hip hop, And I

1718
01:32:27,720 --> 01:32:32,479
Speaker 2: mean it's like their songs are more punk rock vibe, right,

1719
01:32:33,040 --> 01:32:35,160
Speaker 2: you know, I mean the way the way they spitting

1720
01:32:35,200 --> 01:32:35,960
Speaker 2: and stuff, you know.

1721
01:32:36,439 --> 01:32:39,200
Speaker 3: So, I mean and coming out of a and they

1722
01:32:39,200 --> 01:32:40,639
Speaker 3: got to Brooklyn, but.

1723
01:32:40,600 --> 01:32:42,400
Speaker 5: Coming out of an era where punk rock and hip

1724
01:32:42,400 --> 01:32:43,759
Speaker 5: hop were kind of together.

1725
01:32:43,880 --> 01:32:49,439
Speaker 2: Yeah, yeah, absolutely, like seventy seven, seventy seventy seven to

1726
01:32:49,479 --> 01:32:55,760
Speaker 2: seventy nine was really like where punk rock and hip

1727
01:32:55,800 --> 01:32:58,560
Speaker 2: hop came into the forefront.

1728
01:32:58,200 --> 01:32:59,000
Speaker 1: That just walked this way.

1729
01:33:00,080 --> 01:33:01,559
Speaker 6: That's for now.

1730
01:33:01,640 --> 01:33:05,960
Speaker 2: I'm talking like Deborah Harry, the Ramones.

1731
01:33:06,120 --> 01:33:07,240
Speaker 3: Almost Queens.

1732
01:33:07,479 --> 01:33:13,800
Speaker 2: Yeah yeah, yeah, yeah, yeah yeah, like like they like,

1733
01:33:13,880 --> 01:33:16,040
Speaker 2: you know, like that whole punk because what was happening

1734
01:33:16,120 --> 01:33:20,280
Speaker 2: was like you had people like Fab five Freddy He's

1735
01:33:20,320 --> 01:33:25,639
Speaker 2: going to the white parties, Russell Simmons, Yeah the time. Yeah,

1736
01:33:25,800 --> 01:33:29,200
Speaker 2: but they're they're hanging out at CBGB's for the punk

1737
01:33:29,280 --> 01:33:32,080
Speaker 2: rock parties. And then they're taking all these hi punk

1738
01:33:32,120 --> 01:33:35,840
Speaker 2: broadcasts uptown to Harlem World for a hip hop party.

1739
01:33:36,280 --> 01:33:39,080
Speaker 2: So it's like this their mission because they.

1740
01:33:39,520 --> 01:33:42,880
Speaker 3: The spikes come from right, the spikes.

1741
01:33:43,080 --> 01:33:46,479
Speaker 2: I don't know, Okay, I mean it's a possibility a lot.

1742
01:33:46,560 --> 01:33:48,160
Speaker 2: I mean, but then again, you know, that could have

1743
01:33:48,200 --> 01:33:49,640
Speaker 2: just been some I don't know, that could have been

1744
01:33:49,680 --> 01:33:51,439
Speaker 2: some brock ship. I don't know, I don't know.

1745
01:33:51,680 --> 01:33:54,160
Speaker 5: I think it came the disco. Yeah who told us that.

1746
01:33:54,240 --> 01:33:56,640
Speaker 5: I think we heard We've heard different things. I know

1747
01:33:56,680 --> 01:33:59,080
Speaker 5: Africa been botting. All them were the first adopters of that.

1748
01:33:59,160 --> 01:34:02,360
Speaker 2: Look, yeah, yeah, that's who you need to ask, like

1749
01:34:02,439 --> 01:34:08,160
Speaker 2: Van Barda or Mail or flash. We definitely need Yes, yes,

1750
01:34:08,439 --> 01:34:10,240
Speaker 2: if y'all bring mail, I want to come back.

1751
01:34:10,360 --> 01:34:11,400
Speaker 6: I just want to sit over there.

1752
01:34:15,920 --> 01:34:17,719
Speaker 3: It would be amazing to have melly mellow.

1753
01:34:17,840 --> 01:34:21,160
Speaker 2: Yeah, I'm a I'm ana be in that corner, just

1754
01:34:21,200 --> 01:34:22,840
Speaker 2: like like Derek d ditt.

1755
01:34:22,880 --> 01:34:24,160
Speaker 6: I tell them why you man?

1756
01:34:25,040 --> 01:34:35,040
Speaker 1: Man? Yeah, So let's talk about set it off?

1757
01:34:35,080 --> 01:34:35,320
Speaker 2: Man?

1758
01:34:36,760 --> 01:34:38,080
Speaker 3: How did how did that session?

1759
01:34:38,120 --> 01:34:38,439
Speaker 1: How did that?

1760
01:34:38,600 --> 01:34:40,000
Speaker 3: How did how did that record come about?

1761
01:34:41,000 --> 01:34:48,080
Speaker 2: Set it off? Me and Biz went to Mark forty

1762
01:34:48,120 --> 01:34:53,280
Speaker 2: five King Crib Yeah, and he played this beat that

1763
01:34:53,320 --> 01:35:03,320
Speaker 2: he had for Biz and Biz didn't like it. So

1764
01:35:03,760 --> 01:35:08,960
Speaker 2: I told Mark. I was like, yo, if if it's

1765
01:35:08,960 --> 01:35:11,800
Speaker 2: okay with you, I use it, and he said, yeah,

1766
01:35:11,840 --> 01:35:12,479
Speaker 2: you can have it.

1767
01:35:13,040 --> 01:35:14,439
Speaker 6: I said, but can it go a little faster?

1768
01:35:14,800 --> 01:35:16,200
Speaker 2: So he, you know, he tried to speed up a

1769
01:35:16,240 --> 01:35:18,280
Speaker 2: little bit and I was like, no, no, no, I

1770
01:35:18,360 --> 01:35:21,320
Speaker 2: meant faster, like if it's thirty three, can you play

1771
01:35:21,320 --> 01:35:22,160
Speaker 2: it on forty five?

1772
01:35:22,920 --> 01:35:24,840
Speaker 6: And he said, funny you say that.

1773
01:35:25,800 --> 01:35:28,320
Speaker 2: He took the disc out and loaded up another disc

1774
01:35:29,320 --> 01:35:34,960
Speaker 2: and this disc it was playing. He was like, that's

1775
01:35:35,000 --> 01:35:37,240
Speaker 2: the actual speed, he said. I slowed it down for

1776
01:35:37,280 --> 01:35:39,559
Speaker 2: Biz because I know he don't like fast beasts. But

1777
01:35:39,640 --> 01:35:42,599
Speaker 2: this is the actual speed. I was like, I take it,

1778
01:35:43,160 --> 01:35:45,599
Speaker 2: and then he told me, yeah, I already submitted it

1779
01:35:45,640 --> 01:35:49,040
Speaker 2: for a public Enemy remix. I can't remember whether it

1780
01:35:49,080 --> 01:35:51,240
Speaker 2: was Bring the Noise or not a Living base Head,

1781
01:35:51,439 --> 01:35:53,479
Speaker 2: but he had submitted it for a public Enemy remix,

1782
01:35:53,680 --> 01:35:56,960
Speaker 2: so he told me I couldn't have it, so, you know,

1783
01:35:57,040 --> 01:36:00,280
Speaker 2: BIZ stayed on top of him until finally, I don't

1784
01:36:00,280 --> 01:36:02,160
Speaker 2: know whether they turned it down. I don't know if

1785
01:36:02,160 --> 01:36:03,840
Speaker 2: def Jam turned it down or whether the case may

1786
01:36:03,880 --> 01:36:05,800
Speaker 2: be with Bit stayed on top of him until I

1787
01:36:05,800 --> 01:36:06,360
Speaker 2: could get.

1788
01:36:06,200 --> 01:36:09,160
Speaker 3: It on your behalf. Bit stay on top of him, Yeah,

1789
01:36:09,400 --> 01:36:09,760
Speaker 3: that's good.

1790
01:36:09,880 --> 01:36:11,920
Speaker 2: Stayed on top of Mark forty five until I can

1791
01:36:11,920 --> 01:36:13,960
Speaker 2: get the beat and then Busy you know, like call

1792
01:36:14,040 --> 01:36:18,920
Speaker 2: me yeah. And then he gave me the beat, and

1793
01:36:19,520 --> 01:36:24,320
Speaker 2: when I was sitting there, I'm like, I'm like, I

1794
01:36:24,320 --> 01:36:26,280
Speaker 2: don't really want to rhyme over that. I think we

1795
01:36:26,280 --> 01:36:28,479
Speaker 2: should say that for the hook. And then I put

1796
01:36:28,479 --> 01:36:33,760
Speaker 2: this James Brown shit in the you know, yeah, I

1797
01:36:33,840 --> 01:36:39,000
Speaker 2: put that in there, and then yeah, and that's how

1798
01:36:39,000 --> 01:36:40,599
Speaker 2: we did it. And it was like I had something

1799
01:36:40,600 --> 01:36:43,439
Speaker 2: in mind already because it was like I had heard

1800
01:36:43,800 --> 01:36:47,120
Speaker 2: sex Machine from James Brown, and I'm listening like, you

1801
01:36:47,120 --> 01:36:48,880
Speaker 2: know we're gonna do it moving grooving.

1802
01:36:49,040 --> 01:36:49,840
Speaker 6: Can I count it off?

1803
01:36:49,880 --> 01:36:52,439
Speaker 2: Can I? I'm like, I need something like that where

1804
01:36:52,439 --> 01:36:55,439
Speaker 2: like the energy is there before the bea drop. I

1805
01:36:55,800 --> 01:36:57,080
Speaker 2: got to figure out a way to do it hip

1806
01:36:57,080 --> 01:36:58,680
Speaker 2: hop wise. And I was like, yeah, you know what,

1807
01:36:58,880 --> 01:37:01,800
Speaker 2: just start the rhyme off acappella and didn't let the

1808
01:37:01,840 --> 01:37:02,360
Speaker 2: bee come in.

1809
01:37:02,640 --> 01:37:04,519
Speaker 6: So that's why the letter rope get bold. I just

1810
01:37:04,560 --> 01:37:05,360
Speaker 6: caun't let that and.

1811
01:37:05,680 --> 01:37:07,920
Speaker 2: Want to build down up. Then I just thought, you know,

1812
01:37:08,640 --> 01:37:10,320
Speaker 2: I was trying to like do what James did with

1813
01:37:10,400 --> 01:37:11,160
Speaker 2: Sex Machine.

1814
01:37:12,439 --> 01:37:15,760
Speaker 3: Makes no noise that I got there. Let's go to

1815
01:37:15,800 --> 01:37:16,280
Speaker 3: warm it up?

1816
01:37:16,360 --> 01:37:18,120
Speaker 6: Can warm it up?

1817
01:37:18,360 --> 01:37:20,000
Speaker 3: Yeah?

1818
01:37:20,240 --> 01:37:25,439
Speaker 2: Warm it up? Biz once again? Man Coov called me

1819
01:37:25,520 --> 01:37:29,280
Speaker 2: one day. Kov called me on the phone. Kov is

1820
01:37:29,320 --> 01:37:32,360
Speaker 2: biz DJ for those that don't know. He called me

1821
01:37:32,400 --> 01:37:34,840
Speaker 2: on the phone one day and he was like, Yo,

1822
01:37:36,040 --> 01:37:41,439
Speaker 2: I got this joint for you. This shit crazy and

1823
01:37:41,479 --> 01:37:47,400
Speaker 2: it's perfect for you. I'm like, okay, what's happening. He

1824
01:37:47,479 --> 01:37:49,799
Speaker 2: was like, Nah, it's one of them up tempo joints.

1825
01:37:50,400 --> 01:37:52,920
Speaker 2: BIZ was going to use it. But and before you

1826
01:37:52,960 --> 01:37:54,960
Speaker 2: could say anything else, you hear bus in the background.

1827
01:37:55,160 --> 01:38:03,600
Speaker 2: It so goddamn fast. V was like, but yo, I

1828
01:38:03,600 --> 01:38:05,120
Speaker 2: need you do me a favor. I need you to

1829
01:38:05,160 --> 01:38:07,439
Speaker 2: write this here ship for me with my BAM. So

1830
01:38:08,320 --> 01:38:10,439
Speaker 2: he asked me to write this verse for him, and

1831
01:38:10,680 --> 01:38:12,360
Speaker 2: you know then you know they gave me the beat.

1832
01:38:12,720 --> 01:38:14,920
Speaker 2: But yeah, yeah, yeah, that's that's another joint that came

1833
01:38:14,960 --> 01:38:17,519
Speaker 2: from BIZ just like a step crazy.

1834
01:38:17,600 --> 01:38:18,320
Speaker 3: You know what's crazy?

1835
01:38:18,600 --> 01:38:21,040
Speaker 1: And I'm jumping off subject but still on subject a

1836
01:38:21,080 --> 01:38:23,880
Speaker 1: little bit, you know, I hear you you saying this

1837
01:38:24,040 --> 01:38:26,360
Speaker 1: so much, like why was BIZ so much of a

1838
01:38:26,400 --> 01:38:29,759
Speaker 1: respect at MC and like you you blatantly like wrote

1839
01:38:29,800 --> 01:38:33,160
Speaker 1: his rhymes and like he had help, but no one

1840
01:38:33,240 --> 01:38:36,760
Speaker 1: looks at Biz like a person that wasn't an MC.

1841
01:38:37,479 --> 01:38:41,680
Speaker 1: Like everyone looks at him like a respectable person. But

1842
01:38:42,360 --> 01:38:45,439
Speaker 1: nowadays if someone was to get help on that pen

1843
01:38:45,720 --> 01:38:47,680
Speaker 1: that they don't, they don't look at him like a

1844
01:38:47,720 --> 01:38:48,160
Speaker 1: real MC.

1845
01:38:49,800 --> 01:38:54,640
Speaker 2: Because it's like when it comes to MC, and you know,

1846
01:38:54,800 --> 01:39:02,840
Speaker 2: you have lyricists and you have party rockers. Uh you know,

1847
01:39:03,080 --> 01:39:06,960
Speaker 2: I'm a lyricist, Rock him is a lyricist, Kress g

1848
01:39:07,160 --> 01:39:12,400
Speaker 2: rap you know lyricists. Then you know you got party rockers, Biz,

1849
01:39:13,400 --> 01:39:20,760
Speaker 2: Dougie Fresh, Busy Bee, you know, DJ Hollywood, Right, So

1850
01:39:20,800 --> 01:39:24,880
Speaker 2: it's like with cats like that. If someone right there rhymes,

1851
01:39:25,680 --> 01:39:28,880
Speaker 2: you don't trip on that because it's like their job

1852
01:39:28,920 --> 01:39:31,080
Speaker 2: is to rock the party and when they come they

1853
01:39:31,080 --> 01:39:36,200
Speaker 2: do their job. With us. We're lyricists. Our job is

1854
01:39:36,240 --> 01:39:38,840
Speaker 2: to be lyricists. Someone else right now, ship then we

1855
01:39:38,840 --> 01:39:42,760
Speaker 2: ain't really lyricists, right, you know, real talk.

1856
01:39:45,040 --> 01:39:47,320
Speaker 5: I want to get shout out bov for and he

1857
01:39:47,360 --> 01:39:48,800
Speaker 5: has a show with rock san Chante.

1858
01:39:48,960 --> 01:39:52,160
Speaker 1: That's why roll that's right, check it out up. I

1859
01:39:52,200 --> 01:39:54,000
Speaker 1: wanted to invite me up, write us on.

1860
01:39:54,520 --> 01:39:59,240
Speaker 2: Let's go to r A w row.

1861
01:40:00,080 --> 01:40:01,080
Speaker 3: No conners back then.

1862
01:40:01,000 --> 01:40:04,960
Speaker 6: Right, They had nothing to do with that. Cut it out.

1863
01:40:08,320 --> 01:40:08,479
Speaker 2: Now.

1864
01:40:10,160 --> 01:40:13,439
Speaker 6: What happened was we had just rhyming with bizz out.

1865
01:40:13,720 --> 01:40:13,960
Speaker 2: Damn.

1866
01:40:13,960 --> 01:40:15,840
Speaker 1: That's my next question, man, stop doing my interview.

1867
01:40:18,240 --> 01:40:22,160
Speaker 2: I was so happy to have that song out. Unfortunately,

1868
01:40:23,200 --> 01:40:26,080
Speaker 2: everybody thought it was Biz's song. It's playing on the radio,

1869
01:40:26,120 --> 01:40:28,680
Speaker 2: but it's like biz Ram's first and then I come on,

1870
01:40:28,880 --> 01:40:31,360
Speaker 2: so they thought it was Biz's song. So I got

1871
01:40:31,360 --> 01:40:34,120
Speaker 2: a new song out yet and stilled though I'm sitting

1872
01:40:34,120 --> 01:40:37,920
Speaker 2: at home, broke me and school, gotta walk fifteen blocks

1873
01:40:37,960 --> 01:40:42,360
Speaker 2: to the store. Steal missus for missus missus Paul's fish

1874
01:40:42,400 --> 01:40:43,799
Speaker 2: sticks Kansas shrimp.

1875
01:40:44,000 --> 01:40:47,479
Speaker 3: Wow here, how old are you at this time? More

1876
01:40:47,520 --> 01:40:48,439
Speaker 3: or less nineteen?

1877
01:40:48,560 --> 01:40:50,880
Speaker 2: I think nineteen Yeah, but I got a record out

1878
01:40:51,040 --> 01:40:53,759
Speaker 2: and I'm broke, not making no money because nobody's booking

1879
01:40:53,760 --> 01:40:57,000
Speaker 2: me for no shuts right because biz song. So I'm

1880
01:40:57,439 --> 01:40:59,680
Speaker 2: damn near crying to fly Tirl like yo mill, come

1881
01:40:59,680 --> 01:41:01,360
Speaker 2: on man to put another song out with just me,

1882
01:41:01,840 --> 01:41:04,080
Speaker 2: tires like Yore's Life and the songs like then finally,

1883
01:41:04,120 --> 01:41:06,720
Speaker 2: at some point, Tied just got tired of me asking him,

1884
01:41:06,720 --> 01:41:07,240
Speaker 2: and he just.

1885
01:41:07,200 --> 01:41:11,040
Speaker 1: So people know, fly tis the person that own records Colture.

1886
01:41:11,080 --> 01:41:13,800
Speaker 2: Yeah. Tie finally got tired of me asking him, and

1887
01:41:13,800 --> 01:41:15,559
Speaker 2: he was like, yeah, all right, go ahead, do a song.

1888
01:41:16,760 --> 01:41:21,120
Speaker 2: So Mally made a beat and I wrote the rhymes

1889
01:41:21,120 --> 01:41:25,519
Speaker 2: the raw. And then this girl I was dating at

1890
01:41:25,520 --> 01:41:28,599
Speaker 2: the time, she was like, why are you always going

1891
01:41:28,800 --> 01:41:31,720
Speaker 2: on to Molly Malhouse. Won't you spend time with me?

1892
01:41:31,960 --> 01:41:33,840
Speaker 2: I got records you can look through my records of

1893
01:41:35,000 --> 01:41:38,320
Speaker 2: and she pulled these records out and she had the

1894
01:41:38,360 --> 01:41:41,120
Speaker 2: first thing I saw was the soundtrack The Black Cason,

1895
01:41:42,120 --> 01:41:45,200
Speaker 2: and I'm like, that was my movie, right, yeah, yeah,

1896
01:41:45,439 --> 01:41:47,439
Speaker 2: that was my movie. I'm like, all right, I stay

1897
01:41:47,720 --> 01:41:50,080
Speaker 2: so I stayed, I'm looking through the records playing ship

1898
01:41:50,600 --> 01:41:53,320
Speaker 2: and the first thing I heard was that that sounded

1899
01:41:53,360 --> 01:41:58,880
Speaker 2: funky was pays the cost to be the boss. I

1900
01:41:58,880 --> 01:42:01,800
Speaker 2: heard that, I'm like, oh, oh, I gotta use this. But

1901
01:42:01,840 --> 01:42:04,599
Speaker 2: then I'm playing more, and then I heard this song

1902
01:42:04,640 --> 01:42:08,760
Speaker 2: i'ma feel Good and I heard these horns bo bo,

1903
01:42:10,640 --> 01:42:13,120
Speaker 2: and I'm like, oh, that would work on the beat

1904
01:42:13,160 --> 01:42:18,000
Speaker 2: that Marley made, you know. So I'm like, yeah, me

1905
01:42:18,040 --> 01:42:21,200
Speaker 2: grad this. And then the next morning I did try

1906
01:42:21,240 --> 01:42:23,439
Speaker 2: to do what Biz always do, like before he go

1907
01:42:23,520 --> 01:42:26,120
Speaker 2: to Marley Cribb. He would always stop it downstairs records.

1908
01:42:26,320 --> 01:42:29,280
Speaker 2: That was you know, his you know routine. So I

1909
01:42:29,320 --> 01:42:31,720
Speaker 2: did it and I stopped by there and my man

1910
01:42:31,840 --> 01:42:35,840
Speaker 2: j C that worked in there. Jac was like, yo,

1911
01:42:35,880 --> 01:42:39,559
Speaker 2: we just got these James Brown imports in and he

1912
01:42:39,600 --> 01:42:42,640
Speaker 2: played them for me. I forgot what the first one was,

1913
01:42:42,720 --> 01:42:46,800
Speaker 2: and he played the other one. It was called cross

1914
01:42:46,840 --> 01:42:49,960
Speaker 2: the Tracks kiddn't play. Ended up using it, I think

1915
01:42:50,000 --> 01:42:51,599
Speaker 2: from my way, I think that's the name of the song.

1916
01:42:52,640 --> 01:42:55,040
Speaker 2: But anyway, then he played the third one and that

1917
01:42:55,200 --> 01:43:00,680
Speaker 2: was the catch catch catch. I'm like, yes, I'll take that,

1918
01:43:02,720 --> 01:43:05,439
Speaker 2: So I took it, went to Marley crib and was like, yo,

1919
01:43:07,600 --> 01:43:09,479
Speaker 2: the song we were somebody. I want to do it,

1920
01:43:09,560 --> 01:43:11,920
Speaker 2: but not with your beat. We need to use this.

1921
01:43:12,720 --> 01:43:15,439
Speaker 2: Marlly SPADs the funk out. He lost it. Nah, noah,

1922
01:43:15,840 --> 01:43:19,000
Speaker 2: we need to But then when I played this ship Mally,

1923
01:43:19,760 --> 01:43:24,280
Speaker 2: that ship hot. So he I went to go with

1924
01:43:24,400 --> 01:43:27,080
Speaker 2: some pizza and he looped it up. But when I

1925
01:43:27,120 --> 01:43:30,400
Speaker 2: came back, he looped up the first two bars. I

1926
01:43:30,439 --> 01:43:35,400
Speaker 2: was like, nah, six bars in there's an offbeat sneer.

1927
01:43:35,520 --> 01:43:40,080
Speaker 2: We're like, boom, indumped the tape. I'm like, yo, we

1928
01:43:40,120 --> 01:43:44,160
Speaker 2: need that. He mad as a motherfucker because now because

1929
01:43:44,240 --> 01:43:47,519
Speaker 2: now he got to re sample it. And then after

1930
01:43:47,520 --> 01:43:49,320
Speaker 2: he sampled it, dumping the tape again.

1931
01:43:49,720 --> 01:43:54,320
Speaker 3: This is pre digital verybody. Yeah, yes, sampled.

1932
01:43:55,680 --> 01:44:01,240
Speaker 6: Up again. And then you know he did that and.

1933
01:44:01,280 --> 01:44:04,760
Speaker 2: This is rocking, and I'm like, all right, put this

1934
01:44:04,840 --> 01:44:10,040
Speaker 2: horn part in. He sampled it, you know, the he

1935
01:44:10,080 --> 01:44:14,479
Speaker 2: stopped it. He like, Yo, that shit sound like some

1936
01:44:14,520 --> 01:44:17,679
Speaker 2: public Enemy stuff. Man, we ain't trying to sound like them.

1937
01:44:17,680 --> 01:44:20,719
Speaker 2: Them niggas want to be Juice Crew. I'm like, Marley,

1938
01:44:22,240 --> 01:44:24,920
Speaker 2: this shit gonna drive the record right here. This is

1939
01:44:24,960 --> 01:44:27,920
Speaker 2: the thing right here that's driving the record. That horn

1940
01:44:28,040 --> 01:44:30,320
Speaker 2: right there is gonna make the world of difference, I

1941
01:44:30,400 --> 01:44:30,840
Speaker 2: promise you.

1942
01:44:31,920 --> 01:44:34,000
Speaker 6: And then you know, he sampled.

1943
01:44:33,640 --> 01:44:36,720
Speaker 2: It in there and put it in there, and then

1944
01:44:37,680 --> 01:44:40,680
Speaker 2: I was like, yo, can we get an eight or

1945
01:44:40,720 --> 01:44:44,080
Speaker 2: eight on the one the boom? And then Marley said

1946
01:44:44,280 --> 01:44:48,880
Speaker 2: watch this, watch this boom boom. He was like ah,

1947
01:44:48,960 --> 01:44:51,840
Speaker 2: I'm like hell yeah and yeah. Then I went in

1948
01:44:51,840 --> 01:44:53,559
Speaker 2: there and spent the vocals and the rest was his.

1949
01:44:54,400 --> 01:44:54,840
Speaker 1: God damn.

1950
01:44:55,160 --> 01:44:57,400
Speaker 2: Because the reason that's the reason why I start the

1951
01:44:57,479 --> 01:45:00,160
Speaker 2: song off saying here I am l A W is

1952
01:45:00,160 --> 01:45:05,080
Speaker 2: because I felt like, finally, here I am because I'm

1953
01:45:05,320 --> 01:45:06,960
Speaker 2: a lot to you, not I was broken ship man.

1954
01:45:07,000 --> 01:45:09,080
Speaker 2: Were just rhyme with a bit? Just rhyme with Biz?

1955
01:45:10,120 --> 01:45:13,880
Speaker 1: That's my next question, And let me ask you because

1956
01:45:14,400 --> 01:45:17,360
Speaker 1: this has been like a lifelong debate for me. I'm

1957
01:45:17,400 --> 01:45:22,040
Speaker 1: listening to just rhyming with Biz. Were y'all really rhyming

1958
01:45:22,080 --> 01:45:23,360
Speaker 1: in the park or.

1959
01:45:23,320 --> 01:45:24,320
Speaker 3: That was in the studio?

1960
01:45:24,680 --> 01:45:24,760
Speaker 2: That?

1961
01:45:26,040 --> 01:45:29,280
Speaker 6: Okay, yeah, it was me Biz and freaking frack because

1962
01:45:29,360 --> 01:45:29,720
Speaker 6: as I.

1963
01:45:29,680 --> 01:45:32,080
Speaker 1: Listened to it now, it still sounds like because the

1964
01:45:32,200 --> 01:45:33,920
Speaker 1: rumor was that you did it in the park, and

1965
01:45:33,960 --> 01:45:34,599
Speaker 1: like that was like.

1966
01:45:34,560 --> 01:45:38,040
Speaker 2: A no now because what it was was like the

1967
01:45:38,120 --> 01:45:42,080
Speaker 2: studio Mic and Mally normally have with the little screen

1968
01:45:42,080 --> 01:45:42,600
Speaker 2: thing in front of it.

1969
01:45:43,280 --> 01:45:44,559
Speaker 6: We was passing it around.

1970
01:45:44,920 --> 01:45:46,160
Speaker 3: Okay, that's the reason why I said it.

1971
01:45:46,320 --> 01:45:50,360
Speaker 2: It sounds like it was just me Biz and freaking

1972
01:45:50,439 --> 01:45:53,240
Speaker 2: Frack from South Side Queens, the two girls from South

1973
01:45:53,280 --> 01:45:55,840
Speaker 2: Side Queens, you know, the female rappers. You know, we

1974
01:45:56,040 --> 01:45:59,479
Speaker 2: just was rhyming after I did a song song is

1975
01:45:59,560 --> 01:46:01,760
Speaker 2: called something and Funky. It's it's also on the same

1976
01:46:01,960 --> 01:46:05,040
Speaker 2: twelve inch that was the actual song, but then we

1977
01:46:05,120 --> 01:46:08,320
Speaker 2: just rhymed. Afterwards Marley played the freestyle and people was

1978
01:46:08,320 --> 01:46:12,680
Speaker 2: requesting that more than the actual song. Wow, it so

1979
01:46:12,760 --> 01:46:14,760
Speaker 2: flying time, you know, put it on the twelve inch.

1980
01:46:15,000 --> 01:46:15,280
Speaker 3: Wow.

1981
01:46:15,439 --> 01:46:15,639
Speaker 6: Yeah.

1982
01:46:15,680 --> 01:46:17,960
Speaker 1: Yeah, So let's let's take it a young gifted.

1983
01:46:17,640 --> 01:46:29,080
Speaker 2: In Black, Young Gifted in Black. I did a radio

1984
01:46:29,160 --> 01:46:35,040
Speaker 2: promo with Marley Maul called Raw Attitude. It was me

1985
01:46:35,120 --> 01:46:38,800
Speaker 2: and Antoinette because Antoinette had a song called I Got

1986
01:46:38,800 --> 01:46:41,800
Speaker 2: Attitude and I had Raw So we did this radio

1987
01:46:41,840 --> 01:46:47,720
Speaker 2: promo called Royal Attitude for for for bls and that's all.

1988
01:46:47,760 --> 01:46:50,720
Speaker 2: It was just radio promo. But then Marley took the

1989
01:46:50,800 --> 01:46:56,720
Speaker 2: beat and gave it to Shan. But you know, it

1990
01:46:56,840 --> 01:47:01,160
Speaker 2: was like I didn't actually produce this one, this one.

1991
01:47:01,200 --> 01:47:03,920
Speaker 2: Like I just gave Marley the sample and he put

1992
01:47:03,960 --> 01:47:06,280
Speaker 2: it together and he just gave it to Sham, but

1993
01:47:06,320 --> 01:47:09,760
Speaker 2: he didn't ask me, can Shan have it? So I

1994
01:47:10,000 --> 01:47:13,759
Speaker 2: was like, yo, you owe me a beat tomorrow tomorrow.

1995
01:47:14,120 --> 01:47:15,280
Speaker 2: I'm like, yo, you owe me a beat.

1996
01:47:15,320 --> 01:47:15,479
Speaker 6: Man.

1997
01:47:15,520 --> 01:47:17,120
Speaker 2: I'm not I didn't tell you to get the Shan

1998
01:47:17,360 --> 01:47:20,000
Speaker 2: but no, honesty, I didn't really want it, you know

1999
01:47:20,040 --> 01:47:21,400
Speaker 2: what I mean. But I mean I was like, you

2000
01:47:21,439 --> 01:47:24,800
Speaker 2: owe me a beat. So Marley played this beat one day.

2001
01:47:26,439 --> 01:47:29,479
Speaker 2: I was like, yo, I checked this joint out I

2002
01:47:29,520 --> 01:47:38,639
Speaker 2: got for Shan and he played the ship and I'm

2003
01:47:38,680 --> 01:47:43,960
Speaker 2: like that's just mean, and he, you know, stopped and

2004
01:47:44,000 --> 01:47:46,679
Speaker 2: took it out. I took the fucking fire floppy disk

2005
01:47:47,280 --> 01:47:52,080
Speaker 2: and hid that ship in like his R and B stash.

2006
01:47:52,360 --> 01:47:55,560
Speaker 2: Real talk that guy. I made it in another stash.

2007
01:47:56,040 --> 01:47:59,080
Speaker 2: And then you know, when the time came, it was like, yo,

2008
01:47:59,439 --> 01:48:03,280
Speaker 2: you owe me a beat. I need something from you.

2009
01:48:03,479 --> 01:48:06,080
Speaker 2: He was like, I he started, you got ready placed

2010
01:48:06,080 --> 01:48:07,400
Speaker 2: some stuff. I was like, no, no, no, I already know

2011
01:48:07,400 --> 01:48:09,920
Speaker 2: what I want. And I went right back to that

2012
01:48:10,080 --> 01:48:11,840
Speaker 2: stash and pulled that disc out and I was like,

2013
01:48:11,920 --> 01:48:13,840
Speaker 2: I want that. And when he popped it in and

2014
01:48:13,920 --> 01:48:18,360
Speaker 2: so it was y'all been looking for this here ship, yo.

2015
01:48:18,360 --> 01:48:20,280
Speaker 2: You know it's supposed to be for sharing. I was like, well,

2016
01:48:20,280 --> 01:48:24,920
Speaker 2: you gave share my ship, and that's how that's how

2017
01:48:24,960 --> 01:48:26,439
Speaker 2: I ended up with that beat, because the beat was

2018
01:48:26,439 --> 01:48:27,080
Speaker 2: really for sharing.

2019
01:48:27,280 --> 01:48:29,280
Speaker 5: I said that with vinyl I couldn't afford, I would

2020
01:48:29,320 --> 01:48:31,840
Speaker 5: stash it in another section of the violin come back

2021
01:48:31,840 --> 01:48:32,240
Speaker 5: to it when.

2022
01:48:32,120 --> 01:48:35,880
Speaker 6: I exactly did you you know, you know.

2023
01:48:35,320 --> 01:48:38,639
Speaker 5: For the joints that you found samples and co produced,

2024
01:48:38,680 --> 01:48:39,559
Speaker 5: did you get the credit?

2025
01:48:39,680 --> 01:48:39,760
Speaker 1: No?

2026
01:48:40,880 --> 01:48:42,840
Speaker 6: No, and let me let me let me just clear

2027
01:48:42,920 --> 01:48:43,280
Speaker 6: that up.

2028
01:48:44,120 --> 01:48:49,160
Speaker 2: So there's no uh hate or any way that anybody

2029
01:48:49,240 --> 01:48:54,080
Speaker 2: can try to, you know, kick dirt on Marley name

2030
01:48:58,360 --> 01:49:00,800
Speaker 2: with the joint I'm talking about that I gave Mally

2031
01:49:00,840 --> 01:49:04,800
Speaker 2: a beat and he put it together now with like

2032
01:49:04,960 --> 01:49:09,080
Speaker 2: raw and Ain't a Half Stepping. These are songs that

2033
01:49:09,120 --> 01:49:13,360
Speaker 2: I put together and Marley just did it on the

2034
01:49:13,439 --> 01:49:15,799
Speaker 2: drum machine. But these are songs that I put together,

2035
01:49:16,920 --> 01:49:21,760
Speaker 2: So I feel like I produced these songs. Get the credit, no,

2036
01:49:22,640 --> 01:49:25,679
Speaker 2: but these are songs that I feel I produce. Now,

2037
01:49:25,920 --> 01:49:28,960
Speaker 2: there have been many artists that brought beasts to Marley,

2038
01:49:29,800 --> 01:49:31,839
Speaker 2: gave him the record, and then Marley put it together.

2039
01:49:32,760 --> 01:49:35,400
Speaker 2: You bring someone a record, that's what we call in

2040
01:49:35,439 --> 01:49:41,599
Speaker 2: the streets a good fine, a good fine fine. Yeah, yeah,

2041
01:49:41,640 --> 01:49:45,080
Speaker 2: that's that's Craig digging terms. That's a good fine. So

2042
01:49:45,120 --> 01:49:47,280
Speaker 2: that's a good fine. But if you give the record

2043
01:49:47,280 --> 01:49:50,519
Speaker 2: of Marley and he you know, sample this part, sample

2044
01:49:50,560 --> 01:49:53,360
Speaker 2: that part, put a kick snare to it, whatever, you know,

2045
01:49:53,600 --> 01:49:57,080
Speaker 2: high hats on tambourines, whatever, he's producing the song.

2046
01:49:57,640 --> 01:50:00,360
Speaker 6: You just found a dope break record. That's all you did.

2047
01:50:01,920 --> 01:50:08,120
Speaker 2: But like songs like Raw ain't a half step and

2048
01:50:08,200 --> 01:50:09,440
Speaker 2: these are joints.

2049
01:50:09,040 --> 01:50:11,519
Speaker 6: That you know, I pretty much did all.

2050
01:50:11,400 --> 01:50:13,760
Speaker 3: The structureing and you give it a black one.

2051
01:50:14,040 --> 01:50:16,840
Speaker 2: That's Molly Young gives him black is all Marley. Lean

2052
01:50:16,920 --> 01:50:20,840
Speaker 2: on Me is all Molly you know, yeah, yeah, that's

2053
01:50:20,880 --> 01:50:25,000
Speaker 2: all Mally. I'll take you there all Marley. Okay, Yeah.

2054
01:50:25,920 --> 01:50:26,840
Speaker 3: How about the Wrath of.

2055
01:50:27,080 --> 01:50:29,479
Speaker 6: K Rafter Kane. That would be mek.

2056
01:50:29,960 --> 01:50:33,120
Speaker 2: Yeah, that was that was a funny session to Marley

2057
01:50:33,240 --> 01:50:40,439
Speaker 2: was pissed, but he didn't. He didn't.

2058
01:50:40,479 --> 01:50:42,360
Speaker 6: He was like, it's too far, it's too fast. Let

2059
01:50:42,360 --> 01:50:42,960
Speaker 6: me slow it down.

2060
01:50:43,000 --> 01:50:47,040
Speaker 2: I'm like nah, I'm like nah, I ain't never go

2061
01:50:47,160 --> 01:50:50,519
Speaker 2: this fast. I'm like, I never went this fast, Like

2062
01:50:50,960 --> 01:50:54,880
Speaker 2: I need to take it to the next level. And

2063
01:50:54,920 --> 01:50:58,479
Speaker 2: he was like, yo, only people gonna like this ship

2064
01:50:58,520 --> 01:51:08,719
Speaker 2: is Puerto Ricans and break dances. I like it because

2065
01:51:09,240 --> 01:51:13,240
Speaker 2: with Raffa Kine, it's like it had to be switched

2066
01:51:13,280 --> 01:51:17,480
Speaker 2: around because the beat goes boom.

2067
01:51:17,200 --> 01:51:20,800
Speaker 6: We got get got got boom boom.

2068
01:51:20,520 --> 01:51:24,880
Speaker 2: Gat, So we had to catch the second part boom

2069
01:51:24,920 --> 01:51:28,240
Speaker 2: get boom gat and make that first to make the

2070
01:51:28,280 --> 01:51:32,200
Speaker 2: first part boom but gat gat make that second, so

2071
01:51:32,240 --> 01:51:35,400
Speaker 2: it would be like boom gat boom gat boom but

2072
01:51:35,560 --> 01:51:38,600
Speaker 2: got gatt. But they had to be switched around, you know,

2073
01:51:38,680 --> 01:51:41,120
Speaker 2: not get that part, then get that part and then

2074
01:51:41,120 --> 01:51:43,519
Speaker 2: switch play that one you know this first and then

2075
01:51:43,520 --> 01:51:45,240
Speaker 2: that's you know what I'm saying. I had them to

2076
01:51:45,280 --> 01:51:48,080
Speaker 2: do that, you know. But once again, you're that was

2077
01:51:48,120 --> 01:51:50,640
Speaker 2: something that you know, our structured as well, because the

2078
01:51:50,680 --> 01:51:54,920
Speaker 2: reason for that was because fly Tire couldn't get them

2079
01:51:54,960 --> 01:51:58,040
Speaker 2: to release set it off as the second single. He

2080
01:51:58,160 --> 01:52:00,120
Speaker 2: was trying to get Warner Brothers to put out at

2081
01:52:00,160 --> 01:52:02,360
Speaker 2: that office a second single. They wouldn't do it. They

2082
01:52:02,439 --> 01:52:05,000
Speaker 2: wanted to go and I'll take you there because now

2083
01:52:05,080 --> 01:52:07,120
Speaker 2: since I was on Warner Brothers. Prince was willing to

2084
01:52:07,160 --> 01:52:10,360
Speaker 2: clear the sample, so they wanted to go with that.

2085
01:52:12,240 --> 01:52:13,680
Speaker 6: Fly time. I couldn't get you set up.

2086
01:52:13,760 --> 01:52:15,519
Speaker 2: So since I knew that there was nothing I could do,

2087
01:52:15,960 --> 01:52:19,439
Speaker 2: and I couldn't even convince them to do set it

2088
01:52:19,479 --> 01:52:21,400
Speaker 2: off as the B side, I'm like, well, let's set up.

2089
01:52:21,400 --> 01:52:23,240
Speaker 2: They was like one of us was like, no, just

2090
01:52:23,280 --> 01:52:26,040
Speaker 2: in case we do a third single, we rather hold off.

2091
01:52:26,840 --> 01:52:28,519
Speaker 2: So I just said fuck it. Then I just went

2092
01:52:28,560 --> 01:52:30,240
Speaker 2: in the studio. I did a new song, which was

2093
01:52:30,360 --> 01:52:30,840
Speaker 2: rafa king.

2094
01:52:31,160 --> 01:52:32,880
Speaker 3: But what made you pick that song to come out

2095
01:52:32,880 --> 01:52:33,680
Speaker 3: to the Apollo with.

2096
01:52:38,920 --> 01:52:43,519
Speaker 2: They told me that they record mostly everything, and they

2097
01:52:43,560 --> 01:52:44,760
Speaker 2: was like, you know, we record most of them. We

2098
01:52:44,840 --> 01:52:47,679
Speaker 2: got a studio upstairs, so like when people be on stage,

2099
01:52:47,680 --> 01:52:49,600
Speaker 2: we normally record, you know stuff, So we have a

2100
01:52:49,640 --> 01:52:52,799
Speaker 2: whole lot of shows, concerts record the audio recorded.

2101
01:52:53,520 --> 01:52:55,880
Speaker 6: I'm like, okay, I want to I want to do that.

2102
01:52:56,320 --> 01:52:56,920
Speaker 2: Did you hear them?

2103
01:52:57,280 --> 01:52:57,720
Speaker 1: Did you hear it?

2104
01:52:57,840 --> 01:52:58,040
Speaker 6: Yeah?

2105
01:52:58,080 --> 01:53:00,360
Speaker 2: Yeah, yeah, No, I don't gotta hit a ground. I

2106
01:53:00,360 --> 01:53:08,559
Speaker 2: can hear my asthmetic ass you listen like that was

2107
01:53:08,560 --> 01:53:11,040
Speaker 2: the first time I realized. I'm like, yeah, you gotta

2108
01:53:11,040 --> 01:53:12,000
Speaker 2: get your breathing right.

2109
01:53:12,160 --> 01:53:13,479
Speaker 3: But that's how you know you're perfected.

2110
01:53:13,479 --> 01:53:16,040
Speaker 1: This none of us hear that, Oh we hears you

2111
01:53:16,200 --> 01:53:18,439
Speaker 1: tearing that ship down and the crowd going crazy.

2112
01:53:18,520 --> 01:53:23,120
Speaker 2: But next time we listen to Rath, I'm shouting like

2113
01:53:23,160 --> 01:53:26,960
Speaker 2: motherfucking dopad on it, you know what I'm saying on.

2114
01:53:26,880 --> 01:53:29,439
Speaker 3: The way here, and that it sounds so dope.

2115
01:53:31,000 --> 01:53:33,920
Speaker 1: I love I loved shows back then when you have

2116
01:53:34,000 --> 01:53:36,519
Speaker 1: to buy hard tickets and things like that, do you

2117
01:53:36,600 --> 01:53:39,400
Speaker 1: do you miss days like that? Hell yeah, because like

2118
01:53:39,479 --> 01:53:43,400
Speaker 1: right now, like these people can like buy like online

2119
01:53:44,280 --> 01:53:45,840
Speaker 1: not even show show up to your curency.

2120
01:53:46,880 --> 01:53:48,960
Speaker 2: Well, I mean it's not really the days of the tickets,

2121
01:53:48,960 --> 01:53:50,160
Speaker 2: it's the days of.

2122
01:53:51,600 --> 01:53:52,320
Speaker 6: The appreciation.

2123
01:53:53,360 --> 01:53:53,920
Speaker 2: Uh.

2124
01:53:54,560 --> 01:53:55,080
Speaker 6: It's like.

2125
01:53:57,080 --> 01:54:03,200
Speaker 2: Nowadays, you know, you come on stage, if there's ten

2126
01:54:03,280 --> 01:54:07,679
Speaker 2: thousand people in the audience, you're probably looking at seven

2127
01:54:07,760 --> 01:54:08,960
Speaker 2: thousand cell phones.

2128
01:54:09,360 --> 01:54:11,120
Speaker 3: Oh yeah, I hate that they're like this.

2129
01:54:11,520 --> 01:54:17,800
Speaker 2: Yeah yeah, you know, it's like nobody's really enjoying.

2130
01:54:17,680 --> 01:54:21,240
Speaker 5: Appreciating the experience anymore. Yeah, it's something they're trying to

2131
01:54:21,280 --> 01:54:22,040
Speaker 5: capture for later.

2132
01:54:22,120 --> 01:54:26,040
Speaker 3: Which yeah, yeah, that's that's kind of crazy. But you know,

2133
01:54:26,160 --> 01:54:26,479
Speaker 3: let me just.

2134
01:54:26,520 --> 01:54:30,280
Speaker 1: Tell you how powerful your your stage presence is the

2135
01:54:30,320 --> 01:54:35,200
Speaker 1: other day, you know, obviously I'm studying, you know, for

2136
01:54:35,280 --> 01:54:37,920
Speaker 1: the interview, but I'm also just looking at on the

2137
01:54:37,960 --> 01:54:43,360
Speaker 1: internet and I'm looking at your stage show, right, and

2138
01:54:43,400 --> 01:54:45,800
Speaker 1: then I just go randomly and I'm looking at money

2139
01:54:45,840 --> 01:54:50,440
Speaker 1: bags yo, and money bags Yo, Damn your same routine.

2140
01:54:50,880 --> 01:54:53,160
Speaker 1: Like damn, they're like, you know, jumping around and I'm

2141
01:54:53,200 --> 01:54:56,840
Speaker 1: looking and I'm like, he probably don't even know, you know,

2142
01:54:57,320 --> 01:55:00,840
Speaker 1: like like his stage presence, like where he actually got

2143
01:55:00,880 --> 01:55:03,960
Speaker 1: that from, like having dances interacting with them, And I

2144
01:55:04,040 --> 01:55:06,360
Speaker 1: was just sitting there like damn, like that this form

2145
01:55:06,360 --> 01:55:09,960
Speaker 1: of hip hop is still in, It's just in a

2146
01:55:10,320 --> 01:55:10,880
Speaker 1: different thing.

2147
01:55:10,960 --> 01:55:13,080
Speaker 6: I gotta I gotta look him up now for me.

2148
01:55:13,160 --> 01:55:16,880
Speaker 2: But I would, honestly if that's what you saw, and

2149
01:55:16,960 --> 01:55:18,720
Speaker 2: I would love to meet that brother. I would love

2150
01:55:18,760 --> 01:55:20,640
Speaker 2: to like really just sit and build with him about,

2151
01:55:20,800 --> 01:55:23,240
Speaker 2: you know, performance, just to tell him some of the

2152
01:55:23,280 --> 01:55:24,240
Speaker 2: things that I've heard.

2153
01:55:24,360 --> 01:55:26,960
Speaker 1: But you know what's crazy. I used to go to

2154
01:55:26,960 --> 01:55:29,680
Speaker 1: the road with Oconnelly. Ocannella used to stop and he

2155
01:55:29,720 --> 01:55:32,760
Speaker 1: used to do like these girls with bananas and that

2156
01:55:32,840 --> 01:55:35,040
Speaker 1: he had he had his version of scoop and scratch

2157
01:55:35,080 --> 01:55:37,360
Speaker 1: no no, no death serious because he had put in your

2158
01:55:37,360 --> 01:55:40,320
Speaker 1: mouth so he had to make that one song stretched

2159
01:55:40,640 --> 01:55:43,280
Speaker 1: you understand I'm saying soul. And then I was sitting

2160
01:55:43,280 --> 01:55:45,120
Speaker 1: there and I'd be like and he'd be like, man,

2161
01:55:45,160 --> 01:55:47,720
Speaker 1: I got this stage presidence from Kine And I'd be like,

2162
01:55:48,160 --> 01:55:50,760
Speaker 1: did you did you know like a lot of people

2163
01:55:51,000 --> 01:55:55,320
Speaker 1: like Bay State stage presidence on how entertainment he was

2164
01:55:55,360 --> 01:55:56,560
Speaker 1: on and you are on stage.

2165
01:55:58,040 --> 01:56:00,480
Speaker 2: No, I didn't know that.

2166
01:56:00,680 --> 01:56:03,480
Speaker 6: I mean, I think it's beautiful.

2167
01:56:03,760 --> 01:56:06,520
Speaker 2: You know. I remember when me and you had the

2168
01:56:06,560 --> 01:56:11,160
Speaker 2: conversation in London about performing down again, you know, But

2169
01:56:11,320 --> 01:56:15,480
Speaker 2: I mean it's like I think it's I think I

2170
01:56:15,560 --> 01:56:16,920
Speaker 2: think it's a blessing because.

2171
01:56:18,320 --> 01:56:19,640
Speaker 6: That's something that's been important to me.

2172
01:56:20,200 --> 01:56:23,440
Speaker 2: You know. I saw Bizz perform and do what he

2173
01:56:23,560 --> 01:56:25,560
Speaker 2: do and I was like, yo, he's rocking the crowds.

2174
01:56:25,600 --> 01:56:27,920
Speaker 2: But it's like I didn't want to do the funny stuff,

2175
01:56:28,720 --> 01:56:31,560
Speaker 2: you know. I'm like, Okay, what's my niche? What's it

2176
01:56:31,600 --> 01:56:35,480
Speaker 2: gonna be? And I learned my niche from Dougie Fresh.

2177
01:56:36,480 --> 01:56:42,000
Speaker 2: It was like doug came to see my show and

2178
01:56:42,040 --> 01:56:44,240
Speaker 2: he was like, no, I'm gonna watch it from the crowd,

2179
01:56:44,760 --> 01:56:46,800
Speaker 2: And he watched it from the crowd and we came

2180
01:56:46,840 --> 01:56:50,320
Speaker 2: backstage It's like everybody's like, yo, you tore that ship down, Yo,

2181
01:56:50,400 --> 01:56:52,600
Speaker 2: you bodied it or you just say body then, but

2182
01:56:52,880 --> 01:56:55,800
Speaker 2: whatever the word slang was in like eighty seven, you know,

2183
01:56:56,040 --> 01:56:56,920
Speaker 2: He's like, yo, this and that.

2184
01:56:57,240 --> 01:56:58,160
Speaker 3: What did dog say?

2185
01:56:58,520 --> 01:57:01,680
Speaker 2: Dog? Well, you know in his fucking high pitch boys,

2186
01:57:02,600 --> 01:57:05,760
Speaker 2: you know, why are.

2187
01:57:03,720 --> 01:57:19,920
Speaker 1: You Everyone's telling dogs like man?

2188
01:57:20,720 --> 01:57:23,960
Speaker 2: And I mean I'm like looking at him, like, oh,

2189
01:57:24,000 --> 01:57:31,760
Speaker 2: you fucking old school hater. But then he goes, yo,

2190
01:57:33,480 --> 01:57:35,400
Speaker 2: what you're doing, won't you come back to the crib,

2191
01:57:35,480 --> 01:57:37,840
Speaker 2: let's be So we go back to his crib and

2192
01:57:37,920 --> 01:57:44,720
Speaker 2: he popping these videos Earth Winning Fire, Michael Jackson, Pink Floyd,

2193
01:57:46,160 --> 01:57:48,440
Speaker 2: and he's showing me this stuff and he's like, yo,

2194
01:57:48,480 --> 01:57:50,560
Speaker 2: you see what they're doing. He's like, this is what

2195
01:57:50,680 --> 01:57:54,200
Speaker 2: I learned from Because everybody else is studying Run DMC

2196
01:57:54,960 --> 01:58:01,000
Speaker 2: and Flashing the Furious five and Odini, I'm studying what's

2197
01:58:01,120 --> 01:58:04,600
Speaker 2: never been done in hip hop before and introducing it

2198
01:58:04,640 --> 01:58:05,520
Speaker 2: for the first time.

2199
01:58:06,120 --> 01:58:08,200
Speaker 6: Wow, And I'm like m hm.

2200
01:58:09,240 --> 01:58:12,160
Speaker 2: So that next morning I woke up, went straight to

2201
01:58:12,240 --> 01:58:18,840
Speaker 2: Tower Video and bought VHS's of James Brown, Barry White,

2202
01:58:19,600 --> 01:58:27,000
Speaker 2: and Marvin K and started studying those. I mean, fine,

2203
01:58:27,280 --> 01:58:32,560
Speaker 2: like like like fine, fine to like yeah everything you

2204
01:58:32,640 --> 01:58:35,360
Speaker 2: know from Barry White taking his pocket square, wiping his

2205
01:58:35,440 --> 01:58:36,760
Speaker 2: sweat out us on his face.

2206
01:58:36,800 --> 01:58:38,520
Speaker 1: Where do you get that routine when you dropped the

2207
01:58:38,600 --> 01:58:42,000
Speaker 1: mic and then you pick it back up?

2208
01:58:42,040 --> 01:58:42,680
Speaker 3: What is it with the.

2209
01:58:44,200 --> 01:58:45,480
Speaker 2: Drop drop ship make it? Look?

2210
01:58:47,320 --> 01:58:47,920
Speaker 3: What did you get?

2211
01:58:48,000 --> 01:58:50,680
Speaker 1: Because like, I know what's coming, Like it's like a magician,

2212
01:58:52,200 --> 01:58:54,280
Speaker 1: like you know the trick is coming, but I still

2213
01:58:54,280 --> 01:58:54,800
Speaker 1: get caught.

2214
01:58:56,080 --> 01:58:56,920
Speaker 3: I'm looking like he's.

2215
01:58:56,800 --> 01:58:58,400
Speaker 1: Gonna do it, He's gonna do it, and you're still

2216
01:58:58,480 --> 01:58:59,160
Speaker 1: not still.

2217
01:58:58,960 --> 01:59:02,880
Speaker 2: Amazed, Like well, you know, that was something we used

2218
01:59:02,880 --> 01:59:07,200
Speaker 2: to do before internet days, so okay, nobody really knew,

2219
01:59:07,480 --> 01:59:10,600
Speaker 2: you know, but then once you know, it became you know,

2220
01:59:10,760 --> 01:59:13,880
Speaker 2: like you know, I started trending so crazy. I just

2221
01:59:13,880 --> 01:59:15,960
Speaker 2: stopped doing it in the show. But yeah, we used

2222
01:59:16,000 --> 01:59:17,600
Speaker 2: to do that a lot back then. This is like

2223
01:59:18,000 --> 01:59:21,360
Speaker 2: early two thousands, you know, before you know, Internet was

2224
01:59:21,400 --> 01:59:22,680
Speaker 2: real crazy, you know what I'm saying.

2225
01:59:22,880 --> 01:59:24,440
Speaker 1: But how did you come up with that? Like did

2226
01:59:24,520 --> 01:59:25,960
Speaker 1: you the mike actually drop out of that?

2227
01:59:26,280 --> 01:59:29,400
Speaker 2: No? No, no, no, no, no, I was it was like

2228
01:59:29,760 --> 01:59:37,120
Speaker 2: it was a rhyme that I wrote and uh, matter

2229
01:59:37,160 --> 01:59:38,680
Speaker 2: of fact, now I ain't gonna put dude, on blast.

2230
01:59:40,960 --> 01:59:41,640
Speaker 6: Yeah, yeah, yeah.

2231
01:59:41,680 --> 01:59:44,360
Speaker 2: Somebody had told me that you know that that that

2232
01:59:44,520 --> 01:59:49,440
Speaker 2: the rhyme, that I could have spit something harder, you know,

2233
01:59:49,560 --> 01:59:52,320
Speaker 2: and I was just like, you know, like yeah, motherfucker,

2234
01:59:53,760 --> 01:59:57,320
Speaker 2: and I started staying it on stage and it was

2235
01:59:57,360 --> 01:59:59,880
Speaker 2: coming off on stage, you know, and then I was like,

2236
02:00:02,360 --> 02:00:04,280
Speaker 2: I got an idea, this one. I got an idea.

2237
02:00:04,440 --> 02:00:06,520
Speaker 1: So I just you talking to this one person in

2238
02:00:06,560 --> 02:00:09,480
Speaker 1: your mind. You're saying, you talking to this one person.

2239
02:00:09,240 --> 02:00:11,440
Speaker 6: Like like now. It was like, you know, like day

2240
02:00:11,520 --> 02:00:11,880
Speaker 6: day day.

2241
02:00:11,960 --> 02:00:13,600
Speaker 2: They told me the rhyme was hard enough, and I

2242
02:00:13,600 --> 02:00:16,480
Speaker 2: started sage's killing them. And then I'm like, you know

2243
02:00:16,520 --> 02:00:18,640
Speaker 2: what I got said the idea. So I just then

2244
02:00:18,840 --> 02:00:20,800
Speaker 2: I added those bars in the front of the round,

2245
02:00:21,120 --> 02:00:22,840
Speaker 2: those those in the front where I dropped the mic,

2246
02:00:23,160 --> 02:00:25,600
Speaker 2: and then I started to ride, you know, and it

2247
02:00:25,960 --> 02:00:27,040
Speaker 2: started killing every night.

2248
02:00:27,200 --> 02:00:28,520
Speaker 6: It was just something I just came up with.

2249
02:00:29,840 --> 02:00:35,600
Speaker 1: Goddamn it. We have we have comedians on here all

2250
02:00:35,640 --> 02:00:37,680
Speaker 1: the time. Before and then we'll come back to this,

2251
02:00:38,120 --> 02:00:39,840
Speaker 1: uh lean on me and we'll come back to that.

2252
02:00:40,160 --> 02:00:43,120
Speaker 1: But we have comedians on here all the time. Comedians

2253
02:00:43,120 --> 02:00:48,280
Speaker 1: say that had they had these material uh that they

2254
02:00:48,400 --> 02:00:51,440
Speaker 1: that they made back then, now they might not be

2255
02:00:51,680 --> 02:00:54,800
Speaker 1: successful comedians. Is there any lyrics that you think though

2256
02:00:55,240 --> 02:00:56,640
Speaker 1: from back then that you can.

2257
02:00:56,760 --> 02:01:00,400
Speaker 3: That wouldn't survive survive nowadays?

2258
02:01:00,480 --> 02:01:07,760
Speaker 2: Did you think, yeah, what's the work's going to mine?

2259
02:01:09,040 --> 02:01:14,880
Speaker 2: I'll take you there? I mean I think that the

2260
02:01:14,920 --> 02:01:19,320
Speaker 2: song was you know, what I was talking about was,

2261
02:01:19,520 --> 02:01:24,040
Speaker 2: you know, a beautiful spiritual message. But I don't now,

2262
02:01:24,360 --> 02:01:25,960
Speaker 2: I don't think it would have stood. I don't think

2263
02:01:25,960 --> 02:01:28,400
Speaker 2: it stood the test of time. Okay, lyrically, I don't

2264
02:01:28,400 --> 02:01:29,560
Speaker 2: think it stood the testa time.

2265
02:01:29,760 --> 02:01:30,640
Speaker 3: You don't think it aged?

2266
02:01:30,720 --> 02:01:34,000
Speaker 2: Well, nah, no, I'll take you there. Definitely be one

2267
02:01:34,040 --> 02:01:39,440
Speaker 2: of those songs I don't think. Yeah, yeah, definitely, I'll

2268
02:01:39,480 --> 02:01:39,960
Speaker 2: take you there.

2269
02:01:40,240 --> 02:01:41,680
Speaker 3: How about this one? You're ready for one?

2270
02:01:43,160 --> 02:01:46,400
Speaker 1: Ready you take them eight to eighty?

2271
02:01:48,040 --> 02:01:54,480
Speaker 2: Yeah? Yeah, yeah, like right now, Yeah, I just said

2272
02:01:54,520 --> 02:01:58,960
Speaker 2: that ship this year I had register.

2273
02:02:01,720 --> 02:02:04,640
Speaker 6: Ebody moving neighborhood.

2274
02:02:05,080 --> 02:02:06,920
Speaker 2: Yeah yeah, that would have went you know.

2275
02:02:06,840 --> 02:02:12,320
Speaker 1: That's yeah, that was the that was the same.

2276
02:02:12,400 --> 02:02:14,120
Speaker 6: But yeah now yeah yeah that ship.

2277
02:02:15,600 --> 02:02:18,760
Speaker 1: Well also a great a great song with nicest move

2278
02:02:18,960 --> 02:02:24,000
Speaker 1: peppering ain't easy. That's still like around like people still

2279
02:02:24,400 --> 02:02:25,200
Speaker 1: say it, say it.

2280
02:02:25,640 --> 02:02:26,760
Speaker 3: How did that record come about?

2281
02:02:27,640 --> 02:02:28,720
Speaker 6: Just one night in the studio.

2282
02:02:31,120 --> 02:02:35,000
Speaker 2: I forgot what we was recording that day, but Nice

2283
02:02:35,000 --> 02:02:36,880
Speaker 2: and Smooth came through and we just decided, let's do

2284
02:02:36,960 --> 02:02:42,680
Speaker 2: a song. Wow and did that? No? I did that?

2285
02:02:42,720 --> 02:02:45,040
Speaker 1: Okay, Wow, that's right. I forgot you.

2286
02:02:44,480 --> 02:02:51,320
Speaker 2: Well I did it and had to beat rocking.

2287
02:02:51,400 --> 02:02:53,240
Speaker 6: And then Prince Paul he was there too.

2288
02:02:54,000 --> 02:02:57,680
Speaker 2: He said, yo, let me put some drums up under it,

2289
02:02:57,960 --> 02:03:00,160
Speaker 2: and he put the Mary Mary drums up on of

2290
02:03:00,160 --> 02:03:04,720
Speaker 2: it and then basically kicked me out the control room

2291
02:03:04,720 --> 02:03:09,879
Speaker 2: and took over the whole goddamn over fucking session.

2292
02:03:10,280 --> 02:03:14,840
Speaker 6: Here what you have up him?

2293
02:03:20,360 --> 02:03:21,320
Speaker 2: I'm a rap artist.

2294
02:03:22,360 --> 02:03:24,400
Speaker 3: Are you the cops that.

2295
02:03:28,960 --> 02:03:30,880
Speaker 5: We might have talked about it last time you were here,

2296
02:03:30,920 --> 02:03:34,760
Speaker 5: But let's refresher Hollywood Burn Burn, Hollywood Burn with a

2297
02:03:34,760 --> 02:03:36,920
Speaker 5: Public Enemy and ice Cube talk about that record.

2298
02:03:39,600 --> 02:03:41,760
Speaker 2: Well, I mean when I got the call from Chuck,

2299
02:03:44,240 --> 02:03:46,480
Speaker 2: I was like ecstatic, you know, because I mean a

2300
02:03:46,600 --> 02:03:51,600
Speaker 2: big Public Enemy fan. And you know, he sat there

2301
02:03:51,640 --> 02:03:54,080
Speaker 2: and broke it down while he was envisioned, and I

2302
02:03:54,120 --> 02:03:56,800
Speaker 2: thought it was a dope concept. I'm like, yeah, I

2303
02:03:56,920 --> 02:03:57,960
Speaker 2: see it, I see it.

2304
02:03:58,920 --> 02:03:59,480
Speaker 6: I love it.

2305
02:03:59,840 --> 02:04:02,360
Speaker 2: And then at the end then he adds on, yeah,

2306
02:04:02,920 --> 02:04:04,880
Speaker 2: ice Cube gonna be on the tool and I'm.

2307
02:04:04,760 --> 02:04:05,800
Speaker 3: Like, oh, you didn't know that.

2308
02:04:05,960 --> 02:04:07,080
Speaker 6: No, no, no, no.

2309
02:04:07,400 --> 02:04:09,920
Speaker 2: He ain't telling me that the end of the conversation, right,

2310
02:04:11,200 --> 02:04:12,920
Speaker 2: He told me that at the end of the conversation.

2311
02:04:14,560 --> 02:04:18,280
Speaker 2: So I was like, you know, yeah, So, I mean

2312
02:04:18,320 --> 02:04:21,200
Speaker 2: I really wanted to like really come through because Chuck

2313
02:04:21,280 --> 02:04:25,480
Speaker 2: was somebody that I really admired, looked up to because

2314
02:04:25,520 --> 02:04:27,800
Speaker 2: of what he represented in hip hop. Right, you know,

2315
02:04:27,840 --> 02:04:30,520
Speaker 2: the type of figure he is, you know, He's someone

2316
02:04:30,560 --> 02:04:33,960
Speaker 2: that I've always admired, respected and looked up to. So

2317
02:04:34,040 --> 02:04:36,000
Speaker 2: I was like, I'm honored to be on a song

2318
02:04:36,040 --> 02:04:40,440
Speaker 2: with you, right, you know, and I wanted to be right.

2319
02:04:39,600 --> 02:04:41,680
Speaker 1: So you wrote your verse before knowing ice Cube was

2320
02:04:41,720 --> 02:04:42,040
Speaker 1: on there?

2321
02:04:42,480 --> 02:04:44,640
Speaker 2: No, no, no, no no, he told me at the end

2322
02:04:44,640 --> 02:04:47,000
Speaker 2: of the conversation, so I knew he was going to

2323
02:04:47,040 --> 02:04:47,280
Speaker 2: be on it.

2324
02:04:47,880 --> 02:04:51,040
Speaker 5: And Chuck told us that that song is what kind

2325
02:04:51,080 --> 02:04:54,640
Speaker 5: of ushered you know, qes leaving n w A and

2326
02:04:54,680 --> 02:04:57,120
Speaker 5: working with the Bomb Squad and was a part of

2327
02:04:57,120 --> 02:04:58,280
Speaker 5: that whole like transition.

2328
02:04:59,320 --> 02:04:59,920
Speaker 2: I didn't know that.

2329
02:05:00,080 --> 02:05:02,360
Speaker 6: Okay, beautiful, Speaking.

2330
02:05:01,960 --> 02:05:03,800
Speaker 1: Of that, do you do you write your rhymes different

2331
02:05:03,840 --> 02:05:06,200
Speaker 1: when you know someone else is on the record or

2332
02:05:06,400 --> 02:05:06,600
Speaker 1: is it?

2333
02:05:06,680 --> 02:05:06,880
Speaker 2: Yeah?

2334
02:05:07,080 --> 02:05:10,600
Speaker 6: Okay, yeah, Okay, if I if I know.

2335
02:05:13,360 --> 02:05:17,360
Speaker 2: That someone like real lyrical on a joint.

2336
02:05:17,880 --> 02:05:19,160
Speaker 6: Matter of fact, I tell you a funny story.

2337
02:05:19,200 --> 02:05:19,520
Speaker 1: Let's go.

2338
02:05:22,360 --> 02:05:25,960
Speaker 6: I did a song with Game Game. Uh.

2339
02:05:27,000 --> 02:05:30,240
Speaker 2: I can't remember the name of the song, and I

2340
02:05:30,360 --> 02:05:34,080
Speaker 2: know the chorus is like KRS spits like you know,

2341
02:05:34,160 --> 02:05:36,880
Speaker 2: the game spit like the Daddy can't spit. I can't

2342
02:05:36,880 --> 02:05:39,600
Speaker 2: remember the name of the song. But anyway, when we

2343
02:05:39,680 --> 02:05:46,760
Speaker 2: did it. Now, I had did a song with with

2344
02:05:46,960 --> 02:05:51,720
Speaker 2: KRS called it was a tony touches Me KRS and

2345
02:05:51,800 --> 02:05:57,360
Speaker 2: g RAT, I think so. But yeah, we me, KRS

2346
02:05:57,360 --> 02:06:00,600
Speaker 2: and Givat we did a song and me and he wrapped.

2347
02:06:00,760 --> 02:06:05,760
Speaker 2: We came in there on our ship and KRS came

2348
02:06:05,800 --> 02:06:11,200
Speaker 2: in there, you know, as the teacher, right, and we

2349
02:06:11,440 --> 02:06:14,680
Speaker 2: just did a show together, and you know, he was

2350
02:06:14,880 --> 02:06:19,560
Speaker 2: in his teacher mode, you know, you know, so this

2351
02:06:19,800 --> 02:06:26,120
Speaker 2: night at the studio, I'm like, okay, me Game, KRS.

2352
02:06:26,240 --> 02:06:28,320
Speaker 2: You know, okay, Los.

2353
02:06:28,160 --> 02:06:31,520
Speaker 1: Angeles in l A oh wow, Yeah, I just Lucky

2354
02:06:31,640 --> 02:06:34,400
Speaker 1: Man Game in Heavy.

2355
02:06:33,640 --> 02:06:35,480
Speaker 2: And Heavy d rest in Pieces just did the show

2356
02:06:35,600 --> 02:06:38,800
Speaker 2: the House of Blues, Wow, and they all asked us

2357
02:06:38,800 --> 02:06:40,880
Speaker 2: to come through the game you know, his.

2358
02:06:40,840 --> 02:06:42,120
Speaker 3: People, his game session.

2359
02:06:42,160 --> 02:06:46,560
Speaker 1: He invites his game You Cares and Heavy d Heavy.

2360
02:06:46,320 --> 02:06:50,840
Speaker 2: He invited me and KRS and Dougie Fresh game like

2361
02:06:50,960 --> 02:06:55,800
Speaker 2: Doug beatboxes at the end History History didn't that's history.

2362
02:06:55,840 --> 02:06:57,040
Speaker 3: That's a dope track.

2363
02:06:57,400 --> 02:07:00,840
Speaker 2: Wow. So you know, in my mind frame, I'm like,

2364
02:07:01,000 --> 02:07:07,040
Speaker 2: you know, ship, I'd have been drinking half drunk. I'm like,

2365
02:07:07,120 --> 02:07:11,920
Speaker 2: but I got some old ship. I got some old

2366
02:07:11,960 --> 02:07:16,839
Speaker 2: ship that a tear them apart. I ain't even trapping.

2367
02:07:18,360 --> 02:07:24,040
Speaker 2: And I get there and then kr Rest goes in

2368
02:07:24,080 --> 02:07:28,360
Speaker 2: there and Rhyme's first, and I forgot what he said

2369
02:07:28,400 --> 02:07:34,760
Speaker 2: something about about remember that song Chicken Noodle Soup. That's

2370
02:07:34,760 --> 02:07:37,280
Speaker 2: how your head gonna look on the back of your coop.

2371
02:07:37,240 --> 02:07:39,040
Speaker 6: And he was he was sitting on.

2372
02:07:40,040 --> 02:07:44,560
Speaker 2: Yeah, he said something about about something about some about

2373
02:07:44,560 --> 02:07:48,600
Speaker 2: something about pussy you eat around the bush, and then yeah,

2374
02:07:48,800 --> 02:07:51,120
Speaker 2: it was it was like and then like I just

2375
02:07:51,160 --> 02:07:54,280
Speaker 2: got up and I grabbed my wife and I'm like,

2376
02:07:54,440 --> 02:07:58,200
Speaker 2: you know, going there and make me a cup of coffee.

2377
02:08:01,200 --> 02:08:03,120
Speaker 2: You know, I need some coffee. I gotta wake the

2378
02:08:03,160 --> 02:08:06,680
Speaker 2: funk up. And she was like, what's wrong, what's wrong?

2379
02:08:07,080 --> 02:08:16,360
Speaker 2: The teacher's not here, Blastmaster. I was like, the teacher's

2380
02:08:16,400 --> 02:08:28,000
Speaker 2: not like Chris ain't playing shipped to get Yeah, for real, that's.

2381
02:08:27,880 --> 02:08:29,800
Speaker 1: The one time you have to be righteous.

2382
02:08:30,160 --> 02:08:33,840
Speaker 2: No, well, no, I never. I didn't write anything. I

2383
02:08:33,840 --> 02:08:37,840
Speaker 2: was about to say some old ship. I never. You know,

2384
02:08:38,240 --> 02:08:43,240
Speaker 2: he ain't playing Oh god, damn kings around. I can't

2385
02:08:43,280 --> 02:08:44,040
Speaker 2: remember the lad.

2386
02:08:46,400 --> 02:08:46,840
Speaker 1: He's about.

2387
02:08:49,320 --> 02:08:52,800
Speaker 5: You do you think in terms of like the way

2388
02:08:52,840 --> 02:08:56,600
Speaker 5: that hip hop the trajectory, people are saying that it's

2389
02:08:56,640 --> 02:09:00,200
Speaker 5: become a commodity for industry and the cultural aspect, which

2390
02:09:00,240 --> 02:09:03,200
Speaker 5: is graffiti, the dancing and the break dancers of B

2391
02:09:03,320 --> 02:09:08,040
Speaker 5: boys and be girls, the dj mcs has been dissected,

2392
02:09:08,240 --> 02:09:09,240
Speaker 5: taking apart.

2393
02:09:10,160 --> 02:09:11,720
Speaker 3: Do you feel that that's true or not true?

2394
02:09:12,320 --> 02:09:14,520
Speaker 2: Yeah? But I mean you know what you expect, man,

2395
02:09:15,160 --> 02:09:19,440
Speaker 2: I mean, I mean that happened with rock and roll,

2396
02:09:19,920 --> 02:09:21,040
Speaker 2: that happened with jazz.

2397
02:09:21,960 --> 02:09:24,440
Speaker 5: You know, you don't think it's avoidable for hip hop,

2398
02:09:24,480 --> 02:09:26,000
Speaker 5: that it can come back.

2399
02:09:25,840 --> 02:09:29,200
Speaker 2: To what it was not not unless we take control

2400
02:09:29,240 --> 02:09:32,520
Speaker 2: of hip hop. And when I say we, I don't

2401
02:09:32,560 --> 02:09:37,520
Speaker 2: mean the artists. I mean y'all motherfuckers, you know, and

2402
02:09:37,520 --> 02:09:41,520
Speaker 2: and uh like the Kevin Lyles and you know those

2403
02:09:41,560 --> 02:09:44,760
Speaker 2: type of cats you know say like Okay, look I

2404
02:09:44,800 --> 02:09:49,040
Speaker 2: want this. But I also want this, you know, I

2405
02:09:49,120 --> 02:09:50,920
Speaker 2: want to talk about this, but I also want to

2406
02:09:50,960 --> 02:09:51,720
Speaker 2: talk about.

2407
02:09:51,480 --> 02:09:54,560
Speaker 6: That, right, you know, And it's like.

2408
02:09:57,440 --> 02:10:05,680
Speaker 2: Showcasing the lyrical artists, showcasing showcasing the conscious artists, you know,

2409
02:10:05,960 --> 02:10:10,200
Speaker 2: and making it where you know, everybody guess that same

2410
02:10:10,520 --> 02:10:12,680
Speaker 2: equal type of play. Because I mean, you got to

2411
02:10:12,720 --> 02:10:16,000
Speaker 2: think about it. You know, conscious hip hop was the

2412
02:10:16,000 --> 02:10:20,880
Speaker 2: forefront back then. N w A didn't really get no

2413
02:10:21,000 --> 02:10:24,280
Speaker 2: radio play. Luke didn't get no radio play. Ghetto boys

2414
02:10:24,320 --> 02:10:29,560
Speaker 2: g Rapped didn't getting no radio play, you know, because

2415
02:10:29,600 --> 02:10:36,640
Speaker 2: of the violence or the sexual content that was mentioned

2416
02:10:36,800 --> 02:10:38,320
Speaker 2: in the lyrics.

2417
02:10:38,880 --> 02:10:41,960
Speaker 6: You know, conscious hip hop was the forefront.

2418
02:10:43,280 --> 02:10:47,760
Speaker 2: But they still went platinum, double platinum, you know what

2419
02:10:47,760 --> 02:10:49,920
Speaker 2: I'm saying because people love them.

2420
02:10:50,760 --> 02:10:54,800
Speaker 3: Who are you talking about? No, no, no, We're just talking

2421
02:10:54,840 --> 02:10:55,560
Speaker 3: about culturally.

2422
02:10:55,680 --> 02:10:59,040
Speaker 5: Like remember we talked about what specially about the industry

2423
02:10:59,120 --> 02:11:02,360
Speaker 5: making hip hop and rap music specifically the commodity and

2424
02:11:02,360 --> 02:11:03,800
Speaker 5: the culture dissected into.

2425
02:11:04,120 --> 02:11:05,879
Speaker 6: But I mean, you know, it's you got to understand.

2426
02:11:06,000 --> 02:11:08,840
Speaker 2: It's like, you know, from a business aspect, it's all

2427
02:11:08,880 --> 02:11:11,720
Speaker 2: about what's going to generate money, and that's the only

2428
02:11:11,760 --> 02:11:14,120
Speaker 2: thing they going to think about. Corporation is only going

2429
02:11:14,160 --> 02:11:16,600
Speaker 2: to think about what's going to generate money, and once

2430
02:11:16,640 --> 02:11:23,680
Speaker 2: something becomes commercial, what happens is quality goes out and

2431
02:11:23,800 --> 02:11:27,720
Speaker 2: quantity comes in. Right, you know what I'm saying.

2432
02:11:28,440 --> 02:11:31,480
Speaker 5: Well, what's different I think for what you're saying and

2433
02:11:31,520 --> 02:11:35,760
Speaker 5: for hip hop specifically with the elements, is that the

2434
02:11:35,880 --> 02:11:38,720
Speaker 5: music was the first thing that they were easily able

2435
02:11:38,760 --> 02:11:41,800
Speaker 5: to make money off of. But the other elements found

2436
02:11:41,800 --> 02:11:44,560
Speaker 5: their way in terms of the art figuring out ways

2437
02:11:44,600 --> 02:11:47,880
Speaker 5: to make money. Now, breakdances going into the Olympics, they

2438
02:11:47,920 --> 02:11:51,760
Speaker 5: figured out to make money, and those elements internationally are

2439
02:11:51,920 --> 02:11:53,640
Speaker 5: just as big as the music itself.

2440
02:11:53,960 --> 02:11:55,600
Speaker 6: Yeah, so it's.

2441
02:11:55,440 --> 02:11:57,960
Speaker 3: Just maybe maybe hip hop could be different.

2442
02:11:58,560 --> 02:12:00,360
Speaker 6: Well, I mean it's like.

2443
02:12:04,240 --> 02:12:10,080
Speaker 2: Graffiti found its way into art, right, not elevating as

2444
02:12:10,160 --> 02:12:12,680
Speaker 2: hip hop? Right, Right, they found its way into art,

2445
02:12:13,520 --> 02:12:18,680
Speaker 2: break dancing found its way into the Olympics, right, you know,

2446
02:12:19,560 --> 02:12:21,640
Speaker 2: not elevating as hip hop. You know what I'm saying.

2447
02:12:24,080 --> 02:12:24,920
Speaker 3: I said it earlier.

2448
02:12:25,440 --> 02:12:28,680
Speaker 1: I think I said this, they brung Big to your crib,

2449
02:12:28,960 --> 02:12:31,560
Speaker 1: But it was the rumor that Jazzo brong jay Z

2450
02:12:31,680 --> 02:12:32,280
Speaker 1: to your crib.

2451
02:12:32,440 --> 02:12:38,400
Speaker 2: No, no, no, okay, Shirt Kings and queens.

2452
02:12:38,080 --> 02:12:40,840
Speaker 3: Yea queens, we always something.

2453
02:12:42,640 --> 02:12:54,360
Speaker 1: Bug around Queens Brome give it up because because the

2454
02:12:54,480 --> 02:12:56,280
Speaker 1: rumor was that you were supposed to sign jay Z.

2455
02:12:56,360 --> 02:12:58,280
Speaker 1: At one point it was that just a room. Can

2456
02:12:58,280 --> 02:12:59,120
Speaker 1: you straighten that out?

2457
02:12:59,520 --> 02:13:07,600
Speaker 2: No, no, no, What it was was Shirt Kings asked me

2458
02:13:07,640 --> 02:13:11,160
Speaker 2: to do a mixtape with Jazz, which.

2459
02:13:13,320 --> 02:13:13,760
Speaker 6: I came.

2460
02:13:15,120 --> 02:13:17,520
Speaker 2: I met with them, and then Jazz said, can my

2461
02:13:17,640 --> 02:13:21,880
Speaker 2: man rhyme on the tape? I say cool. So we

2462
02:13:21,920 --> 02:13:26,320
Speaker 2: did the mixtape, me Jazz and jay Z and then

2463
02:13:26,360 --> 02:13:32,320
Speaker 2: on a ride back home, Nike from the Shirt King says, Yo, really,

2464
02:13:32,360 --> 02:13:34,240
Speaker 2: we wanted you to do this because we're trying to

2465
02:13:34,280 --> 02:13:37,840
Speaker 2: get Jazz a new deal and we was wondering if

2466
02:13:37,840 --> 02:13:40,120
Speaker 2: you'd be willing to work with him to get a

2467
02:13:40,160 --> 02:13:47,680
Speaker 2: new deal, okay, And I was like, honestly, I kind

2468
02:13:47,680 --> 02:13:50,040
Speaker 2: of liked the light skinned motherfucker better. It's impossible I

2469
02:13:50,080 --> 02:13:53,920
Speaker 2: could work with him. And then that's how me and

2470
02:13:54,000 --> 02:13:55,280
Speaker 2: jay Z got connected.

2471
02:13:55,440 --> 02:13:57,640
Speaker 1: Oh, because you didn't know Jazz, I thought y'all was

2472
02:13:57,640 --> 02:13:59,040
Speaker 1: like from the same neighborhood as No.

2473
02:13:59,320 --> 02:14:02,920
Speaker 2: Jazz was somebody that ship back then. Jazz was somebody

2474
02:14:02,960 --> 02:14:08,520
Speaker 2: I was like extremely jealous of. Jazz was the hottest

2475
02:14:08,720 --> 02:14:13,000
Speaker 2: unsigned artist in Brooklyn, Like no Jazz was so popular

2476
02:14:13,040 --> 02:14:15,720
Speaker 2: in Brooklyn. Like I had battled a lot of people.

2477
02:14:15,800 --> 02:14:19,480
Speaker 2: My name was buzzing, but it wasn't like Jazz. It

2478
02:14:19,520 --> 02:14:25,280
Speaker 2: was like it was like fat boys in Houdini Jazz.

2479
02:14:25,280 --> 02:14:30,360
Speaker 2: Oh big Gotty knew you know what I'm saying, Like yeah,

2480
02:14:30,600 --> 02:14:33,440
Speaker 2: you know, so it was like, yeah, he was like popular,

2481
02:14:33,560 --> 02:14:38,200
Speaker 2: like a like a signed artist my battle and I

2482
02:14:38,200 --> 02:14:41,000
Speaker 2: always wanted to battle this dude but could never find him.

2483
02:14:41,480 --> 02:14:44,040
Speaker 2: I even went to Marcy and battled some other dude

2484
02:14:44,240 --> 02:14:47,680
Speaker 2: because Jazz wasn't around. But I mean, yeah, I was like,

2485
02:14:47,800 --> 02:14:53,760
Speaker 2: you know, like I want to battle. So when they

2486
02:14:53,840 --> 02:14:55,840
Speaker 2: said that about it, you know, it's like I got

2487
02:14:55,920 --> 02:14:57,800
Speaker 2: records out and stuff. But I mean it was like

2488
02:14:57,880 --> 02:15:01,680
Speaker 2: I'm thinking in that mind frame, you know. But then

2489
02:15:01,680 --> 02:15:04,640
Speaker 2: when they said this, it was like yeah, I mean

2490
02:15:04,640 --> 02:15:07,440
Speaker 2: it was great, you know, meeting Jazz and he did

2491
02:15:07,440 --> 02:15:09,400
Speaker 2: that fast rapping ship that night. You know, the first

2492
02:15:09,400 --> 02:15:12,000
Speaker 2: time I heard that ship, you know, and I was like, Yo,

2493
02:15:12,080 --> 02:15:14,280
Speaker 2: dude is dope. You know, I'm like, but yo, that

2494
02:15:14,280 --> 02:15:16,360
Speaker 2: that other dude. He just reminded me of me with

2495
02:15:16,520 --> 02:15:18,880
Speaker 2: his slick ass tongue. I like to work with the

2496
02:15:18,960 --> 02:15:22,480
Speaker 2: light skin dude. And then that was jay Z and

2497
02:15:22,520 --> 02:15:23,800
Speaker 2: then we started working together.

2498
02:15:24,040 --> 02:15:26,280
Speaker 1: I want to touch on something you said earlier, because

2499
02:15:26,280 --> 02:15:28,720
Speaker 1: you said a mixtape. When you say a mixtape, I

2500
02:15:28,720 --> 02:15:30,720
Speaker 1: want these people to understand what you mean meant by

2501
02:15:30,720 --> 02:15:32,040
Speaker 1: a mixtape when you said.

2502
02:15:32,000 --> 02:15:34,160
Speaker 2: Well what with the French Gordon had the tape with

2503
02:15:34,200 --> 02:15:36,600
Speaker 2: a bunch of songs on it, but he had a

2504
02:15:36,640 --> 02:15:41,160
Speaker 2: freestyle on it. You know, it's like you know song yeah, yeah, right,

2505
02:15:42,200 --> 02:15:45,600
Speaker 2: and it was a freestyle with me Jazz and jay Z. Wow.

2506
02:15:45,760 --> 02:15:47,680
Speaker 2: That was on you know tape with a whole bunch

2507
02:15:47,720 --> 02:15:51,840
Speaker 2: of other artists, you know, music mixed together. But anyway, though,

2508
02:15:52,200 --> 02:15:53,640
Speaker 2: you know I started working with jay Z. I started

2509
02:15:53,640 --> 02:15:57,760
Speaker 2: taking him in the studio and recording songs on him

2510
02:15:58,240 --> 02:15:59,760
Speaker 2: and trying to get him signed.

2511
02:16:00,960 --> 02:16:03,839
Speaker 6: And you know, we we went to many different labels.

2512
02:16:04,320 --> 02:16:06,600
Speaker 1: I need you to lay in one label that eight

2513
02:16:06,680 --> 02:16:09,000
Speaker 1: Day Heart Outs. Who did he bring the front on?

2514
02:16:09,080 --> 02:16:10,760
Speaker 6: Jay Z Giant Records?

2515
02:16:11,320 --> 02:16:13,400
Speaker 1: They go Deaf Jam.

2516
02:16:15,040 --> 02:16:19,040
Speaker 2: Jamad Giant Records, Death Jam, Warner.

2517
02:16:18,760 --> 02:16:22,040
Speaker 6: Brothers, Warner Brothers, You're fucked up when I'm on.

2518
02:16:24,560 --> 02:16:26,120
Speaker 3: Wild Wow.

2519
02:16:26,800 --> 02:16:31,520
Speaker 2: But yeah yeah they turned it down. Yeah, But I

2520
02:16:31,560 --> 02:16:35,240
Speaker 2: mean and then like when I when I went on

2521
02:16:35,280 --> 02:16:40,199
Speaker 2: the road with Patty LaBelle. I. I saw that Patty

2522
02:16:40,320 --> 02:16:43,360
Speaker 2: was doing outfit changes. Like I'm sitting here talking, I'm like, Yo,

2523
02:16:43,480 --> 02:16:46,640
Speaker 2: they have the same ship, Patty. Patty didn't have red

2524
02:16:46,680 --> 02:16:50,480
Speaker 2: on just a minute. Yeah yeah, that's about the third

2525
02:16:50,520 --> 02:16:54,240
Speaker 2: time I'm sitting there. So now I'm paying attention. So

2526
02:16:54,280 --> 02:16:56,720
Speaker 2: when her tour ended and I went back on my tour,

2527
02:16:57,400 --> 02:17:00,000
Speaker 2: I'm like, I called jay Z and I called Positive Care.

2528
02:17:00,640 --> 02:17:01,920
Speaker 2: I'm like, yeah, I need you to come on the

2529
02:17:01,959 --> 02:17:02,320
Speaker 2: road with me.

2530
02:17:02,920 --> 02:17:04,080
Speaker 6: I'm gonna bring you out out in the.

2531
02:17:04,800 --> 02:17:05,480
Speaker 2: Year year I can.

2532
02:17:07,280 --> 02:17:09,080
Speaker 1: I got him? Man, what your man got to do

2533
02:17:09,240 --> 02:17:09,480
Speaker 1: with me?

2534
02:17:11,240 --> 02:17:17,480
Speaker 5: K holy that that famous recording, that's what jay Z

2535
02:17:17,680 --> 02:17:19,959
Speaker 5: comes out, No, Biggie comes out also, right, jay Z

2536
02:17:20,040 --> 02:17:21,400
Speaker 5: comes out shy oh yeah.

2537
02:17:21,600 --> 02:17:23,560
Speaker 2: In Madison Garden I think it was the ninety three

2538
02:17:23,600 --> 02:17:28,680
Speaker 2: I believe. Yeah big it asked mister C can he

2539
02:17:28,760 --> 02:17:33,640
Speaker 2: come to the show with the Garden and and say, yo,

2540
02:17:35,240 --> 02:17:38,360
Speaker 2: can I come? And can I bring Tupac because Park

2541
02:17:38,480 --> 02:17:43,040
Speaker 2: was in New York and you know, see he asked me,

2542
02:17:43,040 --> 02:17:44,800
Speaker 2: and I was like, yeah, yeah, absolutely, yeah, bring him

2543
02:17:44,840 --> 02:17:51,360
Speaker 2: on throat so big, but pop through and at the

2544
02:17:51,440 --> 02:17:51,760
Speaker 2: end of the.

2545
02:17:51,760 --> 02:17:55,600
Speaker 1: Show, that's your show, show, Okay, that's right, the famous biggie.

2546
02:17:55,800 --> 02:17:56,879
Speaker 6: Yeah.

2547
02:17:57,520 --> 02:18:01,480
Speaker 5: Yeah, totally forgot that down here on vinyl tape.

2548
02:18:01,480 --> 02:18:04,160
Speaker 3: Masters pressed it up and I got it on vinyl.

2549
02:18:04,280 --> 02:18:07,520
Speaker 2: Oh. But I was a super fest, I believe, nineteen

2550
02:18:07,560 --> 02:18:12,360
Speaker 2: ninety three, and you know, near the near the end

2551
02:18:12,360 --> 02:18:14,440
Speaker 2: of the show, I brought them all up on stage,

2552
02:18:14,520 --> 02:18:19,880
Speaker 2: Big Pie, uh shah, heem yeah he was there to yea,

2553
02:18:19,920 --> 02:18:22,760
Speaker 2: yeah shah. He was on tour with me, like his label,

2554
02:18:23,000 --> 02:18:26,560
Speaker 2: his label, his label sent them. He was there too, No, No.

2555
02:18:26,840 --> 02:18:29,560
Speaker 3: Was because not Jaz's not on one of the recordings.

2556
02:18:29,640 --> 02:18:31,240
Speaker 6: No, he's not on that, not on that one.

2557
02:18:31,400 --> 02:18:33,440
Speaker 3: Maybe he's on that vinyl, just on something else.

2558
02:18:33,600 --> 02:18:36,280
Speaker 2: Jay Jay, I think you're talking about my birthday party

2559
02:18:36,280 --> 02:18:36,880
Speaker 2: in ninety one.

2560
02:18:37,160 --> 02:18:38,680
Speaker 6: Okay, that's probably what you're talking about.

2561
02:18:39,800 --> 02:18:43,440
Speaker 2: But yeah, with that one, it was just me, Shaheim,

2562
02:18:44,920 --> 02:18:49,880
Speaker 2: Big Jay and School School. Yeah, and in Fat Joe

2563
02:18:49,920 --> 02:18:54,560
Speaker 2: was there too, right, yeah, yeah, because other night with yeah,

2564
02:18:54,600 --> 02:18:58,760
Speaker 2: because Joe was called supposed to go next. Joe's supposed

2565
02:18:58,760 --> 02:19:00,480
Speaker 2: to go next, and then they were on the side

2566
02:19:00,520 --> 02:19:02,440
Speaker 2: of the stage. Let me know, you got five minutes

2567
02:19:02,520 --> 02:19:05,400
Speaker 2: left and I still hadn't done half stepping off woman up.

2568
02:19:05,480 --> 02:19:08,120
Speaker 2: Oh god, Yeah, So I couldn't let Joe on, and

2569
02:19:08,160 --> 02:19:15,560
Speaker 2: I had to, like I can't, man, you know that? Yeah,

2570
02:19:15,720 --> 02:19:17,800
Speaker 2: and now because I mean it's like, you know, I

2571
02:19:17,840 --> 02:19:20,480
Speaker 2: know that feeling because like you know, I was where

2572
02:19:20,600 --> 02:19:21,160
Speaker 2: Joe was.

2573
02:19:21,520 --> 02:19:23,000
Speaker 6: I was there like a year before.

2574
02:19:23,640 --> 02:19:25,720
Speaker 2: You know what I'm saying with Bobby Brown, you know,

2575
02:19:25,800 --> 02:19:28,480
Speaker 2: brought me on and let me rob you know, So,

2576
02:19:28,600 --> 02:19:30,879
Speaker 2: I mean I really wanted to bring Joe on, but

2577
02:19:31,800 --> 02:19:33,680
Speaker 2: we we only had five minutes left and I still

2578
02:19:33,720 --> 02:19:34,800
Speaker 2: hadn't done half stepping off.

2579
02:19:34,840 --> 02:19:37,840
Speaker 1: Woman up, did you ever think that Tupac and Big

2580
02:19:38,400 --> 02:19:41,880
Speaker 1: they camarbority they had at that time whatever end up

2581
02:19:41,879 --> 02:19:44,680
Speaker 1: where they was at, especially that night, did you see

2582
02:19:44,760 --> 02:19:45,160
Speaker 1: like you know what I.

2583
02:19:45,200 --> 02:19:49,600
Speaker 2: Mean successfully or return into the essence what you mean?

2584
02:19:50,360 --> 02:19:54,240
Speaker 1: I meant like you know that having beat because at

2585
02:19:54,280 --> 02:19:57,320
Speaker 1: the time you look at that, you look at they look.

2586
02:19:57,280 --> 02:20:04,000
Speaker 2: Like no, no, these standing next to each otherl you know,

2587
02:20:04,080 --> 02:20:07,280
Speaker 2: puff and weed and you know and yeah, and you.

2588
02:20:07,240 --> 02:20:10,160
Speaker 1: Just said Big Bung Tupac that you just said that,

2589
02:20:10,360 --> 02:20:14,959
Speaker 1: So you didn't even invite Poky Big and Big Bung Tupac.

2590
02:20:15,040 --> 02:20:16,960
Speaker 6: Yeah exactly, that's crazy.

2591
02:20:18,120 --> 02:20:21,400
Speaker 1: And you and you you saw the the chemistry you

2592
02:20:21,440 --> 02:20:21,920
Speaker 1: saw that they.

2593
02:20:21,879 --> 02:20:24,680
Speaker 2: Were they was cool they were. They're like like they

2594
02:20:24,760 --> 02:20:28,560
Speaker 2: looked like you know, like I saw them, like, you know,

2595
02:20:29,160 --> 02:20:32,200
Speaker 2: probably doing a whole bunch of songs together and all

2596
02:20:32,240 --> 02:20:35,000
Speaker 2: types of ship. The way they looked at night. Yeah,

2597
02:20:35,000 --> 02:20:36,480
Speaker 2: I saw an amazing chemistry.

2598
02:20:36,680 --> 02:20:39,680
Speaker 1: So what did you think when when when when this

2599
02:20:39,680 --> 02:20:41,560
Speaker 1: beef did transfer?

2600
02:20:41,720 --> 02:20:43,480
Speaker 3: Did you liken this guy, this can't.

2601
02:20:43,320 --> 02:20:48,480
Speaker 2: Be I mean it really hurt, man, because you know

2602
02:20:48,600 --> 02:20:54,440
Speaker 2: it's like I I saw the ll coumo d beef

2603
02:20:55,160 --> 02:20:57,400
Speaker 2: and then they would be in front of each other,

2604
02:20:57,920 --> 02:21:02,520
Speaker 2: shaking hands, laughing. Yeah, you know, say some sarcastic shit

2605
02:21:02,640 --> 02:21:05,320
Speaker 2: back and forth to one another, but it was all.

2606
02:21:05,240 --> 02:21:06,600
Speaker 3: Love, almost like a sport.

2607
02:21:06,760 --> 02:21:09,959
Speaker 2: Yeah. I've seen, you know, with Shannon care Rests in

2608
02:21:10,000 --> 02:21:13,640
Speaker 2: the same room, and you know it wasn't you know,

2609
02:21:13,760 --> 02:21:17,840
Speaker 2: no drama, you know what I'm saying. And then like

2610
02:21:17,879 --> 02:21:23,440
Speaker 2: to understand that like you know, cold crush, fantastic five,

2611
02:21:25,080 --> 02:21:31,960
Speaker 2: like these dudes battling for a thousand dollars, you know

2612
02:21:32,000 --> 02:21:35,120
Speaker 2: what I'm saying, and the thousand dollars go to the

2613
02:21:35,160 --> 02:21:40,040
Speaker 2: winner the other motherfuckers broke and then a thousand dollars

2614
02:21:41,000 --> 02:21:46,720
Speaker 2: how you split that against six members? You know, and

2615
02:21:46,760 --> 02:21:49,560
Speaker 2: it's like you know, like that's what hip hop is

2616
02:21:49,600 --> 02:21:54,760
Speaker 2: to me, that right there where you know, six dudes

2617
02:21:54,800 --> 02:21:58,360
Speaker 2: can battle another six dudes to spit, I mean to

2618
02:21:58,360 --> 02:22:03,560
Speaker 2: split one thousand dollars right and then go home satisfied.

2619
02:22:04,320 --> 02:22:06,960
Speaker 2: And look at that at wob Loss, it's like we

2620
02:22:07,000 --> 02:22:08,640
Speaker 2: need to write some new ship and that's the end

2621
02:22:08,640 --> 02:22:11,680
Speaker 2: of it. You know, to see that this can escalate

2622
02:22:11,680 --> 02:22:14,720
Speaker 2: into something like that, you know, it was just sad

2623
02:22:14,720 --> 02:22:16,440
Speaker 2: to see. Man, it was sad to see.

2624
02:22:17,520 --> 02:22:19,959
Speaker 1: How was it traveling to l A at that time

2625
02:22:20,080 --> 02:22:22,960
Speaker 1: for for you? Like you know, I mean I remember

2626
02:22:23,840 --> 02:22:26,400
Speaker 1: somewhere around that period we had no choice, like when

2627
02:22:26,400 --> 02:22:30,000
Speaker 1: we flaned into la like the record labels had security

2628
02:22:30,040 --> 02:22:32,400
Speaker 1: around us, like we had no choice. How was it

2629
02:22:32,600 --> 02:22:35,000
Speaker 1: for you after that time period?

2630
02:22:35,680 --> 02:22:41,800
Speaker 2: No problems? I mean, you know that ship. Nobody was

2631
02:22:41,800 --> 02:22:44,760
Speaker 2: looking at me like that like I never had no issue.

2632
02:22:47,160 --> 02:22:50,080
Speaker 2: I mean, I think that was more or less a

2633
02:22:50,240 --> 02:22:54,400
Speaker 2: bad boy death crew against crew. You know.

2634
02:22:56,400 --> 02:23:00,560
Speaker 6: Now there was summer y'all that.

2635
02:23:00,959 --> 02:23:03,039
Speaker 2: You know, it shipped me a trinkle down on because

2636
02:23:03,040 --> 02:23:10,320
Speaker 2: it's like, okay, you you know, I think there was

2637
02:23:10,360 --> 02:23:12,840
Speaker 2: some ship with NAS and you know, you know, with

2638
02:23:12,959 --> 02:23:14,280
Speaker 2: your affiliation with nods.

2639
02:23:14,480 --> 02:23:15,720
Speaker 6: Yeah, you know, what I'm saying.

2640
02:23:15,760 --> 02:23:19,480
Speaker 2: You know, so it could, you know, but with me,

2641
02:23:19,720 --> 02:23:21,879
Speaker 2: it was like I wasn't affiliated with none of that ship.

2642
02:23:22,160 --> 02:23:24,039
Speaker 1: Didn't Eric be try to sign you to death Row

2643
02:23:24,200 --> 02:23:25,039
Speaker 1: East at one point?

2644
02:23:25,120 --> 02:23:25,320
Speaker 2: Yeah?

2645
02:23:25,640 --> 02:23:27,680
Speaker 3: Okay, how did that? What happened with that?

2646
02:23:30,520 --> 02:23:31,640
Speaker 6: He called.

2647
02:23:32,760 --> 02:23:37,320
Speaker 2: And said, Yo, still trying to you know, build a

2648
02:23:37,360 --> 02:23:42,120
Speaker 2: death Row East man, and you know, I think it

2649
02:23:42,200 --> 02:23:44,760
Speaker 2: might be a good look for you. And you know,

2650
02:23:44,800 --> 02:23:48,800
Speaker 2: he ready to cut a check. Yeah, you're willing to

2651
02:23:48,800 --> 02:23:51,480
Speaker 2: meet with him? I'm like yeah. So I went out there.

2652
02:23:51,640 --> 02:23:55,520
Speaker 2: You know, we had a meeting and then he was like, Yo,

2653
02:23:56,040 --> 02:23:58,519
Speaker 2: we're going to Vegas tomorrow. You on the roll yet?

2654
02:23:58,760 --> 02:24:01,280
Speaker 2: So I went to Vegas with them for a tyson

2655
02:24:01,360 --> 02:24:06,160
Speaker 2: fight and then you know we out there. No, not

2656
02:24:06,200 --> 02:24:08,879
Speaker 2: the one that Pop got, This was the one right

2657
02:24:08,920 --> 02:24:14,160
Speaker 2: before it. No, no, no, no, no, no, this one

2658
02:24:14,200 --> 02:24:19,160
Speaker 2: before before that one. But we went and then you know,

2659
02:24:19,600 --> 02:24:23,760
Speaker 2: Sugar was talking about working with death Row artists. I'm

2660
02:24:23,760 --> 02:24:27,640
Speaker 2: like yeah, And then part came over and he was like,

2661
02:24:27,840 --> 02:24:30,000
Speaker 2: you know, like, yo, I love the work we cane

2662
02:24:31,240 --> 02:24:33,240
Speaker 2: and he was like, well, Ship, let's stop talking about it.

2663
02:24:33,320 --> 02:24:37,600
Speaker 2: Let's make it happen. So we leave Vegas and we

2664
02:24:37,720 --> 02:24:40,800
Speaker 2: just got there. We leave Vegas and go back to

2665
02:24:40,840 --> 02:24:44,200
Speaker 2: take a flight back to l A that night and

2666
02:24:44,280 --> 02:24:46,600
Speaker 2: go to Death Row to the studios to do the deal.

2667
02:24:47,200 --> 02:24:53,320
Speaker 2: No to to record to record. Okay, So me and

2668
02:24:53,400 --> 02:24:56,120
Speaker 2: Park went in the studio and did a song together.

2669
02:24:57,440 --> 02:25:03,520
Speaker 2: And then the them, the little dudes, Yeah.

2670
02:25:03,040 --> 02:25:04,240
Speaker 6: They came as soon as we got it.

2671
02:25:04,320 --> 02:25:06,600
Speaker 2: They came up the park talking about you old Lauren,

2672
02:25:06,640 --> 02:25:08,800
Speaker 2: He'll dish you mob deep dishoe that, this and that,

2673
02:25:08,840 --> 02:25:11,600
Speaker 2: and so then Park went in the studio and started

2674
02:25:11,640 --> 02:25:14,560
Speaker 2: writing some ship about I think it might have been that.

2675
02:25:15,280 --> 02:25:23,039
Speaker 6: I think it was. Yeah, he started he started writing

2676
02:25:23,040 --> 02:25:23,480
Speaker 6: that ship.

2677
02:25:23,560 --> 02:25:26,760
Speaker 2: While he was in there writing that ship, I I

2678
02:25:26,800 --> 02:25:30,959
Speaker 2: wrote a song for Hammer. Hamm was on death for

2679
02:25:31,360 --> 02:25:35,160
Speaker 2: I wrote a song for Hammer. And then then they

2680
02:25:35,280 --> 02:25:38,360
Speaker 2: was like yo, Sugar, Sugar, ready to meet with you.

2681
02:25:39,640 --> 02:25:46,200
Speaker 2: And we sat and we had a meeting, and like

2682
02:25:46,280 --> 02:25:49,680
Speaker 2: when I walked in, these two big ass rock willers

2683
02:25:49,720 --> 02:25:50,279
Speaker 2: came around.

2684
02:25:50,520 --> 02:25:54,880
Speaker 4: The dogs there they come running around, sniffing around me

2685
02:25:54,959 --> 02:25:58,600
Speaker 4: and stuff, you know, and then Sugar, you know, he

2686
02:25:58,680 --> 02:26:01,600
Speaker 4: comes out the back, sits down with a cigar, sits

2687
02:26:01,600 --> 02:26:05,800
Speaker 4: a cigar down and does this, and both the dogs

2688
02:26:05,879 --> 02:26:08,360
Speaker 4: ran and sat down next to him.

2689
02:26:08,600 --> 02:26:10,520
Speaker 6: So I'm like, okay, this one of the meetings.

2690
02:26:14,400 --> 02:26:18,440
Speaker 5: You know, I don't I never my picture.

2691
02:26:21,560 --> 02:26:24,039
Speaker 6: And then we talked and.

2692
02:26:26,760 --> 02:26:31,600
Speaker 2: Uh he said, well what you want and you know,

2693
02:26:31,680 --> 02:26:33,280
Speaker 2: keep in mind, you know this is back then, you know.

2694
02:26:33,360 --> 02:26:36,000
Speaker 2: So I'm like and I'm not. I'm not sure where

2695
02:26:36,040 --> 02:26:38,520
Speaker 2: his head is at and how relevant he see me?

2696
02:26:39,440 --> 02:26:42,959
Speaker 2: So the play is safe. I'm like, well, listen, man,

2697
02:26:43,040 --> 02:26:46,640
Speaker 2: why don't we just do a one album deal with

2698
02:26:46,720 --> 02:26:54,640
Speaker 2: a one year option, right and you know, say like

2699
02:26:54,720 --> 02:26:59,640
Speaker 2: a four hundred thousand advents. He's like, that's an odd number,

2700
02:26:59,640 --> 02:27:02,520
Speaker 2: while you just simply say five hundred thousand, Like, well

2701
02:27:02,520 --> 02:27:06,360
Speaker 2: the five hundred thousand of this, and man, you big

2702
02:27:06,440 --> 02:27:13,120
Speaker 2: daddy came, Man, I can't see myself, you know, signing

2703
02:27:13,120 --> 02:27:14,959
Speaker 2: you for less than a million. I got to give

2704
02:27:15,000 --> 02:27:15,560
Speaker 2: you a million.

2705
02:27:15,879 --> 02:27:16,359
Speaker 1: Wow.

2706
02:27:16,640 --> 02:27:18,280
Speaker 6: He because you're already a household name.

2707
02:27:18,959 --> 02:27:19,400
Speaker 2: That's why.

2708
02:27:20,160 --> 02:27:23,439
Speaker 6: And then he said something that was so appealing.

2709
02:27:24,360 --> 02:27:28,640
Speaker 2: He said, because you see Pop, you know, Pop became

2710
02:27:28,640 --> 02:27:33,440
Speaker 2: a household name. Snoop became a household name. And that's

2711
02:27:33,480 --> 02:27:36,240
Speaker 2: what I be trying to tell the Dog Pound. They

2712
02:27:36,280 --> 02:27:38,920
Speaker 2: got to, you know, make themselves a house household name,

2713
02:27:39,160 --> 02:27:42,040
Speaker 2: but they didn't want to identify, you know, as individuals.

2714
02:27:42,120 --> 02:27:44,280
Speaker 2: They just want to keep scro dog pound and that's

2715
02:27:44,320 --> 02:27:47,360
Speaker 2: why the motherfucker's only sold two million, and I'm like,

2716
02:27:47,480 --> 02:27:53,720
Speaker 2: two million is low number. I'm like, my man, you

2717
02:27:53,760 --> 02:27:57,040
Speaker 2: know that was appealing to me. He said that, but

2718
02:27:57,080 --> 02:27:58,560
Speaker 2: then he was like, well, yo, look, I don't know

2719
02:27:58,640 --> 02:28:02,400
Speaker 2: how you doing financially, but you know, if you want,

2720
02:28:02,440 --> 02:28:04,120
Speaker 2: you know, I can, you know, you know probably, you know,

2721
02:28:04,240 --> 02:28:06,320
Speaker 2: you know, just just get your hundred k in the morning.

2722
02:28:07,280 --> 02:28:09,760
Speaker 2: That's when I knew was tign to go. I was like,

2723
02:28:09,920 --> 02:28:11,879
Speaker 2: you're just gonna give me a hundred thousand.

2724
02:28:12,480 --> 02:28:15,840
Speaker 3: Nah, I don't know contract I owe.

2725
02:28:15,640 --> 02:28:18,440
Speaker 2: Someone a hundred thousand with no agreement. I was like,

2726
02:28:22,520 --> 02:28:25,560
Speaker 2: I'll let you know tomorrow. And then I went and

2727
02:28:25,680 --> 02:28:28,160
Speaker 2: switched my flight to like a six a m joint,

2728
02:28:28,760 --> 02:28:31,480
Speaker 2: got the fuck up out of La hit Eric and

2729
02:28:31,680 --> 02:28:34,680
Speaker 2: was like, you know, yeah, nah, I'm good man. I'm

2730
02:28:34,680 --> 02:28:41,000
Speaker 2: gonna chill man. But it wasn't that like physical respect,

2731
02:28:41,240 --> 02:28:45,680
Speaker 2: no showed mad love. It was just that didel Yeah.

2732
02:28:46,400 --> 02:28:48,600
Speaker 2: It's like, that's not I don't you know what I'm saying.

2733
02:28:48,680 --> 02:28:51,320
Speaker 2: It's like, you're to me, that's like the start of debt.

2734
02:28:51,760 --> 02:28:54,720
Speaker 2: And it just wasn't a good I didn't feel it.

2735
02:28:54,720 --> 02:28:56,720
Speaker 1: It's almost like the guy checking into jail and the

2736
02:28:56,840 --> 02:28:59,440
Speaker 1: fires a box of new Ports on his on his bed.

2737
02:29:00,640 --> 02:29:02,800
Speaker 1: I'm like, where the fuck did this come from? Like

2738
02:29:02,879 --> 02:29:06,640
Speaker 1: you know that like this ain't free. There's something to

2739
02:29:06,680 --> 02:29:11,320
Speaker 1: be paid back. Taking that exactly exactly.

2740
02:29:10,840 --> 02:29:14,960
Speaker 3: I understand you. Yeah, so what was the beef for you? A?

2741
02:29:15,360 --> 02:29:15,560
Speaker 1: Shan?

2742
02:29:17,520 --> 02:29:17,879
Speaker 2: The beef?

2743
02:29:19,440 --> 02:29:21,160
Speaker 6: Honestly, I don't know what it was.

2744
02:29:25,640 --> 02:29:29,280
Speaker 2: I guess when I got down, you know, well, I

2745
02:29:29,320 --> 02:29:32,800
Speaker 2: mean a quote according to Shan, it was like he

2746
02:29:32,840 --> 02:29:35,360
Speaker 2: said that that's what that's what they thing was like,

2747
02:29:35,480 --> 02:29:36,959
Speaker 2: you know, you're the new member.

2748
02:29:37,240 --> 02:29:40,840
Speaker 6: You gotta pay dues, Yeah, you gotta pay dues.

2749
02:29:41,160 --> 02:29:44,199
Speaker 2: Wow. But you know it's like when I got down

2750
02:29:44,200 --> 02:29:47,160
Speaker 2: with Biz, it wasn't that type of thing, you know

2751
02:29:47,160 --> 02:29:50,480
Speaker 2: what I'm saying. It wasn't like you know, like you know,

2752
02:29:50,959 --> 02:29:53,920
Speaker 2: saying like ship or asking me to carry his bags

2753
02:29:53,920 --> 02:29:56,600
Speaker 2: and ship like that. You know. So when I got

2754
02:29:56,680 --> 02:29:59,280
Speaker 2: down and like you know, Shan kept referring to me

2755
02:29:59,600 --> 02:30:03,280
Speaker 2: as the you know, I just felt like, okay, dude

2756
02:30:03,360 --> 02:30:07,440
Speaker 2: got something against me. And you know, you know, I

2757
02:30:07,480 --> 02:30:11,120
Speaker 2: try to, you know, just just keep my distance. But

2758
02:30:13,000 --> 02:30:16,119
Speaker 2: I remember one time, and I think it was in Virginia.

2759
02:30:16,280 --> 02:30:22,200
Speaker 2: Showed Fat Boys and Salt and Pepper, and you know,

2760
02:30:22,280 --> 02:30:26,040
Speaker 2: he was doing a little he was getting real extra

2761
02:30:26,120 --> 02:30:29,240
Speaker 2: with it, and you know, I said something to Biz

2762
02:30:29,280 --> 02:30:32,119
Speaker 2: about it, and you know, Biz told me to chill

2763
02:30:32,680 --> 02:30:35,240
Speaker 2: what I'm doing. So I just, you know, I just

2764
02:30:35,280 --> 02:30:38,280
Speaker 2: try to keep my distance. You know. It's like all right,

2765
02:30:39,560 --> 02:30:41,240
Speaker 2: you know, And I was like, all, let me just

2766
02:30:41,280 --> 02:30:43,959
Speaker 2: stay away from dude, you know, you know, And that's

2767
02:30:43,959 --> 02:30:46,600
Speaker 2: the way I just tried to handle it. But then

2768
02:30:47,720 --> 02:30:50,440
Speaker 2: we eventually got cool, you know, like it was me

2769
02:30:50,800 --> 02:30:53,600
Speaker 2: and him. We was living on the same block and

2770
02:30:53,800 --> 02:30:58,519
Speaker 2: g Rapp was living in the condo right behind Highborhood.

2771
02:30:59,000 --> 02:30:59,400
Speaker 3: Yeah.

2772
02:31:00,080 --> 02:31:02,879
Speaker 2: Yeah, so we ended up getting cool. And I'm in

2773
02:31:02,959 --> 02:31:06,360
Speaker 2: his condo, he and my condo. You know that type

2774
02:31:06,400 --> 02:31:11,000
Speaker 2: of thing, you know. Yeah, like you know, yeah, I

2775
02:31:11,040 --> 02:31:13,800
Speaker 2: mean I love sham Man. I love Shaping. It's like,

2776
02:31:13,840 --> 02:31:17,080
Speaker 2: you know, once I got to know him, I know that, Okay, Yeah, he.

2777
02:31:17,240 --> 02:31:18,320
Speaker 3: Just the personality.

2778
02:31:18,400 --> 02:31:21,760
Speaker 2: Yeah, he just like to argue and you know, you

2779
02:31:21,800 --> 02:31:24,880
Speaker 2: know that's his thing, you know. Yeah, and you know, yeah,

2780
02:31:25,080 --> 02:31:27,119
Speaker 2: I love sham So.

2781
02:31:28,000 --> 02:31:31,720
Speaker 1: Is the symphony the greatest hip hop posse cut.

2782
02:31:31,640 --> 02:31:32,320
Speaker 3: Of all time.

2783
02:31:34,280 --> 02:31:36,200
Speaker 6: I think so, I think so.

2784
02:31:36,800 --> 02:31:43,919
Speaker 2: I mean, uh, the only reason I say that is because.

2785
02:31:45,400 --> 02:31:49,560
Speaker 6: When I think of like my favorites, what is your favorite?

2786
02:31:49,600 --> 02:31:58,640
Speaker 1: Like head banger, Okay, so that's the Vegas head banger.

2787
02:32:00,080 --> 02:32:07,039
Speaker 2: With depth guard though, right banger saying what's the jay

2788
02:32:07,120 --> 02:32:10,160
Speaker 2: Z joint? You mean him and her? Is that name

2789
02:32:10,160 --> 02:32:13,800
Speaker 2: of it? You meant him and her? Yeah, Like, when

2790
02:32:13,800 --> 02:32:17,080
Speaker 2: I think about it, it's like the reason why we'll

2791
02:32:17,080 --> 02:32:21,280
Speaker 2: go with the symphony is because I think that everybody

2792
02:32:21,360 --> 02:32:22,400
Speaker 2: on there spit fire.

2793
02:32:22,560 --> 02:32:23,360
Speaker 3: Yes, I believe.

2794
02:32:23,400 --> 02:32:26,000
Speaker 2: So, you know, I think there's a lot of great

2795
02:32:26,120 --> 02:32:28,480
Speaker 2: posse joint. What's what's the nods joint?

2796
02:32:28,560 --> 02:32:33,920
Speaker 4: Live the barbecue, But that's more of an extra P joint.

2797
02:32:34,120 --> 02:32:36,600
Speaker 1: That's but that's a puzzy cuts. But you said the

2798
02:32:36,680 --> 02:32:37,800
Speaker 1: nas joint. I want to give it.

2799
02:32:38,040 --> 02:32:40,560
Speaker 2: I mean, I mean, I mean, oh yeah, no no.

2800
02:32:40,600 --> 02:32:46,600
Speaker 5: But he's saying, like, it's how a lot of people

2801
02:32:46,600 --> 02:32:57,080
Speaker 5: discovered that you're absolutely right, is a good cut? Yeah, yes, yeah, there's.

2802
02:32:56,879 --> 02:33:00,560
Speaker 2: A lot of them. But it's like, man.

2803
02:33:00,360 --> 02:33:04,040
Speaker 3: From scenario scenario, I think scenario.

2804
02:33:03,959 --> 02:33:08,280
Speaker 1: Scenarios number two. I think scenario's number one, Scenarios number two.

2805
02:33:08,879 --> 02:33:12,000
Speaker 2: See I see with me It's like I would probably

2806
02:33:12,600 --> 02:33:23,160
Speaker 2: go symphony headbangers, and then you meet him and her.

2807
02:33:23,680 --> 02:33:25,440
Speaker 3: I forget what that one is.

2808
02:33:25,600 --> 02:33:29,240
Speaker 2: That's jay Z, bleak beans and what was the girl name?

2809
02:33:29,959 --> 02:33:31,080
Speaker 3: Oh?

2810
02:33:31,560 --> 02:33:31,840
Speaker 2: Okay?

2811
02:33:32,040 --> 02:33:34,039
Speaker 3: I yeah, yeah, I don't know. I wouldn't put that

2812
02:33:34,160 --> 02:33:34,480
Speaker 3: up there.

2813
02:33:34,560 --> 02:33:36,960
Speaker 1: Yeah, I don't got that up there. I got reservrat

2814
02:33:37,040 --> 02:33:40,560
Speaker 1: dogs with jay Z and locks and beans in them.

2815
02:33:40,600 --> 02:33:43,160
Speaker 1: I got that up there. More reservoir dogs.

2816
02:33:43,360 --> 02:33:44,160
Speaker 2: I love that.

2817
02:33:44,240 --> 02:33:46,080
Speaker 3: You me, I got Shatcha.

2818
02:33:46,800 --> 02:33:50,000
Speaker 5: Yeah, I would even I know, I know this is

2819
02:33:50,040 --> 02:33:52,720
Speaker 5: not it wouldn't be considered a positive because they're a group,

2820
02:33:52,800 --> 02:33:54,280
Speaker 5: but they are individuals.

2821
02:33:54,320 --> 02:33:57,440
Speaker 3: It's protecting neck. No, I can't put that as a

2822
02:33:57,480 --> 02:34:02,279
Speaker 3: post come looking back at it now as their individuals

2823
02:34:02,440 --> 02:34:02,840
Speaker 3: as hell.

2824
02:34:03,720 --> 02:34:05,720
Speaker 1: You know, I didn't realize how out of line I

2825
02:34:05,800 --> 02:34:08,360
Speaker 1: was by rhyming on the symphony until I've seen Tyler

2826
02:34:08,440 --> 02:34:10,680
Speaker 1: Qually the other day. He did it, and I wanted

2827
02:34:10,680 --> 02:34:11,640
Speaker 1: to call him and say, don't you.

2828
02:34:11,640 --> 02:34:12,440
Speaker 3: Ever do that again?

2829
02:34:14,360 --> 02:34:19,800
Speaker 2: No, No, I think that Tyler lib versus Dopey.

2830
02:34:20,200 --> 02:34:22,280
Speaker 1: None of us can. None of us can recreate that moment.

2831
02:34:23,480 --> 02:34:26,440
Speaker 1: Got that record alone, all of us lead a symphony alone.

2832
02:34:26,640 --> 02:34:29,760
Speaker 2: No, no, no, But I think I Honestly, I thought

2833
02:34:29,760 --> 02:34:32,960
Speaker 2: that it was just great to just see that type

2834
02:34:32,959 --> 02:34:35,680
Speaker 2: of vibe, you know, because I mean it's like, you know,

2835
02:34:37,000 --> 02:34:41,640
Speaker 2: you got to think from a musician standpoint, right, you know,

2836
02:34:42,760 --> 02:34:44,640
Speaker 2: it's like there's a lot of stuff that you look

2837
02:34:44,680 --> 02:34:49,920
Speaker 2: at his classics, but like tell the truth, man, you

2838
02:34:51,040 --> 02:34:57,560
Speaker 2: like say say say Michael Jackson, Paul McCartney. You wouldn't

2839
02:34:57,600 --> 02:35:02,080
Speaker 2: have been mad at print doing Paul McCartney focus with

2840
02:35:02,160 --> 02:35:05,520
Speaker 2: you at all. You know what I'm saying. It's like,

2841
02:35:05,640 --> 02:35:08,520
Speaker 2: you know, it's it's like, you know, sometimes it's just

2842
02:35:08,840 --> 02:35:11,440
Speaker 2: something it's just a little a little different. You know,

2843
02:35:11,760 --> 02:35:16,520
Speaker 2: it's the original and that's a variation of it, you know.

2844
02:35:16,640 --> 02:35:19,400
Speaker 6: But yeah, it's it's good to just you know, think.

2845
02:35:19,320 --> 02:35:21,920
Speaker 2: Out the box and try something different sometimes. Man.

2846
02:35:22,840 --> 02:35:26,400
Speaker 3: So you my bad fad changing up.

2847
02:35:26,440 --> 02:35:30,280
Speaker 1: But you recently just performed the queens Bridge Yeah, and

2848
02:35:30,320 --> 02:35:31,959
Speaker 1: you how was that?

2849
02:35:32,680 --> 02:35:34,560
Speaker 2: I mean it was it was like I had g

2850
02:35:34,680 --> 02:35:37,280
Speaker 2: Wrap come into Lincoln Center. That was dope, And he's

2851
02:35:37,400 --> 02:35:39,600
Speaker 2: told me that he had a show in Queen's Bridge.

2852
02:35:40,080 --> 02:35:41,840
Speaker 3: He brong you out. I thought you brung him out.

2853
02:35:41,959 --> 02:35:44,520
Speaker 2: No, no, no, it was wrapped folks show. And he told

2854
02:35:44,560 --> 02:35:46,400
Speaker 2: me he had to join Queen's Bridge, and I was

2855
02:35:46,440 --> 02:35:48,400
Speaker 2: like when I'm like, well, I'm here in New York.

2856
02:35:48,440 --> 02:35:50,440
Speaker 2: I mean, I'm like, you need me, and he was

2857
02:35:50,480 --> 02:35:54,320
Speaker 2: like hell yeah, I'm like all right, cool. And I

2858
02:35:54,360 --> 02:35:58,040
Speaker 2: was like, we'll shoot me your email and I'll I'll

2859
02:35:58,080 --> 02:36:00,959
Speaker 2: send you an instrumental of the symphony because he said

2860
02:36:01,080 --> 02:36:03,320
Speaker 2: he said he only had a version, you know, Josh

2861
02:36:03,560 --> 02:36:06,280
Speaker 2: edited version just for his verse. Oh, so I was like,

2862
02:36:06,320 --> 02:36:10,400
Speaker 2: I'll send you a version, you know, for both of us, okay,

2863
02:36:10,920 --> 02:36:12,600
Speaker 2: And then he was like you know, and I was like,

2864
02:36:12,640 --> 02:36:13,959
Speaker 2: I was like, you need me to do something else.

2865
02:36:14,480 --> 02:36:17,000
Speaker 2: He was like yeah yeah. I was like all right, well,

2866
02:36:16,400 --> 02:36:19,280
Speaker 2: I'll send you the symphony joint and I sent woman

2867
02:36:19,400 --> 02:36:21,720
Speaker 2: up and then you know, I came, you know, rock

2868
02:36:21,800 --> 02:36:23,240
Speaker 2: with him.

2869
02:36:23,680 --> 02:36:27,680
Speaker 1: God damn, I don't know.

2870
02:36:28,040 --> 02:36:30,440
Speaker 3: I think the tragedy. And he said that he came to.

2871
02:36:30,400 --> 02:36:33,080
Speaker 1: See you, I believe, and when you was in Queensborgs

2872
02:36:33,120 --> 02:36:35,280
Speaker 1: or something like that, or he came to see you perform.

2873
02:36:35,760 --> 02:36:38,400
Speaker 1: But so they didn't announce your name, no, no, oh,

2874
02:36:38,440 --> 02:36:39,320
Speaker 1: well he was a surprise.

2875
02:36:39,440 --> 02:36:40,959
Speaker 2: Yeah. I was a surprised guest because this was g

2876
02:36:41,080 --> 02:36:43,800
Speaker 2: rap show, you know, I mean, it's like, you know,

2877
02:36:44,320 --> 02:36:48,560
Speaker 2: she rapped that man that that may be my favorite

2878
02:36:48,640 --> 02:36:52,560
Speaker 2: MC man. I mean, he's someone that I've always loved

2879
02:36:52,600 --> 02:36:56,000
Speaker 2: and he's always been so inspirational to me. Man. I mean,

2880
02:36:56,040 --> 02:36:59,320
Speaker 2: I can remember numerous nights, you know, back in the eighties,

2881
02:36:59,440 --> 02:37:01,560
Speaker 2: like you know, I called his brother up on the

2882
02:37:01,640 --> 02:37:04,520
Speaker 2: phone late at night and right and I'm like, you know, like, yo,

2883
02:37:04,640 --> 02:37:06,840
Speaker 2: check this out. I got this joint the best, So yes,

2884
02:37:06,879 --> 02:37:08,800
Speaker 2: I guess, yes, the best. Your fast. You know.

2885
02:37:09,720 --> 02:37:10,680
Speaker 6: He's like, oh, that's fired.

2886
02:37:11,400 --> 02:37:14,760
Speaker 2: Then two nights later, Gi called me back and he's like, yo,

2887
02:37:15,080 --> 02:37:17,200
Speaker 2: I got just from the joint, checked this out, the

2888
02:37:17,240 --> 02:37:21,200
Speaker 2: creature feature capture rough to teach. He like it was like,

2889
02:37:21,240 --> 02:37:23,240
Speaker 2: you know, he was like that dude that always kept

2890
02:37:23,240 --> 02:37:26,120
Speaker 2: me on my toes man, I mean, and just a

2891
02:37:26,240 --> 02:37:29,360
Speaker 2: hell of an m C. And I mean, and the

2892
02:37:29,400 --> 02:37:31,440
Speaker 2: crazy thing is like we got down with the Juice Crew,

2893
02:37:32,600 --> 02:37:35,400
Speaker 2: damn near at the same time. Like he got down

2894
02:37:35,520 --> 02:37:38,600
Speaker 2: like maybe like six months before me or some shit

2895
02:37:38,680 --> 02:37:41,640
Speaker 2: like that, right, you know, because Polo had this dude

2896
02:37:41,720 --> 02:37:45,080
Speaker 2: Frost and he got locked up, and then Polo you know,

2897
02:37:45,160 --> 02:37:50,280
Speaker 2: brought on g in and then Biz brought me in.

2898
02:37:50,959 --> 02:37:53,080
Speaker 2: But this all happened in eighty six.

2899
02:37:53,760 --> 02:37:56,880
Speaker 1: Wow. You know, so let me ask you if Master,

2900
02:37:57,080 --> 02:38:00,160
Speaker 1: if you have a show with Master Ace, Craig g

2901
02:38:00,160 --> 02:38:04,000
Speaker 1: g rap and you all on the same show, who

2902
02:38:04,040 --> 02:38:09,360
Speaker 1: performed symphony? Do y'all do it together or do y'all

2903
02:38:09,360 --> 02:38:09,879
Speaker 1: do it separate?

2904
02:38:10,000 --> 02:38:13,200
Speaker 2: Or no? We would definitely do it together, okay on

2905
02:38:13,240 --> 02:38:16,199
Speaker 2: the show and whoever's I mean, I guess whoever's going last?

2906
02:38:16,200 --> 02:38:18,640
Speaker 2: I would think it would make bad sense. Okay, who

2907
02:38:18,800 --> 02:38:19,879
Speaker 2: was going to last? Okay?

2908
02:38:20,000 --> 02:38:21,840
Speaker 1: Yeah, be selfish? Is somebody to come out and just

2909
02:38:21,840 --> 02:38:22,440
Speaker 1: do that first?

2910
02:38:22,480 --> 02:38:22,720
Speaker 3: Right?

2911
02:38:23,879 --> 02:38:25,320
Speaker 6: I mean I don't think that we would do that.

2912
02:38:25,360 --> 02:38:27,320
Speaker 2: I think that you know, we would, you know, get

2913
02:38:27,320 --> 02:38:30,520
Speaker 2: together collectively, you know, figure out Okay, yeah, how we're

2914
02:38:30,520 --> 02:38:32,040
Speaker 2: gonna work the symphony in right?

2915
02:38:32,600 --> 02:38:34,360
Speaker 3: Definitely? Let me ask you.

2916
02:38:34,440 --> 02:38:40,240
Speaker 1: Right, everyone has love for mister See everyone knows and

2917
02:38:40,400 --> 02:38:41,520
Speaker 1: you know, from from.

2918
02:38:41,360 --> 02:38:43,120
Speaker 3: You the biggie to all of this.

2919
02:38:43,240 --> 02:38:45,080
Speaker 1: And then it was at one point it was like

2920
02:38:45,200 --> 02:38:47,480
Speaker 1: this controversy that he was going through. What did you

2921
02:38:47,480 --> 02:38:50,600
Speaker 1: think of that when you heard, you know, like like

2922
02:38:51,200 --> 02:38:52,920
Speaker 1: he was living an alternative lifestyle.

2923
02:38:54,560 --> 02:38:58,200
Speaker 2: I mean, that's that's that's that's his life. I mean,

2924
02:38:58,360 --> 02:39:01,920
Speaker 2: you know, it's a brother I've known since high school.

2925
02:39:02,640 --> 02:39:06,120
Speaker 2: You know, I've known this brother since high school and

2926
02:39:06,320 --> 02:39:09,039
Speaker 2: he helped me down through thinking things. That's beautiful, you know.

2927
02:39:10,440 --> 02:39:17,320
Speaker 2: So I've always loved and respected mister C. And whatever

2928
02:39:17,560 --> 02:39:20,760
Speaker 2: he going through, I personally feel like I'm going through

2929
02:39:20,760 --> 02:39:23,039
Speaker 2: it too. So I mean, anything I can do to

2930
02:39:23,160 --> 02:39:25,760
Speaker 2: help or be in his corner, I'm willing to do.

2931
02:39:25,920 --> 02:39:29,039
Speaker 2: You know. I love mister C like a brother, you know.

2932
02:39:34,560 --> 02:39:37,160
Speaker 1: So what's what's left for Caina doing this game? Man?

2933
02:39:38,800 --> 02:39:42,080
Speaker 2: I think, you know, honestly, I wanted I want to,

2934
02:39:42,400 --> 02:39:45,640
Speaker 2: you know, do some more movies, and I really I

2935
02:39:45,680 --> 02:39:51,520
Speaker 2: really want to, you know, connect with with some young artists.

2936
02:39:51,560 --> 02:39:53,800
Speaker 6: I would really like to like that. I like that

2937
02:39:54,160 --> 02:39:55,640
Speaker 6: with some young artists, you know.

2938
02:39:56,640 --> 02:40:02,720
Speaker 2: You know. Yeah, yeah, I mean I just certain artists

2939
02:40:02,720 --> 02:40:05,080
Speaker 2: I just see and I'm like, I see something special.

2940
02:40:05,600 --> 02:40:09,000
Speaker 2: Like Lady London. I think she's special. I think Lola

2941
02:40:09,080 --> 02:40:14,520
Speaker 2: Brook is special, a special. You know, certain artists I

2942
02:40:14,600 --> 02:40:20,039
Speaker 2: just feel like they just special. You know. Even even

2943
02:40:21,560 --> 02:40:26,000
Speaker 2: Conway the Machine, there's something special about him. But I

2944
02:40:26,040 --> 02:40:30,520
Speaker 2: don't know if he's really channeling into it. I think

2945
02:40:30,560 --> 02:40:33,720
Speaker 2: I see it, but I see something very Yeah. We

2946
02:40:33,760 --> 02:40:37,039
Speaker 2: did a song. I did a song for for Buster oh.

2947
02:40:37,040 --> 02:40:41,280
Speaker 1: Yes, it's like three generations I saw and everything R.

2948
02:40:41,240 --> 02:40:43,320
Speaker 2: Yeah yeah, yeah, yeah, yeah yeah.

2949
02:40:43,160 --> 02:40:46,879
Speaker 1: Yeah hip hop man like coming off fifty years. I

2950
02:40:46,879 --> 02:40:49,360
Speaker 1: know we spoke about it earlier. I know we spoke about,

2951
02:40:49,480 --> 02:40:52,280
Speaker 1: you know, the cliches of it being this far. But

2952
02:40:52,400 --> 02:40:55,480
Speaker 1: now with this AI thing, you you are you are

2953
02:40:55,480 --> 02:40:57,800
Speaker 1: you are you? With AI.

2954
02:41:00,440 --> 02:41:09,200
Speaker 6: Another no, no, I am not. And he's the.

2955
02:41:10,840 --> 02:41:16,200
Speaker 2: Really shit about that AI comes into effect. Right.

2956
02:41:17,640 --> 02:41:21,520
Speaker 6: I don't think it's going to affect me. I'm a performer.

2957
02:41:23,080 --> 02:41:27,520
Speaker 2: I have a set fan base where I haven't had

2958
02:41:27,560 --> 02:41:33,360
Speaker 2: a hit record in like thirty years. Right, It's not

2959
02:41:33,400 --> 02:41:37,840
Speaker 2: going to affect me Big Daddy Kane fans that want

2960
02:41:37,879 --> 02:41:46,400
Speaker 2: to see me, hear me. I think that what's gearing

2961
02:41:46,480 --> 02:41:51,039
Speaker 2: up for the future is that because right now with

2962
02:41:51,120 --> 02:41:54,320
Speaker 2: the younger generation, it ain't like how I said, you know,

2963
02:41:54,640 --> 02:41:56,560
Speaker 2: if we got a ten thousand, see the seven thousand

2964
02:41:56,720 --> 02:41:59,160
Speaker 2: of them got their phones out. With the younger generation,

2965
02:41:59,240 --> 02:42:01,320
Speaker 2: they're in a ten thousd I see the ten thousands

2966
02:42:01,320 --> 02:42:05,080
Speaker 2: of them got their phones out, so they already watching

2967
02:42:05,080 --> 02:42:07,800
Speaker 2: the ship or filming the show instead of really focusing

2968
02:42:07,840 --> 02:42:11,320
Speaker 2: on it. It's a phone thing, right, We got AI

2969
02:42:12,200 --> 02:42:16,720
Speaker 2: and we have holograms. Right, we got a bunch of

2970
02:42:16,760 --> 02:42:22,160
Speaker 2: young artists there's not really really performing on stage, right,

2971
02:42:23,800 --> 02:42:27,920
Speaker 2: So what's going to happen is there's going to be

2972
02:42:29,440 --> 02:42:36,080
Speaker 2: digital artists. They're going to create holograms of of uh

2973
02:42:36,840 --> 02:42:38,360
Speaker 2: this perfect looking artist.

2974
02:42:38,400 --> 02:42:40,080
Speaker 1: Oh you didn't see they had one. They had like

2975
02:42:40,120 --> 02:42:45,680
Speaker 1: an artist and no, no, no, no, no, Drake, shut the

2976
02:42:45,720 --> 02:42:48,000
Speaker 1: fuck up. No, no, I'm talking about There was a

2977
02:42:48,040 --> 02:42:50,680
Speaker 1: real artist that was an AI artist. He was signed

2978
02:42:50,680 --> 02:42:52,400
Speaker 1: the Universal and then he said nigga and then he

2979
02:42:52,480 --> 02:42:56,080
Speaker 1: dropped them. Y'all know what I'm talking about. Yeah, he

2980
02:42:56,160 --> 02:42:57,440
Speaker 1: said like he was he was.

2981
02:42:57,760 --> 02:43:00,800
Speaker 2: That's what's getting ready to happen where you you what's

2982
02:43:00,840 --> 02:43:03,439
Speaker 2: going to happen is they're going to create holograms.

2983
02:43:03,840 --> 02:43:07,680
Speaker 6: And with the AI thing, it'd be like, you know what, would.

2984
02:43:07,440 --> 02:43:10,000
Speaker 2: This artiste give them some blonde dreads, make a bunch

2985
02:43:10,080 --> 02:43:12,680
Speaker 2: of tattoos, muscle bound and you know what makes his

2986
02:43:12,760 --> 02:43:16,200
Speaker 2: voice sound like Michael Jackson, No, I ain't hurt Michael Jackson,

2987
02:43:16,280 --> 02:43:19,640
Speaker 2: spitting bars make his voice sound like Michael Jackson. And

2988
02:43:20,959 --> 02:43:25,000
Speaker 2: concerts will be downloaded to your phone right where you

2989
02:43:25,040 --> 02:43:28,280
Speaker 2: don't even have to go because you ain't fucking looking anyway,

2990
02:43:29,080 --> 02:43:30,800
Speaker 2: This younger generation ain't looking anyway.

2991
02:43:31,440 --> 02:43:33,039
Speaker 6: They just got their phone up the whole show.

2992
02:43:33,480 --> 02:43:36,000
Speaker 2: So wouldn't it make more sense for them to just

2993
02:43:36,040 --> 02:43:39,119
Speaker 2: be able to buy the concert and just right there

2994
02:43:39,160 --> 02:43:40,200
Speaker 2: because the.

2995
02:43:40,320 --> 02:43:43,720
Speaker 1: Streaming selling selling tickets today. Concert where you don't even

2996
02:43:43,720 --> 02:43:45,400
Speaker 1: get to see them, What do you mean you don't

2997
02:43:45,400 --> 02:43:47,080
Speaker 1: get to see them? You don't get you know, it's

2998
02:43:47,080 --> 02:43:50,400
Speaker 1: all your owing audio only. That's some crazy shit.

2999
02:43:50,600 --> 02:43:53,000
Speaker 3: It's hard. It just makes some noise for them discovering

3000
02:43:53,000 --> 02:43:53,320
Speaker 3: the trick.

3001
02:43:55,879 --> 02:44:00,760
Speaker 1: Think about that, they're going there to hear it. Okay,

3002
02:44:00,879 --> 02:44:03,240
Speaker 1: you lost me then yeah, they go to the car sirt,

3003
02:44:03,600 --> 02:44:04,640
Speaker 1: but they don't get to see her.

3004
02:44:04,680 --> 02:44:06,000
Speaker 3: That's what I'm saying. They don't get to see them, and.

3005
02:44:06,360 --> 02:44:10,359
Speaker 1: But they get to hear it's it's audio tickets, yeah, said.

3006
02:44:10,280 --> 02:44:14,160
Speaker 5: Wild because the concert to me is everything is visual.

3007
02:44:14,560 --> 02:44:18,280
Speaker 1: Yeah that turns me off. Like when I go on stage.

3008
02:44:18,600 --> 02:44:20,360
Speaker 1: Seldomly go on stage, but I go on stage and

3009
02:44:20,360 --> 02:44:23,040
Speaker 1: everyone's just like this, I'm looking like motherfucker, I'm right here.

3010
02:44:23,400 --> 02:44:26,160
Speaker 5: Yeah, that's the point to see your favorite artists on

3011
02:44:26,240 --> 02:44:27,760
Speaker 5: stage live like moment.

3012
02:44:28,240 --> 02:44:30,560
Speaker 2: All right, But I mean with this younger generation need

3013
02:44:30,640 --> 02:44:35,240
Speaker 2: to understand that it's going to affect them down the line.

3014
02:44:36,160 --> 02:44:38,440
Speaker 2: And I don't mean far down the line. No, it's

3015
02:44:38,480 --> 02:44:42,040
Speaker 2: all happening. It's happening very fast. And I would hate

3016
02:44:42,080 --> 02:44:45,600
Speaker 2: to see that happen to the younger generation where they're

3017
02:44:45,640 --> 02:44:51,800
Speaker 2: replaced by digital images and digital voices. I want to

3018
02:44:51,840 --> 02:44:55,720
Speaker 2: see them when be successful, you know, make money, be

3019
02:44:55,760 --> 02:44:58,000
Speaker 2: able to feed their family, you know, and you know,

3020
02:44:58,240 --> 02:44:59,800
Speaker 2: have you know, successful careers.

3021
02:45:00,240 --> 02:45:02,640
Speaker 3: That was part of the sack strike right now, that

3022
02:45:02,720 --> 02:45:03,520
Speaker 3: big sag strike.

3023
02:45:03,800 --> 02:45:06,600
Speaker 4: It's about all of that. Yeah, that's part of it.

3024
02:45:06,640 --> 02:45:09,560
Speaker 5: Yeah, the digital, the facial stuff, and they just want

3025
02:45:09,640 --> 02:45:11,840
Speaker 5: you to be a voice actor and then they're gonna

3026
02:45:11,840 --> 02:45:12,760
Speaker 5: take your whole image and.

3027
02:45:12,680 --> 02:45:15,160
Speaker 3: You different things, different ways that they'll apply it.

3028
02:45:15,760 --> 02:45:20,840
Speaker 1: And you ran into something too, like the sign language interpreter.

3029
02:45:22,000 --> 02:45:23,320
Speaker 3: You remember what fake one.

3030
02:45:23,680 --> 02:45:25,800
Speaker 2: No no, no, no, no.

3031
02:45:25,879 --> 02:45:27,800
Speaker 6: He was a real interpreter.

3032
02:45:28,560 --> 02:45:35,040
Speaker 2: What happened was, uh, like I've seen like people that

3033
02:45:35,160 --> 02:45:37,520
Speaker 2: do sign and you know, they're standing there, you know,

3034
02:45:37,600 --> 02:45:41,000
Speaker 2: doing what they do. So when I came on stage,

3035
02:45:41,040 --> 02:45:45,400
Speaker 2: I'm performing, and then I looked to the side of the

3036
02:45:45,400 --> 02:45:48,440
Speaker 2: stage and I stupid like this, you know, and he's like,

3037
02:45:50,000 --> 02:45:52,840
Speaker 2: I didn't know that he was an interpreting. Oh yeah,

3038
02:45:53,160 --> 02:45:55,160
Speaker 2: I thought that he was somebody came out on that

3039
02:45:55,280 --> 02:45:57,760
Speaker 2: crowd just making gestures.

3040
02:45:58,360 --> 02:46:00,960
Speaker 6: I don't speak sign. I mean, I don't really, I don't,

3041
02:46:01,000 --> 02:46:01,200
Speaker 6: you know.

3042
02:46:01,520 --> 02:46:04,600
Speaker 2: So when I saw him, because of his energy, because

3043
02:46:04,600 --> 02:46:07,360
Speaker 2: he's jumping, so I'm thinking that he's just someone just

3044
02:46:07,400 --> 02:46:10,560
Speaker 2: came out there just having any moment, Like I'm big

3045
02:46:10,600 --> 02:46:14,240
Speaker 2: that he can't hype man. So I pushed him to

3046
02:46:14,280 --> 02:46:18,400
Speaker 2: the side and then I went and started performing. Now look,

3047
02:46:18,640 --> 02:46:22,400
Speaker 2: he was back out there again, and I pushed his

3048
02:46:22,520 --> 02:46:27,080
Speaker 2: ass to the side again, and then I went. And

3049
02:46:27,120 --> 02:46:31,760
Speaker 2: then when when we finished the song, my DJ was like, yo, yo,

3050
02:46:31,920 --> 02:46:35,000
Speaker 2: he you know, he told me who he was. And

3051
02:46:35,040 --> 02:46:36,960
Speaker 2: then I walked up the dude and I was like, yo,

3052
02:46:37,240 --> 02:46:38,840
Speaker 2: I'm sorry, man, I didn't know.

3053
02:46:39,280 --> 02:46:40,160
Speaker 6: Poly you know.

3054
02:46:40,160 --> 02:46:43,880
Speaker 2: I apologized, and then and then I held his hand

3055
02:46:43,920 --> 02:46:46,200
Speaker 2: up and told the crowds, you know, like listen, you know,

3056
02:46:48,000 --> 02:46:50,240
Speaker 2: I'm glad he here. I say. I said something like

3057
02:46:50,520 --> 02:46:55,520
Speaker 2: because even if you can't hear me, I want you

3058
02:46:55,560 --> 02:46:58,680
Speaker 2: to enjoy the show. So thank you brother, you know,

3059
02:46:58,800 --> 02:47:01,520
Speaker 2: and and left it like that. And then he finished

3060
02:47:01,600 --> 02:47:03,640
Speaker 2: finished what he was doing. But I didn't know.

3061
02:47:03,680 --> 02:47:05,720
Speaker 1: I didn't know that was that was like a first

3062
02:47:05,800 --> 02:47:09,000
Speaker 1: like controversy on the internet, like like you know, like

3063
02:47:09,040 --> 02:47:11,520
Speaker 1: I mean probably yeah, you know what I'm saying, Like

3064
02:47:11,520 --> 02:47:12,800
Speaker 1: like in this new version of.

3065
02:47:14,400 --> 02:47:17,039
Speaker 6: Me, you know, everybody wanted to cancel you, you know

3066
02:47:17,160 --> 02:47:17,640
Speaker 6: for something.

3067
02:47:18,000 --> 02:47:22,120
Speaker 2: It's like it's like everybody looking for some ship to

3068
02:47:22,160 --> 02:47:22,879
Speaker 2: be bitter about.

3069
02:47:23,320 --> 02:47:25,600
Speaker 1: You know, was that something abnormal to you or you

3070
02:47:25,720 --> 02:47:27,960
Speaker 1: you adapted to it because you know, back back in

3071
02:47:28,000 --> 02:47:29,920
Speaker 1: the days, the room was about you, but you it.

3072
02:47:29,879 --> 02:47:30,760
Speaker 3: Wouldn't come to you.

3073
02:47:30,760 --> 02:47:33,320
Speaker 1: You didn't have especially you didn't have an Instagram, Like,

3074
02:47:33,640 --> 02:47:36,080
Speaker 1: so was that something like that was that was different

3075
02:47:36,080 --> 02:47:36,280
Speaker 1: for you?

3076
02:47:36,320 --> 02:47:37,840
Speaker 2: When when when you I mean, I ain't really give

3077
02:47:37,840 --> 02:47:40,160
Speaker 2: a ship, man, I mean, because it was like it

3078
02:47:40,240 --> 02:47:43,800
Speaker 2: was the type of thing where you know, I know,

3079
02:47:43,959 --> 02:47:47,600
Speaker 2: I didn't do nothing wrong, and once I understood who

3080
02:47:47,680 --> 02:47:50,920
Speaker 2: he was, I apologized to him, and.

3081
02:47:50,920 --> 02:47:52,119
Speaker 1: You did on your Instagram as well.

3082
02:47:52,280 --> 02:47:55,679
Speaker 6: Yeah, man, I mean it was like you know, people.

3083
02:47:57,320 --> 02:48:04,199
Speaker 2: Even had they well you you didn't uh apologize to

3084
02:48:04,320 --> 02:48:05,720
Speaker 2: the death community.

3085
02:48:06,280 --> 02:48:07,760
Speaker 6: I ain't doing it to the death community.

3086
02:48:08,200 --> 02:48:12,400
Speaker 2: I pushed him the guy, and I apologize them. That's

3087
02:48:12,400 --> 02:48:16,320
Speaker 2: who I would the apology to, you know, plain and simple,

3088
02:48:16,840 --> 02:48:18,800
Speaker 2: you know, and I mean you know, because it's like

3089
02:48:18,800 --> 02:48:21,080
Speaker 2: I didn't understan, I didn't know what was going on, but.

3090
02:48:20,959 --> 02:48:22,879
Speaker 6: Once I found out what was going on, corrected to

3091
02:48:22,879 --> 02:48:23,800
Speaker 6: me quickly.

3092
02:48:23,959 --> 02:48:27,160
Speaker 2: You know, because yeah, because of Yes, if you can't

3093
02:48:27,160 --> 02:48:29,920
Speaker 2: hear the show and he's there to help you understand, yes,

3094
02:48:30,360 --> 02:48:32,959
Speaker 2: I need him, like I would love for someone like

3095
02:48:33,040 --> 02:48:36,720
Speaker 2: him to be at every goddamn show, you know. I

3096
02:48:36,720 --> 02:48:39,000
Speaker 2: see the importance and I respect that. You know.

3097
02:48:39,640 --> 02:48:41,959
Speaker 1: Yeah, you think people are too sensitive nowadays?

3098
02:48:42,040 --> 02:48:48,120
Speaker 2: Well yeah, well yeah, like we so sensitive that you

3099
02:48:48,200 --> 02:48:52,360
Speaker 2: can be on someone's side, agree with what they're saying,

3100
02:48:52,920 --> 02:48:55,400
Speaker 2: but just if you word it in a way that

3101
02:48:55,560 --> 02:48:59,720
Speaker 2: don't sound like they'll get mad at you all the time.

3102
02:49:02,800 --> 02:49:05,240
Speaker 2: That's why it's for me, it's it's just so much

3103
02:49:05,320 --> 02:49:08,280
Speaker 2: easier to just ship what we call the fuck up.

3104
02:49:09,920 --> 02:49:12,080
Speaker 2: I'll just be quiet and go ahead, go ahead?

3105
02:49:13,920 --> 02:49:20,080
Speaker 1: Was you know? Because we're pushing this documentary. What made

3106
02:49:20,120 --> 02:49:22,760
Speaker 1: you want to come together and push this documentary?

3107
02:49:23,800 --> 02:49:30,640
Speaker 2: The documentary is called Paragraphs I manifest Para, and what

3108
02:49:30,680 --> 02:49:34,680
Speaker 2: it's about is the lyricism in hip hop and the

3109
02:49:34,720 --> 02:49:38,640
Speaker 2: importance of it, Uh, songwriting.

3110
02:49:40,879 --> 02:49:43,880
Speaker 6: What made you write this song? What was the inspiration?

3111
02:49:44,680 --> 02:49:48,280
Speaker 2: Things of that nature, Because the documentary is really for

3112
02:49:48,400 --> 02:49:53,720
Speaker 2: the younger generation. I want the younger generation to understand

3113
02:49:54,320 --> 02:49:57,880
Speaker 2: the importance of lyricists. We can't lose that, you know,

3114
02:49:58,240 --> 02:50:00,520
Speaker 2: because yes, because it is a law thing in it.

3115
02:50:01,240 --> 02:50:05,880
Speaker 2: And I want them to really understand that. And hopefully,

3116
02:50:06,040 --> 02:50:10,840
Speaker 2: you know, by hearing from the pioneers, hearing from some

3117
02:50:10,879 --> 02:50:13,280
Speaker 2: of the younger generation, even hearing from some of the

3118
02:50:13,320 --> 02:50:18,080
Speaker 2: battle rappers, I'm thinking, I'm hoping that it would be

3119
02:50:18,120 --> 02:50:21,240
Speaker 2: something that can trigger something in the younger generation be like,

3120
02:50:21,280 --> 02:50:24,280
Speaker 2: you know, nah, I want to, you know, have some bars.

3121
02:50:24,360 --> 02:50:27,120
Speaker 2: I want to, you know, because I want, like I said,

3122
02:50:27,200 --> 02:50:29,600
Speaker 2: I want to I want to see these young cats win.

3123
02:50:29,920 --> 02:50:32,280
Speaker 2: I want to see them succeed. I want to see

3124
02:50:32,320 --> 02:50:35,520
Speaker 2: them keep hip hop, you know going. You know, I'm

3125
02:50:35,600 --> 02:50:38,720
Speaker 2: I'm I'm fifty four years old, my dude. You know,

3126
02:50:39,959 --> 02:50:42,920
Speaker 2: I'm not gonna be here forever. You know. You know,

3127
02:50:43,160 --> 02:50:44,840
Speaker 2: Rock I'm not gonna be here forever. G rap not

3128
02:50:44,879 --> 02:50:49,320
Speaker 2: gonna be here forever. You know, Nas, you know, jay Z,

3129
02:50:49,440 --> 02:50:50,120
Speaker 2: They're not you know.

3130
02:50:50,640 --> 02:50:54,240
Speaker 5: Yeah, And what hip hop does best is reflect and

3131
02:50:54,320 --> 02:50:57,040
Speaker 5: report what's going on. And how can it do that

3132
02:50:57,080 --> 02:51:05,040
Speaker 5: if it has no lyrics? Right, if you can't articulate it. Yeah, yeah,

3133
02:51:05,120 --> 02:51:07,520
Speaker 5: you're right, you're right, you're right.

3134
02:51:09,720 --> 02:51:12,080
Speaker 2: You know. It's like, you know, there's so many dimensions

3135
02:51:12,080 --> 02:51:14,480
Speaker 2: of hip hop and there's so many different things, like

3136
02:51:14,520 --> 02:51:16,000
Speaker 2: some people just want to party.

3137
02:51:15,959 --> 02:51:19,120
Speaker 4: Right, right, which is a part of it. It's a balance. Yeah,

3138
02:51:19,720 --> 02:51:26,080
Speaker 4: But I mean, I just think that when you are lyrical,

3139
02:51:27,200 --> 02:51:31,640
Speaker 4: it can help with your longevity. I just believe that

3140
02:51:31,840 --> 02:51:35,920
Speaker 4: because there's so many artists that drop party songs and

3141
02:51:35,920 --> 02:51:39,400
Speaker 4: then a year, lady, they're forgotten because a new party

3142
02:51:39,440 --> 02:51:42,080
Speaker 4: song came out, because it's like all of that was

3143
02:51:42,120 --> 02:51:46,160
Speaker 4: just part of a trend. But there's lyricists that said

3144
02:51:46,240 --> 02:51:51,000
Speaker 4: something that's stuck to your soul, and these artists had

3145
02:51:51,040 --> 02:51:56,480
Speaker 4: longevity because it's something that you said that they probably

3146
02:51:56,560 --> 02:52:00,800
Speaker 4: repeat daily yearly, right.

3147
02:52:00,800 --> 02:52:04,039
Speaker 5: And and the idea of a lot of us learned

3148
02:52:04,120 --> 02:52:08,800
Speaker 5: vocabulary off of lyricists, off of MC's I was never

3149
02:52:08,840 --> 02:52:13,920
Speaker 5: good in book studying, but lyrical artists made me want

3150
02:52:13,959 --> 02:52:16,280
Speaker 5: to I don't know that word, what does that word mean?

3151
02:52:16,320 --> 02:52:17,480
Speaker 3: I want to understand this rhyme.

3152
02:52:17,600 --> 02:52:20,760
Speaker 2: That's how I graduated high school. We'll talk. That's how

3153
02:52:20,800 --> 02:52:27,200
Speaker 2: I graduated high school looking up no no no. I

3154
02:52:28,200 --> 02:52:34,320
Speaker 2: was failing in Social studies. And I was in great Math,

3155
02:52:34,400 --> 02:52:38,280
Speaker 2: great and science, great English, my guidance counselor. He was pointing,

3156
02:52:38,840 --> 02:52:41,120
Speaker 2: and I had and this is now, this is me,

3157
02:52:41,200 --> 02:52:45,800
Speaker 2: my guidance counselor. My mother. We're talking, and I said,

3158
02:52:45,800 --> 02:52:49,400
Speaker 2: why do we need eight credits in social studies? We

3159
02:52:49,440 --> 02:52:54,080
Speaker 2: need seven in English, foreign maths, foreign science, but we

3160
02:52:54,160 --> 02:52:58,920
Speaker 2: need eight and social studies why, I said, I'll tell

3161
02:52:58,920 --> 02:53:07,600
Speaker 2: you why. Because social studies is that part in school

3162
02:53:07,879 --> 02:53:12,720
Speaker 2: that teaches us all the great stuff that white people

3163
02:53:12,760 --> 02:53:18,480
Speaker 2: did for us. That's what you learn in American History,

3164
02:53:18,480 --> 02:53:21,360
Speaker 2: That's what you learn in Global studies. And that's why

3165
02:53:21,360 --> 02:53:25,680
Speaker 2: it's important for us to have all these courses. But

3166
02:53:25,800 --> 02:53:29,840
Speaker 2: after I've learned American history and global studies, how does

3167
02:53:29,840 --> 02:53:31,120
Speaker 2: that help me in the future?

3168
02:53:31,520 --> 02:53:33,480
Speaker 6: What job does that lay out for me?

3169
02:53:33,959 --> 02:53:35,920
Speaker 2: What I'm learning in math can lay out a job

3170
02:53:35,959 --> 02:53:38,120
Speaker 2: for me, What I'm learning in English can lay out

3171
02:53:38,120 --> 02:53:39,920
Speaker 2: a job for me. What I'm learning in science can

3172
02:53:39,959 --> 02:53:42,760
Speaker 2: lay out a job for me. What the hell am

3173
02:53:42,760 --> 02:53:45,000
Speaker 2: I learning in social studies? That's going to lay out

3174
02:53:45,000 --> 02:53:47,760
Speaker 2: a job for me? Not a goddamn thing unless I

3175
02:53:47,800 --> 02:53:52,480
Speaker 2: want to be a teacher. You know, my mother did

3176
02:53:52,520 --> 02:53:56,400
Speaker 2: this that was her, I want to slap the shit

3177
02:53:56,480 --> 02:54:00,000
Speaker 2: out you, but you know, we in front of people's

3178
02:54:00,000 --> 02:54:03,720
Speaker 2: so I'm not going to you know, And my guidance

3179
02:54:03,760 --> 02:54:10,920
Speaker 2: counselor he said, I understand. And he looked out for

3180
02:54:11,000 --> 02:54:14,240
Speaker 2: me because you know, I don't know. You know, back then,

3181
02:54:14,280 --> 02:54:17,240
Speaker 2: you know, you get a credit for government or law,

3182
02:54:17,800 --> 02:54:21,520
Speaker 2: not both. You had to cover credit for Black history

3183
02:54:21,840 --> 02:54:26,840
Speaker 2: or Puerto Rican studies, not both. I got credits for

3184
02:54:26,920 --> 02:54:29,879
Speaker 2: both because he was looking out for me, because he

3185
02:54:29,879 --> 02:54:31,440
Speaker 2: felt that I was a good student. Pusce I said, ry,

3186
02:54:31,480 --> 02:54:34,560
Speaker 2: I'm on the loud speaker in the morning, official period

3187
02:54:34,720 --> 02:54:36,200
Speaker 2: or shit like that, you know. So he was looking

3188
02:54:36,200 --> 02:54:40,120
Speaker 2: out for me, you know. But still I didn't have

3189
02:54:40,240 --> 02:54:43,120
Speaker 2: enough credits to make that eight. So yeah, I was

3190
02:54:43,200 --> 02:54:48,760
Speaker 2: close to failer. And then Mellie mel says on Beach

3191
02:54:48,800 --> 02:54:56,120
Speaker 2: Street Breakdown, deca outreach, Hiroshima, Vietnam, Lennogram Ewujima, now Korea,

3192
02:54:56,240 --> 02:55:00,080
Speaker 2: the Philippines, devastating depths by the killing machines. And I

3193
02:55:00,240 --> 02:55:02,520
Speaker 2: was like, I'd never be a dope m c if

3194
02:55:02,560 --> 02:55:04,240
Speaker 2: I don't know what the funk he talking about. And

3195
02:55:04,320 --> 02:55:06,680
Speaker 2: I damn sure don't know right now. And I went

3196
02:55:06,760 --> 02:55:11,240
Speaker 2: back to my guidance counsel. There I take American ship

3197
02:55:11,360 --> 02:55:14,680
Speaker 2: that I pose. I took it, not because I wanted

3198
02:55:14,760 --> 02:55:16,840
Speaker 2: to learn American history, not because I wanted to learn

3199
02:55:16,879 --> 02:55:19,440
Speaker 2: global studies. But I felt like if I learned this ship,

3200
02:55:19,440 --> 02:55:27,360
Speaker 2: I build a rhyme like Melloy mel Yeah, what's on?

3201
02:55:27,600 --> 02:55:27,880
Speaker 9: What's on?

3202
02:55:28,040 --> 02:55:30,760
Speaker 1: Daddy kinge Ryder? Like if for a promoter of books?

3203
02:55:30,760 --> 02:55:31,240
Speaker 2: You what? What?

3204
02:55:31,800 --> 02:55:32,600
Speaker 1: What is that?

3205
02:55:32,840 --> 02:55:32,880
Speaker 2: You?

3206
02:55:33,160 --> 02:55:36,240
Speaker 3: The essentials that that that that you need to do

3207
02:55:36,400 --> 02:55:36,959
Speaker 3: this show.

3208
02:55:38,120 --> 02:55:40,360
Speaker 2: Or the Judy Show, like the Rider. I didn't know

3209
02:55:40,480 --> 02:55:44,080
Speaker 2: the Judy Show. I need a microphone. But after the show, yeah,

3210
02:55:44,720 --> 02:55:47,520
Speaker 2: you know, you know, you know some sweet you know,

3211
02:55:47,600 --> 02:55:50,039
Speaker 2: some nice grapes, you know, and.

3212
02:55:51,640 --> 02:55:54,840
Speaker 3: Who do you prefer? Camus opus one?

3213
02:55:54,840 --> 02:55:55,600
Speaker 6: You're gonna do this again?

3214
02:55:56,080 --> 02:55:59,280
Speaker 2: Yeah? I like that we did this, you know, you

3215
02:55:59,400 --> 02:56:03,960
Speaker 2: know me and you nah. Well, I mean, like I

3216
02:56:04,280 --> 02:56:06,200
Speaker 2: explained to you before, I mean with Camus, you know,

3217
02:56:06,680 --> 02:56:08,520
Speaker 2: it's the Yeah, if you can still find a twenty

3218
02:56:08,640 --> 02:56:12,680
Speaker 2: nineteen Camus amazing, the twenty twenty, you know, but the

3219
02:56:12,760 --> 02:56:14,439
Speaker 2: twenty nineteen amazing.

3220
02:56:16,920 --> 02:56:21,200
Speaker 6: But right now I'm pretty much on CAD.

3221
02:56:21,560 --> 02:56:27,760
Speaker 2: That's all Howell Mountain, like c A d K. It's

3222
02:56:27,800 --> 02:56:32,080
Speaker 2: a Howell Mountain. It's like a younger version of plumb Jack.

3223
02:56:32,640 --> 02:56:33,000
Speaker 3: Okay.

3224
02:56:34,840 --> 02:56:36,240
Speaker 6: Yeah, so if you don't want to spend all.

3225
02:56:36,200 --> 02:56:38,120
Speaker 2: That money in a plumb jack, like yeah, the cad

3226
02:56:38,320 --> 02:56:42,400
Speaker 2: Cad I think it's like maybe like about about one

3227
02:56:42,440 --> 02:56:45,119
Speaker 2: hundred and twenty dollars a bottle by n But that's

3228
02:56:45,160 --> 02:56:48,160
Speaker 2: that's a that's a good cab, an amazing cab.

3229
02:56:49,760 --> 02:56:52,880
Speaker 6: Or like a nice barolo. What barolo?

3230
02:56:53,640 --> 02:56:57,760
Speaker 2: Italian? No Italian? No, no, no, we had one. Well

3231
02:56:57,959 --> 02:57:01,160
Speaker 2: he's at the joint, the last one. The next bottle whel.

3232
02:57:01,040 --> 02:57:03,160
Speaker 1: Okay, okay, okay, okay, because I got something that you

3233
02:57:03,280 --> 02:57:04,200
Speaker 1: put me on your ship?

3234
02:57:04,280 --> 02:57:06,600
Speaker 2: Yeah yeah, yeah you got Do you get the caymans on?

3235
02:57:06,680 --> 02:57:08,520
Speaker 3: I got the Cayman I believe at the bottom of

3236
02:57:08,640 --> 02:57:08,920
Speaker 3: that boy.

3237
02:57:09,520 --> 02:57:14,960
Speaker 2: That boy you bought everything but the bottle order. The

3238
02:57:15,000 --> 02:57:15,720
Speaker 2: bottle order.

3239
02:57:15,840 --> 02:57:17,880
Speaker 3: Yeah yeah, that was a barolo.

3240
02:57:18,080 --> 02:57:21,000
Speaker 6: Okay, yeah, but yeah, it's Italian grape.

3241
02:57:21,000 --> 02:57:25,000
Speaker 2: But it's it's a nice medium bodied okay, red, but

3242
02:57:25,160 --> 02:57:27,520
Speaker 2: I mean it's it's it's it's real smooth. Yeah.

3243
02:57:27,959 --> 02:57:30,920
Speaker 1: So so if promoters they got to book you, it's

3244
02:57:31,000 --> 02:57:32,440
Speaker 1: always it's always a red.

3245
02:57:32,480 --> 02:57:33,440
Speaker 3: What else is on your rider?

3246
02:57:33,600 --> 02:57:36,160
Speaker 2: That's like a little crazy, like no no, no, no,

3247
02:57:36,400 --> 02:57:37,880
Speaker 2: I I don't got no white m and ms and

3248
02:57:37,920 --> 02:57:38,720
Speaker 2: no crazy ship like.

3249
02:57:38,920 --> 02:57:41,520
Speaker 1: No green and m and ms. Okay, you got to

3250
02:57:41,520 --> 02:57:47,800
Speaker 1: stop that HNT.

3251
02:57:46,640 --> 02:57:50,160
Speaker 3: Listen and yellow and yellow skittles, So.

3252
02:57:50,160 --> 02:57:53,320
Speaker 1: You got you got nothing like uh like just just

3253
02:57:53,520 --> 02:57:55,920
Speaker 1: just just the red skin off the apple. You don't

3254
02:57:55,959 --> 02:57:56,560
Speaker 1: got nothing like that.

3255
02:57:57,040 --> 02:57:59,720
Speaker 2: No one ain't nothing crazy on the ride, right.

3256
02:58:00,800 --> 02:58:03,480
Speaker 7: Gone, body ain't got nothing to writer, He ain't got jolly.

3257
02:58:10,560 --> 02:58:12,199
Speaker 7: Has Kane ever had a stylist?

3258
02:58:13,360 --> 02:58:17,959
Speaker 2: Oh yeah, for a.

3259
02:58:20,080 --> 02:58:21,720
Speaker 6: Brief moment, a brief moment.

3260
02:58:21,879 --> 02:58:25,440
Speaker 2: It's like, you know, I'm wanting them dudes to like

3261
02:58:25,560 --> 02:58:29,400
Speaker 2: going out the box. And you know sometimes you know stylists,

3262
02:58:29,440 --> 02:58:32,560
Speaker 2: you know, they might want to tone you down. But

3263
02:58:32,680 --> 02:58:38,080
Speaker 2: it's like it's there's certain controversies I like, I enjoy.

3264
02:58:39,560 --> 02:58:42,720
Speaker 2: So it's like if I wear something that's a little

3265
02:58:42,840 --> 02:58:45,480
Speaker 2: over the edge, there's a reason. There's a method to

3266
02:58:45,520 --> 02:58:50,680
Speaker 2: my madness. It's like, I got this on. It looked

3267
02:58:50,720 --> 02:59:04,360
Speaker 2: a little crazy, but it's like, wash your mouth. It

3268
02:59:04,480 --> 02:59:07,720
Speaker 2: looks a little crazy. But the reason I'm wearing this

3269
02:59:08,640 --> 02:59:14,560
Speaker 2: is so that the guys will clown it and the

3270
02:59:14,720 --> 02:59:19,440
Speaker 2: women will me you get it.

3271
02:59:21,200 --> 02:59:23,120
Speaker 6: So it's a method to the madness, you know what

3272
02:59:23,160 --> 02:59:23,560
Speaker 6: I'm saying.

3273
02:59:23,920 --> 02:59:29,760
Speaker 2: And it's like the women defending me, they see it,

3274
02:59:31,320 --> 02:59:36,600
Speaker 2: they like hmm. But it's not until the guy clowns

3275
02:59:36,680 --> 02:59:40,320
Speaker 2: me that they go public. Oh no, you didn't. You

3276
02:59:40,400 --> 02:59:44,000
Speaker 2: ain't gonna look their goodness here, you don't know. See

3277
02:59:44,040 --> 02:59:46,320
Speaker 2: that's when that's when they go public and they go

3278
02:59:46,480 --> 02:59:48,880
Speaker 2: rentid you know what I'm saying, you know, like like

3279
02:59:49,000 --> 02:59:52,680
Speaker 2: like like Beyonce's beehive saying that type of thing. But

3280
02:59:53,000 --> 02:59:55,240
Speaker 2: it's like, you know, you got to get them there,

3281
02:59:55,400 --> 02:59:57,200
Speaker 2: you know what I'm saying. So it's stuff that I

3282
02:59:57,320 --> 02:59:59,039
Speaker 2: do on purpose, intentionally, you.

3283
02:59:59,120 --> 03:00:01,640
Speaker 1: Know him a Donna book? Was that a stylist who

3284
03:00:01,720 --> 03:00:02,480
Speaker 1: gave the speedos?

3285
03:00:04,879 --> 03:00:05,760
Speaker 6: I can't stand you.

3286
03:00:09,120 --> 03:00:09,760
Speaker 3: He wants.

3287
03:00:14,120 --> 03:00:18,240
Speaker 2: No. I've been sitting there patiently waiting for normal bullshit.

3288
03:00:18,760 --> 03:00:21,360
Speaker 6: I'm like, God, damn, we've been here for a long time.

3289
03:00:22,120 --> 03:00:27,400
Speaker 2: None of his bullshit, you know, I've been waiting.

3290
03:00:28,360 --> 03:00:33,199
Speaker 1: Oh my, I'm gonna be honest, man, i'ma be honest

3291
03:00:34,160 --> 03:00:36,920
Speaker 1: and let me let me say this for you know,

3292
03:00:37,280 --> 03:00:39,920
Speaker 1: all the young ins. And I know I've been fatiguing

3293
03:00:39,920 --> 03:00:42,000
Speaker 1: to young people, you know, all night, but I want

3294
03:00:42,040 --> 03:00:43,920
Speaker 1: to say something. You know, I'm honored to call you

3295
03:00:44,120 --> 03:00:47,119
Speaker 1: my o G. I'm honored to you know, following your footsteps.

3296
03:00:47,879 --> 03:00:50,880
Speaker 1: I'm honored to honor you. I'm honored to show you

3297
03:00:51,040 --> 03:00:52,880
Speaker 1: how much you mean to the rap game, Show you

3298
03:00:52,959 --> 03:00:54,720
Speaker 1: how much you mean to us, show you how much

3299
03:00:54,760 --> 03:00:57,920
Speaker 1: you mean to the culture. This is a blessing, man,

3300
03:00:58,000 --> 03:00:59,320
Speaker 1: to tell you to your face. You know what I'm

3301
03:00:59,360 --> 03:01:02,039
Speaker 1: saying to face man, the man out of eye? Man,

3302
03:01:02,440 --> 03:01:02,959
Speaker 1: what you mean?

3303
03:01:03,120 --> 03:01:03,640
Speaker 2: You know what I mean?

3304
03:01:03,760 --> 03:01:06,520
Speaker 1: And it means everything to us. Man, we all in

3305
03:01:06,600 --> 03:01:09,160
Speaker 1: the group chat. Everyone here, we're all and if you

3306
03:01:09,200 --> 03:01:11,440
Speaker 1: can see how we were all excited, like like we

3307
03:01:11,600 --> 03:01:13,240
Speaker 1: all were all in a group chat. I'm like, I'm

3308
03:01:13,320 --> 03:01:15,320
Speaker 1: seriously looking at my barber, like you think I can

3309
03:01:15,360 --> 03:01:16,960
Speaker 1: get away with it? Like you know what I'm saying,

3310
03:01:17,040 --> 03:01:18,640
Speaker 1: Like right now, you think I can get away with it,

3311
03:01:18,920 --> 03:01:21,440
Speaker 1: I said myself. But see I know myself. I gonna

3312
03:01:21,480 --> 03:01:23,880
Speaker 1: go back like that. I'm gonna have Cornell West on

3313
03:01:24,000 --> 03:01:24,400
Speaker 1: my ears.

3314
03:01:24,440 --> 03:01:24,960
Speaker 3: You know what I'm saying.

3315
03:01:26,000 --> 03:01:28,480
Speaker 1: I'm gonna have motherfucker buck Weed did all that on

3316
03:01:28,600 --> 03:01:31,320
Speaker 1: my joint, so already hurt my lesson. But I just

3317
03:01:31,400 --> 03:01:33,800
Speaker 1: want you to know, man, you are really an icon.

3318
03:01:33,879 --> 03:01:36,680
Speaker 1: You are really a legend. Something that Buster Rohm said,

3319
03:01:37,000 --> 03:01:39,440
Speaker 1: you know what I mean when he won his BET Awards.

3320
03:01:39,480 --> 03:01:41,920
Speaker 1: He said, our icons, our legends, gotta look the part.

3321
03:01:41,959 --> 03:01:44,199
Speaker 1: And let me just tell you something. You always looked apart.

3322
03:01:44,440 --> 03:01:47,080
Speaker 1: I've never seen you for I've always seen you smooth.

3323
03:01:47,120 --> 03:01:49,240
Speaker 1: I've never seen you hate on nobody. I never seen

3324
03:01:49,280 --> 03:01:51,360
Speaker 1: you talk bad about nobody. I always see you with

3325
03:01:51,440 --> 03:01:54,360
Speaker 1: the greatest, most phenomenal energy, and I just want to

3326
03:01:54,400 --> 03:01:55,000
Speaker 1: give it back to you.

3327
03:01:55,080 --> 03:01:59,680
Speaker 3: Always, just the case the case.

3328
03:01:59,760 --> 03:02:01,920
Speaker 1: If you don't know, I'll just sitting there follow you

3329
03:02:02,000 --> 03:02:04,200
Speaker 1: on Instagram. I'm like, yo, you know, the show has

3330
03:02:04,240 --> 03:02:05,880
Speaker 1: got bigger. And I said, man, I gotta get his

3331
03:02:05,959 --> 03:02:08,000
Speaker 1: brother his flowers the proper way, not to say, read

3332
03:02:08,000 --> 03:02:09,920
Speaker 1: and give you your flowers before the proper way. But

3333
03:02:10,000 --> 03:02:12,039
Speaker 1: the show has gotten grew so much bigger, so I read,

3334
03:02:12,120 --> 03:02:13,840
Speaker 1: We're gonna do it again. We're gonna do it again.

3335
03:02:13,879 --> 03:02:16,240
Speaker 1: This is your platform. If you want to promote pink

3336
03:02:16,320 --> 03:02:22,439
Speaker 1: toenails anytime. If you want to promote fucking coffee.

3337
03:02:22,120 --> 03:02:25,320
Speaker 3: Cups, what is this ship? What is this coasters? If

3338
03:02:25,320 --> 03:02:26,880
Speaker 3: you want to we don't give a fuck. This is

3339
03:02:26,959 --> 03:02:27,560
Speaker 3: your platform.

3340
03:02:27,640 --> 03:02:30,560
Speaker 1: You can come on here anytime you want motherfucker is everyone,

3341
03:02:30,760 --> 03:02:33,200
Speaker 1: put your hands together, stand up if you can't for

3342
03:02:33,360 --> 03:02:34,640
Speaker 1: motherfucker big day.

3343
03:02:39,879 --> 03:02:40,039
Speaker 2: Man.

3344
03:02:40,400 --> 03:02:41,720
Speaker 1: Thank you so much, my brother.

3345
03:02:42,360 --> 03:02:46,160
Speaker 5: Drink Champs is a drink Champs LLC production in association

3346
03:02:46,320 --> 03:02:50,680
Speaker 5: with Interval Presents. Hosts and executive producers n O r

3347
03:02:50,720 --> 03:02:55,160
Speaker 5: E and dj e f N from Interval Presents executive

3348
03:02:55,200 --> 03:02:59,440
Speaker 5: producers Alan Coy and Jake Kleinberg. Listen to Drink Champs

3349
03:02:59,480 --> 03:03:03,760
Speaker 5: on Apple Podcast, Amazon Music, Spotify, or wherever you get

3350
03:03:03,800 --> 03:03:07,440
Speaker 5: your podcasts. Thanks for joining us for another episode of

3351
03:03:07,520 --> 03:03:10,240
Speaker 5: drink Champs, hosted by Yours Truly, dj e f N

3352
03:03:10,480 --> 03:03:12,600
Speaker 5: and n O r E. Please make sure to follow

3353
03:03:12,720 --> 03:03:15,240
Speaker 5: us on all our socials That's at drink Champs across

3354
03:03:15,280 --> 03:03:20,080
Speaker 5: all platforms, at the Real noriagon ig at Noriega on Twitter,

3355
03:03:20,520 --> 03:03:23,880
Speaker 5: mine is at Who's Crazy on ig at dj e

3356
03:03:24,080 --> 03:03:26,440
Speaker 5: f N on Twitter, and most importantly, stay up to

3357
03:03:26,520 --> 03:03:29,800
Speaker 5: date with the latest releases, news and merch by going

3358
03:03:29,840 --> 03:03:31,320
Speaker 5: to drink Champs dot com