WEBVTT - Episode 379 w/ Big Daddy Kane

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<v Speaker 1>And this is Drinks Chants, motherfucking podcast.

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<v Speaker 2>Man, he's a legends every queens rapper.

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<v Speaker 1>He ain't agreed as your boy in.

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<v Speaker 2>O R E.

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<v Speaker 3>He's a Miami hip hop pioneer.

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<v Speaker 2>What up?

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<v Speaker 3>It's d J E f N.

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<v Speaker 4>Together they drink it up with some of the biggest players,

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<v Speaker 4>you know what I mean.

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<v Speaker 2>And the most professional, unprofessional podcast and your number one

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<v Speaker 2>source for drunks.

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

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

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<v Speaker 1>Would it good? Be? Its your boy in O R E?

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<v Speaker 2>What up?

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<v Speaker 1>His DJ E f N and this drink Champs. When

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<v Speaker 1>me and e f N started this show, we said

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<v Speaker 1>we want to always give this platform to icons, and

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<v Speaker 1>we talk about to legends and were talking about right

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<v Speaker 1>now we have an icon in the building. This man.

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<v Speaker 1>I just heard mister Lee say, you know he had

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<v Speaker 1>a flat top. Not only I had a flat top

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<v Speaker 1>because of this man. My eyes is bushy to this

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<v Speaker 1>day because of this man. I cat scratches. They was

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<v Speaker 1>calling it, and they was like, it's can scratches, motherfuckers.

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

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<v Speaker 1>and I can smell the jellous driving by my hood.

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<v Speaker 1>You know what I mean.

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<v Speaker 3>The Volk wagons.

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<v Speaker 1>The Volk wagons was be big back then, with the

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<v Speaker 1>with the vanilla. You know, the trees, the trees sense

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<v Speaker 1>you know what I'm talking about in the car, Like,

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<v Speaker 1>oh my god, this man is so influential. He got

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<v Speaker 1>a documentary. Everyone is participating in the documentary. Everyone is

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<v Speaker 1>there giving him his flowers. And we had him on before,

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<v Speaker 1>but we are giving him We got our ship together,

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<v Speaker 1>so we are giving him the real flowers and we're

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<v Speaker 1>going talk about him. Pop fifty. We go about everything.

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<v Speaker 1>In case you don't know what we told about. We

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<v Speaker 1>told about the one that owner I called it impeccable, motherfucker.

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<v Speaker 1>So kay yo, let's let's start it with the hip

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<v Speaker 1>hop fifty. Yeah, some people are so happy about the

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<v Speaker 1>Hip Hop fifty. Some people are bitter, some.

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<v Speaker 3>People are amongst the community.

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<v Speaker 1>What do you think discrepancies came from, in particular the

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<v Speaker 1>Yankee Stadium.

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<v Speaker 3>Nah, we've been hearing different. Well, there's there's.

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

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<v Speaker 5>that that could be disputed. And then there's people saying

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<v Speaker 5>that they feel the hip hop fifty is being like

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<v Speaker 5>a corporate takeover, where it's being over monetized and appropriated

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<v Speaker 5>is the word that was used with specialized specific people

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<v Speaker 5>saying that.

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<v Speaker 2>I mean, you know, if it's giving flowers and paying

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<v Speaker 2>homage and putting money into artists pockets, right, I don't

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<v Speaker 2>see that.

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<v Speaker 6>Being a major problem, absolutely, you know.

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<v Speaker 2>But as far as the timeline thing, I think that

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<v Speaker 2>the issue comes from other people that.

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<v Speaker 6>Like basically did something for hip hop.

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<v Speaker 2>You know, there there are other people that did things

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<v Speaker 2>in hip hop before, say what Hollywood. They are the

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<v Speaker 2>people that you know, did things before HERK, like you know,

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<v Speaker 2>DJ Hollywood, Eddie Cheaber. You know, these guys was rapping

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

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<v Speaker 2>Master Flowers, Pete, DJ Jones, DJ Plumber, Disco King Mario

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<v Speaker 2>that was djaying before Cool HERK.

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<v Speaker 6>You know what I'm saying.

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<v Speaker 2>But in nineteen seventy three.

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<v Speaker 6>HERK took all these elements.

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<v Speaker 2>MCing is only one element, DJing is only one elementineteen

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<v Speaker 2>seventy three, Kirk took all these elements am seeing DJ

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<v Speaker 2>and be boys because he had the Nigga Twins dancing

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<v Speaker 2>Doug in them.

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

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<v Speaker 1>I was trying to Peter Rosberg. Can you pronounce their name?

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<v Speaker 1>Peter Boseburg?

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<v Speaker 2>He's like no, well, but yeah, you know, HERK took

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<v Speaker 2>all of these elements and combined them into one. And

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<v Speaker 2>that's what hip hop is. Hip Hop is not just

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<v Speaker 2>him seeing. Hip hop is not just DJing. Hip Hop

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<v Speaker 2>is all these elements. And Herk is the one that combined.

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<v Speaker 2>He is the one. He's Thanos. He got all the

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<v Speaker 2>infinity stones, you understand me. So yeah, I give her

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<v Speaker 2>credit for inventing hip hop in nineteen seventy three.

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<v Speaker 3>And that's it. Cedric huh what is it? Yeah? And

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<v Speaker 3>his sister has something to do with it too, right.

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<v Speaker 6>I believe she's the one to throw the party.

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<v Speaker 2>Yeah right. But I mean as far as combining the elements,

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<v Speaker 2>you know, to create what we call hip hop, I

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<v Speaker 2>credit her for that.

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<v Speaker 3>You know, that was the culmination of it, and that

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<v Speaker 3>sparks from there.

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<v Speaker 2>Yeah. I mean, you know, these people that can debate me,

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<v Speaker 2>and I can respect that because I was only five

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<v Speaker 2>years old and set, you know, But I mean basing

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<v Speaker 2>it on what was done because you know, like Hollywood

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

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<v Speaker 2>break dance in their parties and they couldn't pass the

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<v Speaker 2>mic because they're paid DJs.

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<v Speaker 6>It's not their party.

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<v Speaker 2>They're getting paid like fifteen hundred two stacks to dj,

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<v Speaker 2>So that's what.

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

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<v Speaker 2>Her created an atmosphere what other MC's can get on

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<v Speaker 2>the mic.

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<v Speaker 6>B boys could break dance.

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<v Speaker 2>Without getting kicked out the club for kicking people.

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<v Speaker 6>In their sin and shit like that. You know what

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<v Speaker 6>I'm saying.

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<v Speaker 1>To be sorry, I cut you a but I was

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<v Speaker 1>having a conversation and certain people were saying that DJ

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<v Speaker 1>Hollywood wasn't considered hip hop. I don't understand that. What

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<v Speaker 1>do they mean because he was considered a disco DJ.

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<v Speaker 6>Yeah, they were saying that.

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<v Speaker 2>But I mean, at the same time, you got to

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<v Speaker 2>understand the word hip hop was invented like when like

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

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<v Speaker 2>even called hip hop in seventy three. I mean, you know,

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<v Speaker 2>I mean, I think that's just a way to just

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<v Speaker 2>you know, really hate on Wood, to hate on Hollywood,

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<v Speaker 2>you know, but I mean still in all though, it's

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<v Speaker 2>like he was the first MC, FIRSTC. So I mean

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<v Speaker 2>when I say MC, I'm not talking about you know

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<v Speaker 2>what last Poets, Gil Scott Heron did that. I call

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<v Speaker 2>that spoken word. Okay, do you agree with me?

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<v Speaker 6>Do you agreement?

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<v Speaker 2>Agreement? When I say Gil Scott Hearing, last poets, Well,

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<v Speaker 2>they did the spoken words.

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

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<v Speaker 2>Good workman on a second, pick me Martham did here

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<v Speaker 2>comes the judge. Now that would that's what I would

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

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<v Speaker 2>You see what I'm saying. What Hollywood was doing was

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<v Speaker 2>rhyming over a breakbeat, you know what I'm saying.

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<v Speaker 6>And that's what we do in hip hop.

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<v Speaker 3>Right, and that's considered MC.

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<v Speaker 2>Yeah okay, well, I mean you know, but also like

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<v Speaker 2>what what cochlar Rock was doing, like you know that

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<v Speaker 2>that's just doing the announcing stuff, you know, such.

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<v Speaker 3>Such and such building Yeah yeah, okay, okay, that's.

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

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<v Speaker 2>I'm talking about right now with Hollywood.

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

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<v Speaker 2>Bun when merse around was actually a rhyme that that

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<v Speaker 2>he bit from Isaac Hayes song good Love, Oh Yeah,

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<v Speaker 2>and from the Black Moses album in nineteen seventy one.

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

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<v Speaker 2>know that the punchline was on Its not how good

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<v Speaker 2>I do it baby? Is how I do it good? Yeah,

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<v Speaker 2>bona Fide qualified knock on wood, it's not how good

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<v Speaker 2>I do with baby? Gus that why do with good? Yeah?

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<v Speaker 6>That's from Isaac Hayes song.

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<v Speaker 2>That's the first thing that he said over the mic

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<v Speaker 2>in nineteen seventy one.

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<v Speaker 1>Was that really one of your highlights of seeing Snoop

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<v Speaker 1>bring out Hollywood?

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<v Speaker 2>Yeah? Okay, I was, honestly because it's like, I feel

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<v Speaker 2>like Hollywood never gets the credit that he deserves. You know.

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<v Speaker 2>And as we celebrate fifty years of hip hop, we

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<v Speaker 2>got to acknowledge Cool Herk, we got to acknowledge Cokele Rock,

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<v Speaker 2>We got to acknowledge DJ Hollywood, Eddie Sheeba, we got

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<v Speaker 2>to acknowledge the disco twins from Queens. You know, we

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<v Speaker 2>really need to. We got to acknowledge, Shah Rock, Funky Four,

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<v Speaker 2>the Cold Crush Brothers, and most definitely Melly Mel, grand

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<v Speaker 2>Master Flash in the Furious five. I think Melli Yeah,

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<v Speaker 2>I think.

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<v Speaker 5>We all have to understand that there's probably a lot

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<v Speaker 5>of people that we don't even know about him that

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<v Speaker 5>were a big part of the creation of hip hop.

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<v Speaker 2>Well, it's like I always refer to when I talk

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<v Speaker 2>about Hollywood and Melly Mel. I call Hollywood Ray Charles,

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<v Speaker 2>and I called Melle Mel Sam Cook, you know, because

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<v Speaker 2>I think that what Hollywood created.

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<v Speaker 6>Mel perfected Wow.

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<v Speaker 2>From nineteen seventy seven all the way up till around

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<v Speaker 2>like twenty thirteen when the drill music and stuff to

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<v Speaker 2>come in. I think anybody that MC was following Mellie

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

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<v Speaker 2>the one responsible for making the MC important.

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<v Speaker 6>Thank you, because.

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<v Speaker 2>You know, when when when hip hop began with hert

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<v Speaker 2>it was about the DJ. You know, it was about her,

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<v Speaker 2>not the Herculeoids. It was about Flash, not the three

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

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<v Speaker 2>that was the most important person. Until Melly Mel started

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<v Speaker 2>spitting real lyrics and made people say, YEA, what the

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<v Speaker 2>hell did he just say hold on, yo?

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<v Speaker 6>He just And that's when the MC became important.

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<v Speaker 2>He's the one that built the platform that's created for

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<v Speaker 2>us because.

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<v Speaker 1>If you look at Eric, Eric b name comes first.

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<v Speaker 2>Yes, that was the thing, like that DJ Jasey, Jeffery

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<v Speaker 2>Fresh Prince.

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<v Speaker 3>Let's make some noise for that.

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<v Speaker 1>So the verses, how did you like doing the verses

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

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<v Speaker 6>I love doing it? Like that was my dream come true?

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<v Speaker 1>Really?

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<v Speaker 6>Yeah, man, I mean you know, like back when.

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<v Speaker 2>Uh, when KRS came out with the bridges over, Yeah,

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<v Speaker 2>the way he timed it, the way he timed it

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

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<v Speaker 2>of limc. He's a battle of lim ce that that

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<v Speaker 2>knows the art of combat. I would love to go

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<v Speaker 2>up against him. But that was my dude though, you

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

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<v Speaker 2>that's him. Him and Miss Melody helped me move out

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<v Speaker 2>of my parents' crip, you know, like Chris is Chris.

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<v Speaker 2>Chris was my dude always, you know, yeah, but.

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<v Speaker 1>I always would think I always immediately when I heard

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<v Speaker 1>that you were battling Chris. I immediately thought, what happened

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<v Speaker 1>with Kine and rock Him? I mean, obviously you and

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<v Speaker 1>Chris lived up to expectations, did everything, but everyone was

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<v Speaker 1>kind of leaning towards the Kine and rock Him. Has

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<v Speaker 1>that beening you like? Your whole like legacy, your whole

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<v Speaker 1>career is.

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<v Speaker 2>Like I mean, people always wanted us to batter right

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<v Speaker 2>about it. I mean that's how this whole thing came

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<v Speaker 2>information Swiss called and said I need you and write

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<v Speaker 2>it to a versus Wow. And I said, well, look,

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<v Speaker 2>talk to the other guy if you can make it happen.

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<v Speaker 2>I'm in called him the other guy if you know,

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<v Speaker 2>I don't I don't mean that disrespectful way. I don't

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<v Speaker 2>mean any disrespectful way. Just like I said, talk to

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<v Speaker 2>the other guy and see if you can make it happen.

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<v Speaker 2>But if you can't, you want, Chris, would you entertain

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<v Speaker 2>me and KRS?

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<v Speaker 3>So this was your idea?

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<v Speaker 6>And he said, yeah, WHOA.

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<v Speaker 2>So he went through it and tried to make it

0:12:03.040 --> 0:12:05.240
<v Speaker 2>happen and you know, couldn't.

0:12:04.880 --> 0:12:05.520
<v Speaker 6>Lock it down.

0:12:06.480 --> 0:12:10.000
<v Speaker 2>And then he, you know, he was like, yeah, I

0:12:10.000 --> 0:12:11.040
<v Speaker 2>don't think I'm okay.

0:12:11.080 --> 0:12:12.640
<v Speaker 6>So then what about me and KRS?

0:12:12.720 --> 0:12:12.920
<v Speaker 1>Wow?

0:12:13.160 --> 0:12:18.679
<v Speaker 2>And then Swiss says, what about you in LL And

0:12:18.760 --> 0:12:22.800
<v Speaker 2>I said, you know, versus is really song for song,

0:12:22.960 --> 0:12:25.240
<v Speaker 2>not you know, battling rhymes.

0:12:25.280 --> 0:12:28.160
<v Speaker 6>This song for songs. So Ela mop the goddamn floor

0:12:28.200 --> 0:12:28.440
<v Speaker 6>with me.

0:12:28.600 --> 0:12:31.280
<v Speaker 2>Like his catalog is too big, you know, but for

0:12:31.320 --> 0:12:33.880
<v Speaker 2>the sake of hip hop crazy? Yeah, I was like, well,

0:12:33.960 --> 0:12:34.800
<v Speaker 2>for the sake of hip hop?

0:12:34.840 --> 0:12:36.320
<v Speaker 6>Fuck? Did I do it? But I mean he's gonna

0:12:36.360 --> 0:12:37.080
<v Speaker 6>mop the floor with me?

0:12:37.120 --> 0:12:40.680
<v Speaker 2>This dude. You know, his longevity is crazy. You know

0:12:40.800 --> 0:12:41.640
<v Speaker 2>his his albums.

0:12:41.679 --> 0:12:43.360
<v Speaker 6>You know. I'm like, but I do it.

0:12:43.840 --> 0:12:46.840
<v Speaker 2>And Swiss says, okay, but do you think the people

0:12:46.880 --> 0:12:49.320
<v Speaker 2>want to see you in l or you and rock Kim?

0:12:49.640 --> 0:12:51.760
<v Speaker 2>I said, me and rock Kim without a doubt. He's like,

0:12:51.800 --> 0:12:55.000
<v Speaker 2>and That's what I'm talking about, Kane. So I'm like,

0:12:55.040 --> 0:12:57.520
<v Speaker 2>all right. So we left it alone and then we

0:12:57.640 --> 0:13:02.240
<v Speaker 2>entertained it with Trella because this was before they emerged. Yes, right,

0:13:02.559 --> 0:13:05.240
<v Speaker 2>and Charlie Mack was trying to put that together and

0:13:05.640 --> 0:13:07.439
<v Speaker 2>Charlie Yeah, shout out to Matt.

0:13:08.160 --> 0:13:09.320
<v Speaker 6>He couldn't make it happen.

0:13:10.480 --> 0:13:11.160
<v Speaker 3>Well you and Rob?

0:13:11.400 --> 0:13:13.760
<v Speaker 2>Yeah, with me and Rob, he tried to make it happen.

0:13:13.760 --> 0:13:16.680
<v Speaker 2>He couldn't make it happen either. And then here's the

0:13:16.720 --> 0:13:19.720
<v Speaker 2>funniest thing. They called me and said that this lockdown,

0:13:21.480 --> 0:13:24.880
<v Speaker 2>me and Rob gonna do it. It was supposed to

0:13:24.880 --> 0:13:28.520
<v Speaker 2>have been the night that Barrington Levy and super Cat

0:13:28.559 --> 0:13:28.800
<v Speaker 2>did it.

0:13:28.880 --> 0:13:30.600
<v Speaker 6>Okay, that's in that we were supposed to do it.

0:13:30.880 --> 0:13:34.920
<v Speaker 2>They called me and said it's lockdown, right, and I

0:13:34.960 --> 0:13:39.559
<v Speaker 2>said okay. They said, but Roz using Jesse Jeff, so

0:13:39.600 --> 0:13:44.000
<v Speaker 2>we want you to use Kick Capri. Okay, So I

0:13:44.040 --> 0:13:45.880
<v Speaker 2>called Kick Capri and said, yo, they want you to

0:13:45.880 --> 0:13:49.640
<v Speaker 2>do this versus thing. Caprice said, I don't want to,

0:13:49.679 --> 0:13:51.680
<v Speaker 2>you know you my man, Rob, my man. I'd rather

0:13:51.760 --> 0:13:54.400
<v Speaker 2>stay neutral. So I was like, I can respect that.

0:13:54.679 --> 0:13:56.640
<v Speaker 2>I called Charlie mac Back. I was like, yeah, Kick

0:13:56.679 --> 0:14:01.839
<v Speaker 2>Caprice said he'll do it. He's in. I mean, I

0:14:01.920 --> 0:14:04.440
<v Speaker 2>knew this ship wasn't gonna happen. You know what happened.

0:14:05.760 --> 0:14:09.679
<v Speaker 2>So I'm like, yeah, yeah, he's in. And then they

0:14:09.679 --> 0:14:13.840
<v Speaker 2>caught me the next day and said, year, now we

0:14:13.880 --> 0:14:16.920
<v Speaker 2>can't make the thing with him happened. You're still down

0:14:16.960 --> 0:14:20.320
<v Speaker 2>to do it with KRS. I was like yeah, yeah, absolutely.

0:14:20.640 --> 0:14:21.800
<v Speaker 2>It was like okay, then need to be you and

0:14:21.840 --> 0:14:24.000
<v Speaker 2>krest on that day and I was like, well, I

0:14:24.040 --> 0:14:27.040
<v Speaker 2>can't do it, you know, this weekend coming up, because

0:14:27.040 --> 0:14:27.480
<v Speaker 2>I'm laying in.

0:14:27.480 --> 0:14:30.240
<v Speaker 6>Bed with COVID right now. Wow yeah, I'm like.

0:14:30.360 --> 0:14:32.280
<v Speaker 2>So they switched it to the following weekend and they

0:14:32.320 --> 0:14:33.920
<v Speaker 2>got Baron to Levy to do it that week because

0:14:33.920 --> 0:14:36.080
<v Speaker 2>I was I was, I was sick. Wow. Yeah.

0:14:36.320 --> 0:14:39.960
<v Speaker 1>If Biz would have been alive for that versus which song,

0:14:40.000 --> 0:14:41.960
<v Speaker 1>you would have broke him out as a surprise.

0:14:41.640 --> 0:14:44.200
<v Speaker 6>Guest, Oh, just run with Biz, Just run with Biz?

0:14:44.240 --> 0:14:46.000
<v Speaker 2>Okay, yeah, but I mean I would I know that

0:14:46.120 --> 0:14:48.160
<v Speaker 2>he would have wanted to at least do the hook

0:14:48.200 --> 0:14:49.760
<v Speaker 2>or just a friend, you know.

0:14:50.320 --> 0:14:56.080
<v Speaker 6>But I was taking no crowd singer.

0:14:56.960 --> 0:14:57.840
<v Speaker 1>You wrote justin friends?

0:14:58.080 --> 0:14:59.240
<v Speaker 6>No no, no, no, no no no.

0:15:00.880 --> 0:15:02.880
<v Speaker 3>Did you get to watch the dog? I did not

0:15:03.000 --> 0:15:08.160
<v Speaker 3>get He's in a right did you? Did you see, because.

0:15:10.520 --> 0:15:13.480
<v Speaker 1>Like business, Mark was one of these people that I

0:15:13.640 --> 0:15:16.520
<v Speaker 1>all the think would be around hip hop forever. Did

0:15:16.520 --> 0:15:20.480
<v Speaker 1>you see like the demise of the breakdown of Biz

0:15:20.640 --> 0:15:21.479
<v Speaker 1>or no?

0:15:21.480 --> 0:15:24.240
<v Speaker 6>No, yeah, I didn't see what point. It's like.

0:15:25.720 --> 0:15:30.400
<v Speaker 2>Biz had lost a lot of weight from a diet

0:15:30.920 --> 0:15:33.960
<v Speaker 2>and he was looking good, right, feeling good, looking, energetic,

0:15:34.200 --> 0:15:40.360
<v Speaker 2>you know. But but from my understanding, because of him

0:15:40.400 --> 0:15:44.120
<v Speaker 2>being so in shape he wasn't taking his diabetes medicine,

0:15:44.720 --> 0:15:45.080
<v Speaker 2>you know.

0:15:45.520 --> 0:15:48.400
<v Speaker 1>Yeah, yeah, man, God bless man, this diabetes thing is

0:15:48.720 --> 0:15:50.200
<v Speaker 1>running rapping in our neighborhood.

0:15:50.240 --> 0:15:51.760
<v Speaker 2>Man. Yeah, man, I'm.

0:15:51.720 --> 0:15:54.560
<v Speaker 1>Drinking motherfucker ghost race. Kill a coffee? What is this called?

0:15:54.960 --> 0:15:55.520
<v Speaker 6>Kill coffee?

0:15:55.560 --> 0:15:58.560
<v Speaker 1>Killer coffie? Was drinking coast face? Is it a starbus? Couples?

0:15:58.840 --> 0:16:01.040
<v Speaker 1>Had no cups in my grip? So I just did that, you.

0:16:01.000 --> 0:16:01.360
<v Speaker 2>Know what I mean?

0:16:01.440 --> 0:16:02.720
<v Speaker 3>Kill a gup goddamn coffee?

0:16:03.440 --> 0:16:05.440
<v Speaker 5>What was the track? I watched the document of the

0:16:05.480 --> 0:16:07.160
<v Speaker 5>BIZ one? What was the track that he asked you

0:16:07.200 --> 0:16:08.880
<v Speaker 5>to write and you said no f first and then

0:16:08.920 --> 0:16:10.120
<v Speaker 5>after that you learned your lesson?

0:16:10.960 --> 0:16:12.880
<v Speaker 6>Just a frind It was just a friend, Yeah yeah,

0:16:12.920 --> 0:16:13.600
<v Speaker 6>just a wrint.

0:16:15.280 --> 0:16:16.600
<v Speaker 2>I tell you one.

0:16:16.680 --> 0:16:20.200
<v Speaker 1>Okay, okay, So how does this happen this this session?

0:16:22.120 --> 0:16:25.160
<v Speaker 6>No, Marty Moore on dis session had nothing to do.

0:16:25.400 --> 0:16:26.000
<v Speaker 3>He just asked him.

0:16:26.040 --> 0:16:30.000
<v Speaker 6>He just went, well, it wasn't Bizz that asked me.

0:16:30.160 --> 0:16:33.280
<v Speaker 2>It was it was actually cool v okay that asked me,

0:16:34.040 --> 0:16:37.040
<v Speaker 2>and me and Biz was was beefing with each other

0:16:37.040 --> 0:16:38.200
<v Speaker 2>at the time. Wow.

0:16:38.560 --> 0:16:40.360
<v Speaker 3>It doesn't say that in the documentary though.

0:16:40.240 --> 0:16:41.880
<v Speaker 6>Ye yeah, yeah, yeah, yeah.

0:16:41.920 --> 0:16:42.080
<v Speaker 2>Yeah.

0:16:42.120 --> 0:16:43.800
<v Speaker 6>We were like, well I was mad at him.

0:16:43.920 --> 0:16:45.520
<v Speaker 3>See what you got mad that you didn't do it?

0:16:45.640 --> 0:16:48.840
<v Speaker 2>That's oh yeah, yeah, absolutely, Doc, absolutely, but I mean

0:16:48.840 --> 0:16:51.200
<v Speaker 2>but now, I honestly it was for me being mad

0:16:51.320 --> 0:16:54.400
<v Speaker 2>upset with him because we had like there was a

0:16:54.480 --> 0:16:58.040
<v Speaker 2>lawsuit going on and Biz dropped out of it, and

0:16:58.040 --> 0:17:01.160
<v Speaker 2>I was upset about that. When V asked me to

0:17:01.160 --> 0:17:04.000
<v Speaker 2>write it, I was like, nah, but damn, I wish

0:17:04.040 --> 0:17:04.760
<v Speaker 2>I would have though.

0:17:06.119 --> 0:17:07.240
<v Speaker 3>That was big record.

0:17:07.640 --> 0:17:10.439
<v Speaker 5>Yeah, oh yeahh and nobody believed at first when he

0:17:10.520 --> 0:17:12.520
<v Speaker 5>was talking about the record, how it was going to be,

0:17:12.600 --> 0:17:13.480
<v Speaker 5>he was going to sing on.

0:17:13.480 --> 0:17:16.280
<v Speaker 2>It, You're The craziest thing is like the day that

0:17:16.760 --> 0:17:19.359
<v Speaker 2>Biz found the beat, it's the same day that he

0:17:19.400 --> 0:17:22.119
<v Speaker 2>gave me the beat for at No. Half Stepping. I

0:17:22.160 --> 0:17:27.960
<v Speaker 2>went to Cool V Crib and half Step yeah set

0:17:28.000 --> 0:17:30.480
<v Speaker 2>up absolute to Cool V. Yeah. I went to COOLV

0:17:30.600 --> 0:17:33.440
<v Speaker 2>Crib and Bizz had a bag of records still, so

0:17:33.440 --> 0:17:35.720
<v Speaker 2>I'm going. I'm like, he's like some records Biz board,

0:17:35.720 --> 0:17:37.840
<v Speaker 2>I'm going through them playing, I'm playing. Then I heard

0:17:37.840 --> 0:17:40.320
<v Speaker 2>the emotions blind owy. I'm like, oh, this is sick.

0:17:40.560 --> 0:17:42.840
<v Speaker 2>So V looped it up in the mixer, you know,

0:17:42.880 --> 0:17:45.000
<v Speaker 2>sample in the mixer. He looped up there and I

0:17:45.040 --> 0:17:48.359
<v Speaker 2>started writing to it. But it's Biz. Next thing, you know,

0:17:48.560 --> 0:17:49.600
<v Speaker 2>Biz calls the crib.

0:17:50.119 --> 0:17:52.399
<v Speaker 3>Ain't no half stepping.

0:17:51.840 --> 0:17:52.840
<v Speaker 2>I'm I'm writing.

0:17:53.560 --> 0:17:54.760
<v Speaker 6>Yeah, I'm not.

0:17:55.280 --> 0:17:57.040
<v Speaker 2>I guess I was writing the rhymes I can't remember,

0:17:57.119 --> 0:17:59.800
<v Speaker 2>but I'm writing to it. Then BIZ called a crib.

0:18:00.040 --> 0:18:03.680
<v Speaker 2>I founded. I found it. I finally found it you

0:18:03.760 --> 0:18:07.119
<v Speaker 2>talking about. He was like, the big I got it.

0:18:07.640 --> 0:18:12.560
<v Speaker 2>You know, you got what I need, Like he found

0:18:13.640 --> 0:18:19.159
<v Speaker 2>Freddy Scott, you got what I need. And he was like,

0:18:19.200 --> 0:18:21.359
<v Speaker 2>you know, like, yeah, I'm telling you this ship gonna

0:18:21.359 --> 0:18:21.920
<v Speaker 2>go platinum.

0:18:22.000 --> 0:18:23.640
<v Speaker 6>I guarantee you, right.

0:18:23.840 --> 0:18:27.080
<v Speaker 2>And I'm like, so, well, since you're so happy about that,

0:18:27.160 --> 0:18:29.320
<v Speaker 2>you probably don't really care about this Blind Alley record,

0:18:29.359 --> 0:18:31.879
<v Speaker 2>right because that was his record, his record. Yeah, you

0:18:31.880 --> 0:18:33.639
<v Speaker 2>probably don't care about this blind either. You can have

0:18:33.720 --> 0:18:38.080
<v Speaker 2>that ship, my man. Yeah that.

0:18:48.240 --> 0:18:51.560
<v Speaker 1>Oh my god, my god, oh my god, holy moly,

0:18:51.600 --> 0:18:54.920
<v Speaker 1>walcome moly, man, you a motherfucker legend. Oh my brother.

0:18:56.800 --> 0:18:59.399
<v Speaker 1>I had so much fun going through your de soccra

0:18:59.440 --> 0:19:02.800
<v Speaker 1>fhe man. Go, but let's talk about the documentary, man,

0:19:03.280 --> 0:19:04.160
<v Speaker 1>this documentary.

0:19:06.160 --> 0:19:07.160
<v Speaker 3>I love you getting your.

0:19:07.040 --> 0:19:09.240
<v Speaker 1>Flowers, man, I love something.

0:19:09.440 --> 0:19:10.160
<v Speaker 3>He shared the clip.

0:19:10.359 --> 0:19:13.760
<v Speaker 1>Yes, I love you giving your flowers man, because you

0:19:13.840 --> 0:19:15.639
<v Speaker 1>want of the smoothest people on earth. Let's make some

0:19:15.680 --> 0:19:23.000
<v Speaker 1>noise and you always cool, calm and collective. But you

0:19:23.040 --> 0:19:27.160
<v Speaker 1>know hip hop owes you you know what I mean? Uh?

0:19:27.680 --> 0:19:29.359
<v Speaker 1>We all o you you know what I'm saying, Like

0:19:30.160 --> 0:19:32.359
<v Speaker 1>what you have brung to the game, Like I said,

0:19:32.440 --> 0:19:34.959
<v Speaker 1>even down from the flattops to the to the to

0:19:35.000 --> 0:19:37.080
<v Speaker 1>the the three because my eyebrows.

0:19:36.680 --> 0:19:37.720
<v Speaker 3>Are sucked up right now.

0:19:37.880 --> 0:19:38.120
<v Speaker 2>Game.

0:19:38.480 --> 0:19:40.560
<v Speaker 1>You know what I'm saying. Because I was like this,

0:19:40.720 --> 0:19:42.600
<v Speaker 1>You know what I'm saying. Did you know how influential

0:19:42.720 --> 0:19:45.199
<v Speaker 1>you was? Was this something that you thought out or

0:19:45.240 --> 0:19:47.720
<v Speaker 1>this was just you was being who exactly who you are.

0:19:47.920 --> 0:19:49.840
<v Speaker 2>I was just being me, but I mean, you know,

0:19:49.920 --> 0:19:52.719
<v Speaker 2>like uh just looking around seeing what was going on.

0:19:52.960 --> 0:19:56.080
<v Speaker 2>I was like wow, you know okay, but I mean

0:19:56.119 --> 0:19:58.400
<v Speaker 2>I felt like it was a beautiful thing because it's

0:19:58.520 --> 0:20:02.479
<v Speaker 2>like I wasn't influencing anybody, do nothing negative? Right, you know?

0:20:02.560 --> 0:20:03.680
<v Speaker 2>So right?

0:20:03.880 --> 0:20:06.840
<v Speaker 3>And it was scoop really a barbera yeah?

0:20:07.160 --> 0:20:08.120
<v Speaker 2>Really? Yeah?

0:20:08.359 --> 0:20:09.560
<v Speaker 3>How does how does this work?

0:20:09.600 --> 0:20:09.639
<v Speaker 2>You?

0:20:09.800 --> 0:20:11.800
<v Speaker 1>You told him you put your clubs down and start dancing?

0:20:13.440 --> 0:20:14.240
<v Speaker 3>How does this work?

0:20:14.520 --> 0:20:17.840
<v Speaker 2>Nah? There was a club called Latin Quarters. You can

0:20:18.640 --> 0:20:23.480
<v Speaker 2>not on ninety sixth Street. That was the older school one. Yeah,

0:20:24.800 --> 0:20:26.399
<v Speaker 2>like you know, I would go there with Biz and

0:20:26.400 --> 0:20:30.080
<v Speaker 2>whatnot to hang out in the mid eighties and school

0:20:30.240 --> 0:20:33.639
<v Speaker 2>was with this dance group called the IOU Dances, and

0:20:33.680 --> 0:20:36.480
<v Speaker 2>they would dance before the artists performed. They would do

0:20:36.480 --> 0:20:38.000
<v Speaker 2>a dance ro team before the artists come on, sage

0:20:38.000 --> 0:20:41.200
<v Speaker 2>you perform, and you know sometimes by the bar me

0:20:41.400 --> 0:20:46.080
<v Speaker 2>school and ladies that manages Mop. Yeah, he was with

0:20:46.160 --> 0:20:48.720
<v Speaker 2>IOU as well. So three of us we were by

0:20:48.760 --> 0:20:50.600
<v Speaker 2>the bar, just you know, having drinks and I was like, yeah,

0:20:50.760 --> 0:20:52.760
<v Speaker 2>you know, Biz getting me a record deal when I

0:20:52.800 --> 0:20:54.040
<v Speaker 2>come out, Man, I.

0:20:54.160 --> 0:20:55.280
<v Speaker 6>Love for you to dance for me.

0:20:56.000 --> 0:20:57.679
<v Speaker 2>And then when I finally made a record, I went

0:20:57.720 --> 0:20:59.840
<v Speaker 2>back to school and was like yo, you ready, wow,

0:21:00.040 --> 0:21:01.240
<v Speaker 2>And yeah that's how we made it happen.

0:21:01.600 --> 0:21:04.200
<v Speaker 1>And so so BIZ was technically on before y'all.

0:21:04.400 --> 0:21:08.000
<v Speaker 5>Yeah, yeah, I'm telling you watched this dark We don't

0:21:08.040 --> 0:21:11.680
<v Speaker 5>know this history like not to make people know how

0:21:11.760 --> 0:21:13.440
<v Speaker 5>influential and how much BIZ had.

0:21:13.359 --> 0:21:14.240
<v Speaker 3>To do with a lot of things.

0:21:14.600 --> 0:21:15.880
<v Speaker 1>Why did you and Biz link up?

0:21:16.840 --> 0:21:18.680
<v Speaker 2>There was this kid from Long Island that used to

0:21:18.760 --> 0:21:21.880
<v Speaker 2>always tell me about this dude Bis Marcky. He knew

0:21:22.200 --> 0:21:24.440
<v Speaker 2>why there's for some reason, I think now the dude

0:21:24.440 --> 0:21:27.760
<v Speaker 2>was from Central Island. He's from Central Island, dude named Wayne.

0:21:28.200 --> 0:21:30.520
<v Speaker 2>He was dating my cousin and he used to always

0:21:30.560 --> 0:21:34.000
<v Speaker 2>tell me about biz Marcky. And finally one day he like, Yo,

0:21:34.359 --> 0:21:35.920
<v Speaker 2>my man, biz Markey, I'll tell you about here. And

0:21:35.920 --> 0:21:38.480
<v Speaker 2>now we squirrelled rat more. Right now, I'll be beatbox

0:21:38.560 --> 0:21:41.360
<v Speaker 2>now he was doing the beat for numbers. Wow, I'm

0:21:41.359 --> 0:21:42.879
<v Speaker 2>like here over there right now. I'm like, all right,

0:21:42.960 --> 0:21:44.720
<v Speaker 2>take me over there and let me meet him. So

0:21:44.840 --> 0:21:46.640
<v Speaker 2>we get in the mall. We're walking up to him.

0:21:46.680 --> 0:21:48.440
<v Speaker 2>I'm like, all right, so listen, I'm asking your man

0:21:48.480 --> 0:21:50.159
<v Speaker 2>for a battle. And after I bust his ass, I

0:21:50.160 --> 0:21:57.159
<v Speaker 2>don't want to hear about this, you know, yeah, I'll

0:21:57.280 --> 0:22:01.000
<v Speaker 2>squid mall. So I asked Biz for a battle. We battled,

0:22:01.640 --> 0:22:04.720
<v Speaker 2>and after the battle, he was like, Yo, you dope man,

0:22:05.200 --> 0:22:08.040
<v Speaker 2>You dope man. He said, Yo, I'll be doing a

0:22:08.040 --> 0:22:10.479
<v Speaker 2>lot of shows and like all them Bronx Long Island.

0:22:10.680 --> 0:22:12.879
<v Speaker 2>You should get down with me, man, like we can

0:22:12.960 --> 0:22:15.640
<v Speaker 2>make some money, and I guarantee you one day I'm

0:22:15.640 --> 0:22:16.800
<v Speaker 2>gonna get you a record deal.

0:22:17.160 --> 0:22:21.080
<v Speaker 1>Ruse because back then, like back then, like a lot

0:22:21.080 --> 0:22:23.800
<v Speaker 1>of people, we didn't have Twitter, like you know what

0:22:23.840 --> 0:22:26.480
<v Speaker 1>I mean, Like they didn't have Twitter. So how did

0:22:26.480 --> 0:22:27.800
<v Speaker 1>you hear about Biz back then?

0:22:27.880 --> 0:22:32.840
<v Speaker 2>Like? Okay, he was always telling me about this dude,

0:22:32.880 --> 0:22:35.560
<v Speaker 2>biz Markie, who said this dude named Wayne.

0:22:35.320 --> 0:22:35.879
<v Speaker 1>From s right.

0:22:35.960 --> 0:22:38.480
<v Speaker 2>Okay, Well, he was always telling me about this dude

0:22:38.480 --> 0:22:41.240
<v Speaker 2>biz Markie, like you know, like I could have just

0:22:41.280 --> 0:22:45.280
<v Speaker 2>battled somebody, you know, you know, tore them out the frame, yo,

0:22:45.359 --> 0:22:48.240
<v Speaker 2>But you got to hear my man Biz, So you know,

0:22:48.280 --> 0:22:50.119
<v Speaker 2>I was sick ahead about this dude man, you know.

0:22:52.640 --> 0:22:55.120
<v Speaker 2>But then you know, we finally got the meet. We battled,

0:22:55.200 --> 0:22:58.040
<v Speaker 2>and after the battle we became friends. He asked me

0:22:58.080 --> 0:22:59.720
<v Speaker 2>to get down with him, and now I was doing

0:22:59.760 --> 0:23:01.919
<v Speaker 2>something never did because I mean I would go to

0:23:02.760 --> 0:23:05.000
<v Speaker 2>block parties and battle people on the mic. And you

0:23:05.040 --> 0:23:06.919
<v Speaker 2>were right in these rhymes. This wasn't coming off freestyle,

0:23:07.000 --> 0:23:08.440
<v Speaker 2>wasn't no. I wasn't doing off the dome. These was

0:23:08.480 --> 0:23:10.200
<v Speaker 2>written freestyle. I was just off the I mean, I

0:23:10.240 --> 0:23:11.560
<v Speaker 2>don't do that. I don't really do it off the

0:23:11.560 --> 0:23:14.320
<v Speaker 2>dome thing, only like in battles, Like if I see

0:23:14.320 --> 0:23:17.199
<v Speaker 2>some raggedy shit, you got on. You know, I'll come

0:23:17.280 --> 0:23:24.920
<v Speaker 2>up with something, you know, but everyone but I mean,

0:23:25.000 --> 0:23:26.480
<v Speaker 2>but you know, but you know it's really you know,

0:23:26.480 --> 0:23:30.000
<v Speaker 2>written freestyles. But it was like we went at it

0:23:30.040 --> 0:23:32.440
<v Speaker 2>and whatnot, and you know, he was like, yo, you dope,

0:23:33.800 --> 0:23:35.199
<v Speaker 2>and you know he wanted me to get down with him.

0:23:35.200 --> 0:23:37.560
<v Speaker 2>But now I'm doing something I've never done before because

0:23:37.600 --> 0:23:41.840
<v Speaker 2>I had, you know, never performed, only battled. Now I'm

0:23:41.880 --> 0:23:44.240
<v Speaker 2>on stage doing shows for these dudes, Mike and Dave

0:23:44.320 --> 0:23:46.960
<v Speaker 2>and all of them wrongs Long Island. You know, he

0:23:47.040 --> 0:23:49.240
<v Speaker 2>got me actually performing on stage. I never did nothing

0:23:49.280 --> 0:23:49.800
<v Speaker 2>like that before.

0:23:50.960 --> 0:23:53.000
<v Speaker 1>Damn, damn, that's crazy, man. Let's play.

0:23:56.280 --> 0:23:57.600
<v Speaker 5>And then and I don't want to get the whole

0:23:57.640 --> 0:23:59.639
<v Speaker 5>doc because I think people need to watch the documentaries.

0:23:59.640 --> 0:24:02.960
<v Speaker 5>You watch, I'm assuming so you feel it's fully accurate

0:24:03.080 --> 0:24:04.240
<v Speaker 5>the way everything's.

0:24:03.880 --> 0:24:06.680
<v Speaker 2>Depicted, right, Yeah, from from what I saw, Yeah.

0:24:06.520 --> 0:24:09.600
<v Speaker 5>The part about you getting in with Marley by coming

0:24:10.000 --> 0:24:11.560
<v Speaker 5>and and then he didn't want to open the door

0:24:11.600 --> 0:24:11.879
<v Speaker 5>for you.

0:24:13.119 --> 0:24:18.480
<v Speaker 2>Yeah, what happened was, uh, this spent the night at

0:24:18.520 --> 0:24:22.720
<v Speaker 2>my crib and then that morning we went to record

0:24:22.760 --> 0:24:25.960
<v Speaker 2>store on No Ocean Avenue and he bought the African

0:24:25.960 --> 0:24:30.600
<v Speaker 2>Life he had center be the boom Bats. He bought

0:24:30.640 --> 0:24:35.840
<v Speaker 2>that and he was like, uh, yo, come ride with

0:24:35.840 --> 0:24:37.680
<v Speaker 2>me into the city. I got to get to see

0:24:37.720 --> 0:24:39.720
<v Speaker 2>a record by the Steve Miller band. He was going

0:24:39.760 --> 0:24:44.720
<v Speaker 2>to rock, rock and soul, No downtown, down stairs records, downstairs,

0:24:44.920 --> 0:24:47.200
<v Speaker 2>You're going to downstairs. And I'm like, yo, I got

0:24:47.200 --> 0:24:50.560
<v Speaker 2>a test today, man, I can't skip school. So I

0:24:50.600 --> 0:24:52.800
<v Speaker 2>went to school. When I took my test, I left

0:24:52.800 --> 0:24:55.400
<v Speaker 2>like half day and went straight to Marley Crib when

0:24:55.400 --> 0:24:59.320
<v Speaker 2>I got there. No, no, no, this was in the story. Okay,

0:24:59.440 --> 0:25:01.679
<v Speaker 2>I wasn't got so I went down to Queensbridge days

0:25:02.560 --> 0:25:06.520
<v Speaker 2>you know. No, I'm just saying I was before my

0:25:06.560 --> 0:25:12.320
<v Speaker 2>time and cut it out, man. But yeah, I went

0:25:12.359 --> 0:25:16.359
<v Speaker 2>to Marley Crib and you know, he like opened the

0:25:16.400 --> 0:25:18.320
<v Speaker 2>door with the chain on and it's like, you know,

0:25:18.359 --> 0:25:23.480
<v Speaker 2>what's up. I'm like, you know, Kane b friend, you know.

0:25:23.520 --> 0:25:24.919
<v Speaker 2>But he was talking to me like he didn't know me,

0:25:25.040 --> 0:25:27.480
<v Speaker 2>you know, and I'm like, uh, you know I was here.

0:25:28.280 --> 0:25:30.399
<v Speaker 2>He's like, bis ain't here. I was like, well, you know,

0:25:30.560 --> 0:25:32.119
<v Speaker 2>I took the train all the way from Brooklyn. He

0:25:32.160 --> 0:25:33.480
<v Speaker 2>told me to meet her because he told me doing

0:25:33.760 --> 0:25:36.320
<v Speaker 2>nobody beats the Biz song b is ain't here money.

0:25:36.359 --> 0:25:39.199
<v Speaker 2>I don't know what to tell you. I was like,

0:25:39.200 --> 0:25:41.399
<v Speaker 2>all right, no doubt. I was like, well, here these

0:25:41.440 --> 0:25:43.200
<v Speaker 2>are the rhymes he's supposed to say today. Just give

0:25:43.280 --> 0:25:46.439
<v Speaker 2>him to him. And he was like you you you right,

0:25:46.520 --> 0:25:49.080
<v Speaker 2>bi ship. I was like, I wrote that, you know.

0:25:49.480 --> 0:25:51.680
<v Speaker 2>He was like I go and I said a little

0:25:51.680 --> 0:25:53.280
<v Speaker 2>bit and then nobody beats the biz thing. He was like,

0:25:53.280 --> 0:25:55.679
<v Speaker 2>you rhyme too. I was like yeah, he said, let

0:25:55.720 --> 0:25:58.040
<v Speaker 2>me hear something. Then I spent a rhyme and he

0:25:58.080 --> 0:25:59.600
<v Speaker 2>took the chain off. I was like, yo, come in here,

0:26:00.000 --> 0:26:00.879
<v Speaker 2>would work on problem.

0:26:05.960 --> 0:26:08.320
<v Speaker 3>That's amazing, Holy shit.

0:26:08.480 --> 0:26:13.720
<v Speaker 2>Because at that time, Marlly was like the go to producer. Correct, Yeah,

0:26:14.000 --> 0:26:16.639
<v Speaker 2>he was getting to be that. Like Marley was not

0:26:16.720 --> 0:26:21.320
<v Speaker 2>only to go to producer. Marlly was the dude that

0:26:21.680 --> 0:26:26.720
<v Speaker 2>reshaped hip hop in the mid to late eighties because

0:26:28.080 --> 0:26:31.399
<v Speaker 2>when hip hop became a music genre, what was happening

0:26:31.480 --> 0:26:34.920
<v Speaker 2>under the Sylvia Robinson umbrella was hip hop artists going

0:26:34.960 --> 0:26:38.040
<v Speaker 2>in the studio recording with bands.

0:26:39.119 --> 0:26:41.080
<v Speaker 6>Yeah you should know your ship.

0:26:41.280 --> 0:26:41.639
<v Speaker 1>Your sugar.

0:26:41.760 --> 0:26:42.240
<v Speaker 2>Yeah yeah.

0:26:42.640 --> 0:26:44.400
<v Speaker 1>I had to have to have to get back yeah yeah, yeah,

0:26:44.640 --> 0:26:44.879
<v Speaker 1>I was.

0:26:46.560 --> 0:26:49.120
<v Speaker 2>She was like she was taking nick flashing them Funky Four,

0:26:49.200 --> 0:26:52.280
<v Speaker 2>Treacherous three. They're going and recording with bands they're not

0:26:52.359 --> 0:26:55.439
<v Speaker 2>doing with cool Heirk created. You know what I said, No, no, no,

0:26:55.480 --> 0:26:57.359
<v Speaker 2>not programming. I mean they're not doing it to a

0:26:57.400 --> 0:27:02.840
<v Speaker 2>break beat. You know, they're rhyming to a band. Then

0:27:02.880 --> 0:27:05.720
<v Speaker 2>the run DMC era comes when that's when they start

0:27:05.760 --> 0:27:08.679
<v Speaker 2>doing the programming beats with Larry Smith, Rick Rubin and

0:27:08.720 --> 0:27:09.320
<v Speaker 2>them casts.

0:27:09.359 --> 0:27:11.080
<v Speaker 6>You know, Davy DMX.

0:27:11.680 --> 0:27:14.720
<v Speaker 2>You know they're using Len drums, DMX drum machines and

0:27:14.880 --> 0:27:18.639
<v Speaker 2>keyboards and sim sim sounds. You know, Marley is the

0:27:18.680 --> 0:27:22.720
<v Speaker 2>one that you know took the sp and brought back

0:27:22.840 --> 0:27:26.320
<v Speaker 2>what Hirk was doing. You're rhyming over the break beat.

0:27:26.359 --> 0:27:30.320
<v Speaker 2>It's just that a DJ not playing it, a producers sampling.

0:27:29.880 --> 0:27:35.040
<v Speaker 4>Itine you're saying it, Yeah, it's the actual break beat

0:27:35.320 --> 0:27:38.360
<v Speaker 4>that Curtis Blast Damn Bodder and.

0:27:38.320 --> 0:27:41.119
<v Speaker 2>All these casts was was cutting up. It's the actual

0:27:41.119 --> 0:27:44.359
<v Speaker 2>break beat and Marlly is sampling it. So you're doing

0:27:44.480 --> 0:27:48.600
<v Speaker 2>exactly what he was doing. You're doing exactly what hip

0:27:48.640 --> 0:27:52.760
<v Speaker 2>hop was made, how it was bringing those breaks and

0:27:52.840 --> 0:27:56.640
<v Speaker 2>Mary Mary the dude that brought it back, so you know, yeah,

0:27:56.720 --> 0:28:02.040
<v Speaker 2>he is definitely uh in a mad in this here culture,

0:28:02.400 --> 0:28:04.640
<v Speaker 2>you know, because of what he did with sampling.

0:28:05.280 --> 0:28:13.959
<v Speaker 3>Yeah, so was was it back then?

0:28:14.000 --> 0:28:19.600
<v Speaker 1>Because like nowadays, when people sample music, they actually, uh

0:28:19.880 --> 0:28:21.440
<v Speaker 1>most of the time, a lot of the times, it's

0:28:21.440 --> 0:28:24.600
<v Speaker 1>one hundred percent of these these publishers claimed the rights.

0:28:24.680 --> 0:28:26.640
<v Speaker 1>Was it like that back then when you were sampling

0:28:26.680 --> 0:28:27.520
<v Speaker 1>his music? Was it?

0:28:30.440 --> 0:28:32.919
<v Speaker 2>The first time I had a problem with it was

0:28:33.440 --> 0:28:35.560
<v Speaker 2>the very when I when I went to Marley Crib

0:28:35.600 --> 0:28:35.880
<v Speaker 2>that day.

0:28:36.160 --> 0:28:38.480
<v Speaker 6>Huh, nobody be abiz.

0:28:41.880 --> 0:28:45.080
<v Speaker 2>He made a beat off of Staple Singers I'll Take

0:28:45.080 --> 0:28:47.240
<v Speaker 2>You Here, And that's when I recorded the song I'll

0:28:47.240 --> 0:28:47.640
<v Speaker 2>Take You Here.

0:28:47.640 --> 0:28:49.320
<v Speaker 6>It's on my first album.

0:28:49.320 --> 0:28:53.719
<v Speaker 2>But uh, fly Tie wanted to put it out and

0:28:53.920 --> 0:28:57.840
<v Speaker 2>Prints owned the Staples Singers publishing and he wasn't digging

0:28:57.880 --> 0:29:02.240
<v Speaker 2>hip hoped in so he wouldn't clear it. Prince Prince

0:29:02.240 --> 0:29:05.680
<v Speaker 2>ain't clear ship well, I mean in the beginning. He

0:29:05.760 --> 0:29:07.560
<v Speaker 2>changed his mind later on before.

0:29:07.280 --> 0:29:15.320
<v Speaker 3>The Chapster As was out. Yes, lose enough after.

0:29:15.160 --> 0:29:18.160
<v Speaker 2>That, But I mean, in all, honestly, I'm glad because

0:29:18.200 --> 0:29:20.480
<v Speaker 2>I think that had I'll Take You There came out

0:29:20.560 --> 0:29:23.160
<v Speaker 2>as a cane debut, I never would have been successful.

0:29:23.320 --> 0:29:25.360
<v Speaker 1>Was he talking about Squid Moore on that record as well.

0:29:25.920 --> 0:29:28.160
<v Speaker 2>No, no, no, I'll take you there is talking about going

0:29:28.200 --> 0:29:30.440
<v Speaker 2>into an imagine every place where everything is beautiful, and

0:29:31.440 --> 0:29:36.000
<v Speaker 2>you know it's like, you know, you get a pass

0:29:36.080 --> 0:29:38.560
<v Speaker 2>on that one because that was an album cut.

0:29:38.960 --> 0:29:45.920
<v Speaker 1>You should know we're gonna be here. All I remember

0:29:46.000 --> 0:29:48.560
<v Speaker 1>I remember hearing alb Square Moore and this is this

0:29:48.600 --> 0:29:50.880
<v Speaker 1>is this's a's a website right now that's dedicated to

0:29:51.040 --> 0:29:55.280
<v Speaker 1>all memories of Alby Square More. And I remember me

0:29:55.280 --> 0:29:59.160
<v Speaker 1>me being from Queen's and there was some fla shit

0:29:59.280 --> 0:30:02.040
<v Speaker 1>going on in Brooke. It was called Dental Gold and

0:30:02.080 --> 0:30:05.280
<v Speaker 1>it was the only place in like New York City

0:30:05.320 --> 0:30:08.840
<v Speaker 1>that had it. And it was well, y'all would call

0:30:08.880 --> 0:30:12.480
<v Speaker 1>it grills in the side, so it was frames, it

0:30:12.560 --> 0:30:14.840
<v Speaker 1>was frames, and they went to Ivy Square. He had

0:30:14.880 --> 0:30:17.000
<v Speaker 1>to get it. Only an IVY script one was dental Gold.

0:30:17.280 --> 0:30:20.120
<v Speaker 1>And what I try to tell you is it looked

0:30:20.120 --> 0:30:22.959
<v Speaker 1>like it came from the dentist, Like this wasn't like caps.

0:30:23.080 --> 0:30:25.000
<v Speaker 1>This was like but it was so flopped. But to

0:30:25.120 --> 0:30:26.920
<v Speaker 1>get the IV squib more, you gotta go to a

0:30:27.080 --> 0:30:28.600
<v Speaker 1>goddamn danger zone.

0:30:29.400 --> 0:30:34.320
<v Speaker 2>Like oh yeah, yeah, shout out the whole dog tig

0:30:35.000 --> 0:30:40.760
<v Speaker 2>slop Miami, you know, big Shop, Big Neil. Yeah, into

0:30:40.800 --> 0:30:43.480
<v Speaker 2>the record, Yeah yeah yeah, all them Brooklyn Grimys dad,

0:30:43.560 --> 0:30:46.320
<v Speaker 2>you know yeah yeah, make you believe we can leave

0:30:46.360 --> 0:30:50.320
<v Speaker 2>them more naked. Man, you went back home sneakless, colds

0:30:51.720 --> 0:30:52.360
<v Speaker 2>all that ship.

0:30:52.640 --> 0:30:55.680
<v Speaker 1>Your ship was crazy, Like do you recognize Brooklyn?

0:30:55.760 --> 0:31:01.400
<v Speaker 2>Still it's completely different, completely completely different. Like I went

0:31:01.480 --> 0:31:04.280
<v Speaker 2>back to my old block to show my son I got.

0:31:04.360 --> 0:31:06.520
<v Speaker 2>I have a ten year old when he was almost younger.

0:31:06.720 --> 0:31:08.600
<v Speaker 2>I took him to my old block because there's like

0:31:08.600 --> 0:31:10.560
<v Speaker 2>a big mural of me on the water, and I

0:31:10.600 --> 0:31:12.520
<v Speaker 2>was showing you this is the building I was raised in,

0:31:12.680 --> 0:31:15.240
<v Speaker 2>you know right there, you know, see a second floor

0:31:15.320 --> 0:31:16.520
<v Speaker 2>right here. I was like, yeah, I used to come

0:31:16.560 --> 0:31:18.600
<v Speaker 2>down here and do the data. While I'm telling him

0:31:18.640 --> 0:31:22.080
<v Speaker 2>the story, white lady comes out of the building with

0:31:22.160 --> 0:31:24.000
<v Speaker 2>a little ass dog and the dog runs up my

0:31:24.080 --> 0:31:30.400
<v Speaker 2>leg and I'm like, but this didn't happen. He's like,

0:31:30.760 --> 0:31:34.280
<v Speaker 2>this is na I it was just bug. You know.

0:31:34.280 --> 0:31:36.640
<v Speaker 6>I'm telling him how I grew up, you know, how

0:31:36.720 --> 0:31:37.160
<v Speaker 6>good it.

0:31:37.240 --> 0:31:41.160
<v Speaker 2>Was, And then all of a sudden, you know, yeah, yeah, yeah,

0:31:41.160 --> 0:31:43.600
<v Speaker 2>so it's a lot different now. It's at no.

0:31:43.720 --> 0:31:45.320
<v Speaker 1>I mean, do you think it changed for the better.

0:31:45.360 --> 0:31:46.440
<v Speaker 1>I think it changed for the better.

0:31:48.440 --> 0:31:52.560
<v Speaker 2>I think that it changed for the better. But I

0:31:52.640 --> 0:31:56.760
<v Speaker 2>think that a lot of the history was erased. You know,

0:31:57.120 --> 0:32:00.080
<v Speaker 2>I think that a lot of history was erased as

0:32:00.120 --> 0:32:00.400
<v Speaker 2>far as.

0:32:00.400 --> 0:32:01.120
<v Speaker 3>Hip hop as well.

0:32:02.240 --> 0:32:04.080
<v Speaker 6>Well, I thought you were talking about the neighborhood.

0:32:04.160 --> 0:32:06.320
<v Speaker 3>Yeah, be a period, Yeah, I mean, does that involve

0:32:06.360 --> 0:32:06.760
<v Speaker 3>hip hop?

0:32:07.040 --> 0:32:11.480
<v Speaker 2>I mean, you know, it's like, I can't take him

0:32:11.520 --> 0:32:14.560
<v Speaker 2>and say this the movie theater that I used to

0:32:14.600 --> 0:32:17.280
<v Speaker 2>go in and have to tuck my pants and my

0:32:17.360 --> 0:32:19.720
<v Speaker 2>socks because rats be running across the floor, and I

0:32:19.760 --> 0:32:21.080
<v Speaker 2>don't want none to run up my pants.

0:32:21.160 --> 0:32:23.360
<v Speaker 6>Like that's gone, you know what I'm saying. I can't.

0:32:23.560 --> 0:32:27.480
<v Speaker 2>I can't say, you know, just to Roy Rogers, you know,

0:32:27.760 --> 0:32:30.080
<v Speaker 2>with cats got stuck up at because you could you

0:32:30.120 --> 0:32:31.840
<v Speaker 2>could rob more Forlton Street and cut.

0:32:31.640 --> 0:32:33.040
<v Speaker 6>Through and come out on flat Bush after.

0:32:33.640 --> 0:32:35.840
<v Speaker 2>I can't. I can't show him none of that, Stuffy.

0:32:36.000 --> 0:32:39.640
<v Speaker 2>It's all gone, like all those memories is gone. I'm shure,

0:32:39.680 --> 0:32:41.280
<v Speaker 2>and your neighborhood is yeah, no, I.

0:32:41.200 --> 0:32:42.560
<v Speaker 3>Mean all over all over.

0:32:42.640 --> 0:32:45.760
<v Speaker 1>But I just never thought, you know what was shocking

0:32:45.800 --> 0:32:47.520
<v Speaker 1>to me. I thought the last two barrels that they

0:32:47.520 --> 0:32:50.960
<v Speaker 1>would actually fix up what's Brooklyn and the Bronx and

0:32:51.000 --> 0:32:54.040
<v Speaker 1>then when the when the what was it the nets?

0:32:54.400 --> 0:32:55.080
<v Speaker 3>As soon as the.

0:32:55.000 --> 0:32:57.960
<v Speaker 1>Nets kind of came, I believe it's the Barclays, right

0:32:58.040 --> 0:32:59.680
<v Speaker 1>as soon as the kind of came to the Barclays,

0:33:00.040 --> 0:33:02.480
<v Speaker 1>seeing that they put the whole fools around, and I

0:33:02.520 --> 0:33:04.680
<v Speaker 1>was like, once they put a whole fool white people coming,

0:33:04.840 --> 0:33:06.200
<v Speaker 1>I was like, yeah, you know what I'm saying. So

0:33:06.240 --> 0:33:09.520
<v Speaker 1>I was just like I didn't think, but now, could

0:33:09.520 --> 0:33:14.280
<v Speaker 1>you not? I went to Dumbo to the Soho House, and

0:33:14.320 --> 0:33:16.720
<v Speaker 1>I kid you not, because it's coming right off the

0:33:16.720 --> 0:33:20.040
<v Speaker 1>Brooklyn Bridge, you know, like coming from like you know,

0:33:20.080 --> 0:33:23.000
<v Speaker 1>the Manhattan side. And I used to I used to

0:33:23.040 --> 0:33:24.720
<v Speaker 1>go there and like used to know, like as soon

0:33:24.760 --> 0:33:26.880
<v Speaker 1>as you got over that bridge, you're in Brooklyn.

0:33:26.960 --> 0:33:28.160
<v Speaker 3>It's not Manhattan no more.

0:33:28.600 --> 0:33:31.160
<v Speaker 1>And now it's like you go over there and you're like,

0:33:31.280 --> 0:33:35.400
<v Speaker 1>I'm still mad, like because you like, am I still bad?

0:33:35.560 --> 0:33:36.840
<v Speaker 3>They puting the trick over me.

0:33:37.120 --> 0:33:38.880
<v Speaker 6>Like the little boats and ship.

0:33:39.240 --> 0:33:45.320
<v Speaker 1>It's crazy, but I understood. And and how about the community,

0:33:45.400 --> 0:33:47.960
<v Speaker 1>because I remember that was a big thing about being

0:33:48.000 --> 0:33:50.120
<v Speaker 1>in Brooklyn, like was it was. It was a lot

0:33:50.160 --> 0:33:54.040
<v Speaker 1>of community, and you think that's gone because of the

0:33:54.040 --> 0:33:54.800
<v Speaker 1>whole hools.

0:33:55.440 --> 0:33:57.520
<v Speaker 6>When you say community, what do you mean, like.

0:33:57.440 --> 0:33:59.320
<v Speaker 1>You know, like the project people used to be there

0:33:59.320 --> 0:34:01.640
<v Speaker 1>together like you, I mean like as opposed to that

0:34:01.800 --> 0:34:02.400
<v Speaker 1>now it's.

0:34:02.240 --> 0:34:05.000
<v Speaker 6>Like, nah, I think that's because I mean.

0:34:08.200 --> 0:34:10.160
<v Speaker 2>Just uh during the Rock the Bells thing, because I

0:34:10.200 --> 0:34:14.480
<v Speaker 2>have Rock to Bells and I had uh Lincoln Center,

0:34:15.239 --> 0:34:17.400
<v Speaker 2>you know, all in New York, but pretty much a

0:34:17.440 --> 0:34:18.879
<v Speaker 2>week apart. So I was like, well, I'm just gonna

0:34:18.880 --> 0:34:22.040
<v Speaker 2>stay in New York, good time. And I got an

0:34:22.080 --> 0:34:27.239
<v Speaker 2>Airbnb and Bushwick Wow. And when I arrived at the Airbnb,

0:34:27.800 --> 0:34:30.360
<v Speaker 2>Bushwick made it known like not nigga, you're still in

0:34:30.400 --> 0:34:32.719
<v Speaker 2>the hush, don't don't get it twisted.

0:34:32.719 --> 0:34:42.919
<v Speaker 8>Perto Ricans was the Puerto Ricans. Yeah, so oh man, yo.

0:34:43.320 --> 0:34:43.840
<v Speaker 1>I mean.

0:34:45.680 --> 0:34:46.439
<v Speaker 3>I mean hip hop?

0:34:46.480 --> 0:34:48.040
<v Speaker 1>Man, did you have a like I noticed a cliche

0:34:48.120 --> 0:34:49.680
<v Speaker 1>type of question, but do you ever think that hip

0:34:49.680 --> 0:34:50.600
<v Speaker 1>hop will make it this far?

0:34:50.880 --> 0:34:51.400
<v Speaker 6>Absolutely?

0:34:51.640 --> 0:34:54.560
<v Speaker 2>You absolutely, absolutely, because you got to you got to understand.

0:34:54.680 --> 0:34:58.719
<v Speaker 2>I mean, like like I love psychedelic rock, right like

0:34:59.239 --> 0:35:02.600
<v Speaker 2>Jimmy Hendrix, Janice Chopplin, I love that type of stuff,

0:35:02.640 --> 0:35:06.799
<v Speaker 2>you know, so as a rock fan to hear like

0:35:06.920 --> 0:35:12.000
<v Speaker 2>you know, like how it was about Chuck Berry doing

0:35:12.000 --> 0:35:15.880
<v Speaker 2>the dunk walk across stage, or Elvis presently gyrating his hips.

0:35:16.320 --> 0:35:19.960
<v Speaker 2>How offensive that was to clean cut America. And they

0:35:20.000 --> 0:35:24.800
<v Speaker 2>said that, you know, it's raunchy music. It's not gonna last.

0:35:24.840 --> 0:35:27.200
<v Speaker 2>It's just a fad. And this is what they said

0:35:27.200 --> 0:35:30.640
<v Speaker 2>about rock and roll. But it was so rebellious for

0:35:30.760 --> 0:35:33.279
<v Speaker 2>the young counter, for the youth to like really show

0:35:33.360 --> 0:35:36.360
<v Speaker 2>out and like and like, now you've got Alan Freed

0:35:36.600 --> 0:35:39.440
<v Speaker 2>taking it in gymnasiums because theaters don't want it, so

0:35:39.480 --> 0:35:41.880
<v Speaker 2>he taking it in gymnasiums, and the young cast is

0:35:41.880 --> 0:35:44.879
<v Speaker 2>coming out, you know, a by the thousands, the pack

0:35:44.960 --> 0:35:47.279
<v Speaker 2>of gymnasium just to hear rock and roll.

0:35:47.719 --> 0:35:49.440
<v Speaker 6>Right, you know, this is what's going on.

0:35:49.520 --> 0:35:51.840
<v Speaker 2>Then all of a sudden, with the war start, you

0:35:51.920 --> 0:35:56.759
<v Speaker 2>got rock artists making anti war songs, so they're using

0:35:56.800 --> 0:36:01.479
<v Speaker 2>their voice, you know, to speak against war. Hip hop

0:36:01.560 --> 0:36:03.680
<v Speaker 2>was following the same thing, you know what I'm saying.

0:36:03.920 --> 0:36:05.640
<v Speaker 2>So when they said that it's just a fair it

0:36:05.680 --> 0:36:07.920
<v Speaker 2>ain't real music, I knew. I'm like, it's gonna be

0:36:08.360 --> 0:36:10.239
<v Speaker 2>just as big or even bigger than rock and roll.

0:36:12.760 --> 0:36:15.520
<v Speaker 1>You know what's so beautiful about what's going on right now?

0:36:15.880 --> 0:36:19.880
<v Speaker 1>Is you see Yankee Stadium sold out, You see Nives

0:36:19.880 --> 0:36:23.040
<v Speaker 1>and Wu Tang sold out, you see fifty cent and

0:36:23.120 --> 0:36:26.040
<v Speaker 1>Busting Robs sold out, you see all of you see

0:36:26.080 --> 0:36:28.160
<v Speaker 1>Rock the Bells sold out, You see all of these

0:36:28.239 --> 0:36:31.840
<v Speaker 1>festivals with these older people that sold out. An elder

0:36:31.880 --> 0:36:35.520
<v Speaker 1>statesman rather tional art. And I've been saying this for

0:36:35.560 --> 0:36:37.760
<v Speaker 1>a long time. This is the reason why we invented

0:36:38.040 --> 0:36:40.600
<v Speaker 1>drink chances, because we wanted to give our elder statesms,

0:36:40.640 --> 0:36:43.920
<v Speaker 1>people that have been around, you know, seasons, they flowers.

0:36:44.120 --> 0:36:45.920
<v Speaker 3>And then when you see this, it's like damn.

0:36:46.920 --> 0:36:48.759
<v Speaker 1>When you like I said this the other day, Like

0:36:48.800 --> 0:36:51.799
<v Speaker 1>when you want someone to cook Thanksgiving dinner, you don't

0:36:51.840 --> 0:36:54.440
<v Speaker 1>want that eighteen year old girl that just you just met.

0:36:54.520 --> 0:36:56.279
<v Speaker 1>You don't want that twenty two year old girl. She

0:36:56.320 --> 0:36:59.520
<v Speaker 1>don't know how to smothered the chickens. She don't know

0:36:59.520 --> 0:37:03.520
<v Speaker 1>how to make the candy ams bounce the way they're

0:37:03.520 --> 0:37:05.680
<v Speaker 1>supposed to be shaking. She don't know how to do

0:37:05.760 --> 0:37:06.320
<v Speaker 1>the stuffing.

0:37:07.320 --> 0:37:10.200
<v Speaker 3>She don't know how to cook corn bread. And heart

0:37:10.239 --> 0:37:13.359
<v Speaker 3>of this cook corn bread. You gotta have experience.

0:37:14.320 --> 0:37:16.520
<v Speaker 1>So when they come to days Giving dinner, you don't

0:37:16.520 --> 0:37:19.520
<v Speaker 1>want that new young hobouy no.

0:37:19.680 --> 0:37:23.200
<v Speaker 6>I agree.

0:37:20.560 --> 0:37:29.200
<v Speaker 7>You want Papa helping us, you understand, and that's what

0:37:29.280 --> 0:37:29.680
<v Speaker 7>life is.

0:37:29.719 --> 0:37:33.399
<v Speaker 1>Your young women, snappists, you'll be over here talk about

0:37:33.400 --> 0:37:35.160
<v Speaker 1>the O G no motherfucker.

0:37:34.719 --> 0:37:37.160
<v Speaker 3>With seasoned what seasons?

0:37:37.200 --> 0:37:39.680
<v Speaker 1>Then we're out here, man looking looking like he ready

0:37:39.719 --> 0:37:47.200
<v Speaker 1>to pip right now. I love when Bussey said that,

0:37:47.280 --> 0:37:49.319
<v Speaker 1>he said, we gotta look the part, man. And that's

0:37:49.360 --> 0:37:52.880
<v Speaker 1>one thing about you. Man. You've been sharp since the eighties.

0:37:52.920 --> 0:37:54.480
<v Speaker 1>You ain't never had a day off.

0:37:54.560 --> 0:38:03.000
<v Speaker 2>Man, appreciate you come. I will say this though, man,

0:38:03.560 --> 0:38:06.520
<v Speaker 2>when it comes to people like myself and even your errors,

0:38:06.680 --> 0:38:10.640
<v Speaker 2>you know, I mean, I feel like we're cemented and

0:38:10.719 --> 0:38:13.080
<v Speaker 2>we have a solid fan base that's going to love

0:38:13.080 --> 0:38:16.120
<v Speaker 2>and respect us like you know Charlie Wilson fans, you know,

0:38:16.200 --> 0:38:21.360
<v Speaker 2>Ronald Eisley fans. But we do need to connect with

0:38:21.480 --> 0:38:25.759
<v Speaker 2>the youth so that they can gain state power and

0:38:25.800 --> 0:38:28.000
<v Speaker 2>they learn how to be artists. I don't think that

0:38:28.080 --> 0:38:30.839
<v Speaker 2>we should leave them alone or look at it in

0:38:30.840 --> 0:38:33.520
<v Speaker 2>a way of like, ha, I'm packing shows you not.

0:38:34.160 --> 0:38:36.440
<v Speaker 2>I think that we need to work with them, you

0:38:36.480 --> 0:38:39.160
<v Speaker 2>know what I'm saying, and try to help them because

0:38:39.200 --> 0:38:41.759
<v Speaker 2>it's like we're not gonna be here forever. Our music will,

0:38:41.800 --> 0:38:45.200
<v Speaker 2>but we not. So when we're gone, what's going to

0:38:45.280 --> 0:38:48.080
<v Speaker 2>be left. If they don't know what they're doing. They

0:38:48.800 --> 0:38:51.680
<v Speaker 2>can evaporate hip hop canny vaporate. So we got to

0:38:51.680 --> 0:38:53.920
<v Speaker 2>give them the Jews. We got to teach them and

0:38:54.120 --> 0:38:56.640
<v Speaker 2>educate them and try to uplift them. And I think

0:38:56.680 --> 0:38:59.480
<v Speaker 2>that that's something important for us to do as the

0:38:59.600 --> 0:39:02.040
<v Speaker 2>you know, the older generation, you know, to teach the

0:39:02.120 --> 0:39:03.560
<v Speaker 2>youth like, yo, this is how you perform. You know,

0:39:04.040 --> 0:39:06.520
<v Speaker 2>you don't need the vocals playing to an instrumental. You

0:39:06.560 --> 0:39:08.560
<v Speaker 2>know what I'm saying. Don't just stand there once by

0:39:08.600 --> 0:39:10.560
<v Speaker 2>their stage left and stage right, it's even front of

0:39:10.600 --> 0:39:12.799
<v Speaker 2>the stage, shake a motherfucker hand when you're looking at

0:39:12.800 --> 0:39:14.800
<v Speaker 2>you and stuff like that. You know, we have to

0:39:14.840 --> 0:39:17.279
<v Speaker 2>give them game, you know, we have. We need to

0:39:17.280 --> 0:39:20.279
<v Speaker 2>do that because they are the future. But they're not

0:39:20.320 --> 0:39:23.319
<v Speaker 2>going to be the future much longer. If if if

0:39:23.320 --> 0:39:27.719
<v Speaker 2>they can't sell our shows or sell streams up whatever.

0:39:27.760 --> 0:39:29.720
<v Speaker 5>You know, you got to make sure the history continues

0:39:29.760 --> 0:39:31.440
<v Speaker 5>to be told so it's not lost.

0:39:31.680 --> 0:39:33.439
<v Speaker 1>I mean a lot of them know better e FM,

0:39:33.480 --> 0:39:35.560
<v Speaker 1>because you know why they know better. They wear Jordan's

0:39:35.800 --> 0:39:37.879
<v Speaker 1>They don't want Kyrie. I heard you say, but that's

0:39:37.920 --> 0:39:40.439
<v Speaker 1>not true. That is true, that's not that's not knowing

0:39:40.520 --> 0:39:42.360
<v Speaker 1>history because you wear no no. What I'm trying to

0:39:42.360 --> 0:39:44.759
<v Speaker 1>say is when you sit down, they'll talk. They'll sit

0:39:44.760 --> 0:39:47.359
<v Speaker 1>there and talk about a Michael Jordan game. You are

0:39:47.360 --> 0:39:50.120
<v Speaker 1>wearing these Jordan's because Jordan's scored this amount. So if

0:39:50.120 --> 0:39:52.279
<v Speaker 1>you know that amount, why don't you know about when

0:39:52.360 --> 0:39:54.560
<v Speaker 1>Biggie Small's did this one about when.

0:39:54.960 --> 0:39:57.840
<v Speaker 3>Kid doesn't know who cool work is. Right, that's what

0:39:57.960 --> 0:39:58.560
<v Speaker 3>they wear.

0:39:58.440 --> 0:39:58.919
<v Speaker 6>In the Jordan.

0:39:59.360 --> 0:40:01.640
<v Speaker 3>That might not be their fault, it's our fault in

0:40:01.640 --> 0:40:04.239
<v Speaker 3>the city generation. I believe that there was a fine time.

0:40:04.400 --> 0:40:06.200
<v Speaker 3>Like I didn't grow up on corel work. I was

0:40:06.200 --> 0:40:06.600
<v Speaker 3>too young.

0:40:07.040 --> 0:40:08.880
<v Speaker 5>There was the music that I was listening to that

0:40:09.040 --> 0:40:11.240
<v Speaker 5>was telling you, and I was like, hold up a second,

0:40:11.280 --> 0:40:13.680
<v Speaker 5>I need to know this these people that I'm listening to.

0:40:13.800 --> 0:40:15.440
<v Speaker 1>But you being in DJs, but you'll be in a

0:40:15.560 --> 0:40:17.520
<v Speaker 1>DJ and you being loyal to the culture, you win

0:40:17.600 --> 0:40:18.920
<v Speaker 1>and you search schoolhurd correct.

0:40:19.040 --> 0:40:21.439
<v Speaker 3>Absolutely, Yeah, that's that's that's what we before the inn.

0:40:21.480 --> 0:40:23.160
<v Speaker 3>At times I was literally digging in the.

0:40:23.320 --> 0:40:25.440
<v Speaker 2>That's the problem though, you know what I'm saying nobody,

0:40:25.520 --> 0:40:29.040
<v Speaker 2>like like, nobody searches anything no more. Nobody studies nothing

0:40:29.040 --> 0:40:31.000
<v Speaker 2>no more. They just google shit, you know.

0:40:31.840 --> 0:40:33.239
<v Speaker 3>But we're not giving reasons either.

0:40:33.280 --> 0:40:35.600
<v Speaker 5>I feel like like now hip hop fifty Like you said,

0:40:35.600 --> 0:40:38.600
<v Speaker 5>the positive side is younger younger kids might be like.

0:40:38.640 --> 0:40:41.440
<v Speaker 3>Yo, this is wild. Look at these packed stadiums. What

0:40:41.800 --> 0:40:42.640
<v Speaker 3>is this all about?

0:40:42.719 --> 0:40:45.400
<v Speaker 5>And they might start to gravitate to certain artists they

0:40:45.400 --> 0:40:48.080
<v Speaker 5>wouldn't have normally gravitate it to, and then learn about

0:40:48.080 --> 0:40:51.000
<v Speaker 5>the history indirectly, like a drink champs. They might learn

0:40:51.000 --> 0:40:53.839
<v Speaker 5>indirectly by the entertainment of it, say oh, these people

0:40:53.840 --> 0:40:57.120
<v Speaker 5>are wilding out, and then oh, wait, I'm learning something now.

0:40:57.280 --> 0:40:58.040
<v Speaker 6>I let me tell you something.

0:40:58.080 --> 0:41:01.239
<v Speaker 2>Man, the BET Awards, I was sitting in my seat,

0:41:01.280 --> 0:41:03.520
<v Speaker 2>the recent one one to just passed. I was sitting

0:41:03.520 --> 0:41:06.919
<v Speaker 2>in my seat patiently waiting to see all the young

0:41:07.000 --> 0:41:09.760
<v Speaker 2>cats perform. I wanted to see what type of energy

0:41:09.760 --> 0:41:12.960
<v Speaker 2>they bring in. And then especially since you know, you

0:41:13.040 --> 0:41:16.919
<v Speaker 2>have people like myself, m see like Red Man, Bust

0:41:17.040 --> 0:41:20.919
<v Speaker 2>Uncle Luke. You know what well, I mean, Buster's still

0:41:20.960 --> 0:41:22.960
<v Speaker 2>doing his thing. You know what I'm saying, He's still going.

0:41:23.080 --> 0:41:24.640
<v Speaker 2>But I mean, but you know, you you got all

0:41:24.640 --> 0:41:26.520
<v Speaker 2>these I mean, it's like for them to look at

0:41:26.640 --> 0:41:29.920
<v Speaker 2>and see. Okay, okay, right, So I wanted to see

0:41:30.000 --> 0:41:33.319
<v Speaker 2>what they were going to do on stage, and the

0:41:33.400 --> 0:41:38.280
<v Speaker 2>Migos and Lola Brook they did not let me down. Wow.

0:41:38.880 --> 0:41:43.319
<v Speaker 2>I thought that Lola and the Migos gave amazing performances.

0:41:43.560 --> 0:41:44.839
<v Speaker 6>That's the type of ship I like to see.

0:41:44.880 --> 0:41:46.479
<v Speaker 1>And it was the first time seeing the Migos together

0:41:46.480 --> 0:41:47.160
<v Speaker 1>in a long time.

0:41:47.280 --> 0:41:50.000
<v Speaker 6>Yeah yeah, yeah exactly.

0:41:50.280 --> 0:41:54.480
<v Speaker 2>But with even with that being a factor when it's

0:41:54.480 --> 0:41:58.439
<v Speaker 2>time to get it on, yeah, yeah, man, it looked

0:41:58.440 --> 0:42:03.000
<v Speaker 2>beautiful and like to see lower Brook like, you know,

0:42:03.280 --> 0:42:06.400
<v Speaker 2>actually really spitting and then jumping back and dancing with

0:42:06.440 --> 0:42:07.359
<v Speaker 2>her dances and ship.

0:42:07.760 --> 0:42:08.560
<v Speaker 3>She was not playing with it.

0:42:08.640 --> 0:42:09.160
<v Speaker 6>Yeah yeah, she.

0:42:11.239 --> 0:42:12.960
<v Speaker 3>Was go ahead.

0:42:15.239 --> 0:42:16.680
<v Speaker 1>Brooklyn energy right from Brooklyn.

0:42:16.760 --> 0:42:16.880
<v Speaker 6>Right.

0:42:19.880 --> 0:42:26.040
<v Speaker 1>Yeah, you could never take a Brooklyn dude out of

0:42:26.040 --> 0:42:26.600
<v Speaker 1>be in Brooklyn.

0:42:26.640 --> 0:42:28.120
<v Speaker 6>Man.

0:42:28.320 --> 0:42:33.320
<v Speaker 1>Specialist, But let's let's smoke about that for a second,

0:42:33.320 --> 0:42:38.080
<v Speaker 1>because special gave us a different perspective on it. He

0:42:38.200 --> 0:42:40.080
<v Speaker 1>was like that he felt like that I dont know,

0:42:40.080 --> 0:42:42.520
<v Speaker 1>we spoke about it earlier, but he felt like that

0:42:43.160 --> 0:42:45.960
<v Speaker 1>the hip hop fifty is more for corporations, it's not

0:42:46.000 --> 0:42:48.920
<v Speaker 1>really for us. And I disagree, but I let him vent.

0:42:51.880 --> 0:42:53.480
<v Speaker 1>Like you just said you said earlier. He was like,

0:42:53.640 --> 0:42:55.560
<v Speaker 1>as long as you know the artist is getting paid

0:42:55.719 --> 0:42:57.040
<v Speaker 1>and this is something that we want to do. I

0:42:57.080 --> 0:43:00.000
<v Speaker 1>don't think that Yankee Stadium was commercialized. I think Yanks

0:43:00.120 --> 0:43:00.600
<v Speaker 1>it was still in.

0:43:01.320 --> 0:43:05.040
<v Speaker 2>But it was because I mean, his his house, Okay,

0:43:08.120 --> 0:43:16.120
<v Speaker 2>Mally mal cold Crush, all the pioneers, right, they went

0:43:16.160 --> 0:43:17.399
<v Speaker 2>on like twelfth Noon. Yeah.

0:43:17.400 --> 0:43:19.120
<v Speaker 3>I was thinking they should have been the headliners.

0:43:19.160 --> 0:43:21.120
<v Speaker 6>All no, no, no, no, no, not the headline.

0:43:22.120 --> 0:43:24.400
<v Speaker 2>Yeah, they should have like fit them in like in between,

0:43:24.600 --> 0:43:26.200
<v Speaker 2>like you know, oh what kind.

0:43:26.000 --> 0:43:28.279
<v Speaker 1>Of look at the flyer wrong? When they were at

0:43:28.320 --> 0:43:30.120
<v Speaker 1>the bottom, I was looking at it as if it

0:43:30.239 --> 0:43:30.840
<v Speaker 1>was the top.

0:43:30.680 --> 0:43:31.879
<v Speaker 6>Of the black you know, the pie.

0:43:31.920 --> 0:43:34.160
<v Speaker 2>And then it's like you say, I understand that they

0:43:34.160 --> 0:43:38.440
<v Speaker 2>don't have hit records, and the ones that did have

0:43:38.520 --> 0:43:41.960
<v Speaker 2>hit records in the early eighties, a younger generation are

0:43:41.960 --> 0:43:44.719
<v Speaker 2>not aware of that. I get that. Still, in all,

0:43:45.160 --> 0:43:49.280
<v Speaker 2>if we really celebrating hip fifty years of hip hop, right,

0:43:49.680 --> 0:43:54.279
<v Speaker 2>then respect those that created the platform for it to

0:43:54.320 --> 0:43:59.000
<v Speaker 2>get here, right, you know, I mean, you know Russell Simmons,

0:43:59.000 --> 0:44:02.280
<v Speaker 2>Tyrone Williams, are Andre Harel, they did a great job.

0:44:02.440 --> 0:44:05.800
<v Speaker 2>You know, jay Z, Shook, Knight, Puffy, so many of

0:44:05.880 --> 0:44:07.440
<v Speaker 2>us did a great job. You know what I'm saying

0:44:07.680 --> 0:44:10.160
<v Speaker 2>as keeping it going and all that there. But I

0:44:10.160 --> 0:44:15.000
<v Speaker 2>do respect those that helped create this platform, you know,

0:44:15.840 --> 0:44:19.319
<v Speaker 2>sugar Hill Gang, Grand Master Flash, in the Furious Five,

0:44:19.400 --> 0:44:22.160
<v Speaker 2>Cold Cush Brothers, make it where they can be seen.

0:44:22.440 --> 0:44:24.560
<v Speaker 2>That's why that meant so much to me. For Snoop

0:44:24.600 --> 0:44:27.000
<v Speaker 2>to bring out Hollywood, that meant the world.

0:44:27.120 --> 0:44:29.239
<v Speaker 1>I believe that was Russell Simmons pulling those strings too.

0:44:29.320 --> 0:44:31.240
<v Speaker 2>Yeah, yeah, yeah, yeah, of course. Yeah.

0:44:31.640 --> 0:44:33.920
<v Speaker 1>Oh man, and let me so, let me ask you

0:44:33.920 --> 0:44:36.000
<v Speaker 1>why we're on this subject, and especially while we're in

0:44:36.040 --> 0:44:37.960
<v Speaker 1>the South, A lot of people like one of the

0:44:37.960 --> 0:44:40.880
<v Speaker 1>first things that we heard, especially living in Miami, was

0:44:41.000 --> 0:44:44.520
<v Speaker 1>Uncle LUTH's voice. Uncle Luke was like, he felt like,

0:44:46.000 --> 0:44:49.000
<v Speaker 1>I don't I don't believe he said the South. I

0:44:49.000 --> 0:44:52.000
<v Speaker 1>believe he said Florida. He said Florida. But there's a

0:44:52.120 --> 0:44:54.200
<v Speaker 1>different regions like the West. I'm here and there because

0:44:54.200 --> 0:44:56.880
<v Speaker 1>now I'm seeing Jermaine Duprie saying the same thing, and

0:44:57.360 --> 0:44:58.879
<v Speaker 1>it bugged me out a little bit because I seen

0:44:58.960 --> 0:45:02.759
<v Speaker 1>Jermaine Duprie happy backstage like he was. He was back there,

0:45:02.760 --> 0:45:04.920
<v Speaker 1>he was filming himself, and then when he went back

0:45:04.920 --> 0:45:07.520
<v Speaker 1>home to Atlanta, he was He's basically like, uh, you know,

0:45:08.440 --> 0:45:10.880
<v Speaker 1>that was a New York thing, and New York doesn't

0:45:10.880 --> 0:45:15.319
<v Speaker 1>really recognize Atlanta. That's what Jabani the preset, and then

0:45:15.400 --> 0:45:18.680
<v Speaker 1>Luke pretty much said the same thing, but he uh,

0:45:19.120 --> 0:45:20.360
<v Speaker 1>I did de fight it with Florida.

0:45:20.440 --> 0:45:20.720
<v Speaker 2>Correct.

0:45:21.040 --> 0:45:23.000
<v Speaker 1>When you hear things like that, what do you think?

0:45:23.200 --> 0:45:24.400
<v Speaker 3>What does come.

0:45:25.840 --> 0:45:28.440
<v Speaker 6>Like that? Don't it identify?

0:45:28.800 --> 0:45:29.160
<v Speaker 2>This sound?

0:45:29.280 --> 0:45:32.960
<v Speaker 5>Wasn't enough representation of the whole country in terms of well,

0:45:33.040 --> 0:45:34.760
<v Speaker 5>like I mean the regions.

0:45:34.840 --> 0:45:38.040
<v Speaker 2>Yeah, I mean it probably wasn't. I mean, it's too

0:45:38.040 --> 0:45:40.800
<v Speaker 2>many goddamn artists, man, you know, for one night, you

0:45:40.880 --> 0:45:42.279
<v Speaker 2>know what I mean, it's too many artists, man.

0:45:42.440 --> 0:45:43.560
<v Speaker 6>I mean it probably wasn't.

0:45:44.040 --> 0:45:49.280
<v Speaker 2>But I mean, to me, that's only reason enough to

0:45:49.640 --> 0:45:55.040
<v Speaker 2>do a hip hop fiftyth in Atlanta, you know, yeahs right, Yeah,

0:45:55.080 --> 0:46:00.080
<v Speaker 2>you get on outcast together, you know the brat you know, so,

0:46:00.120 --> 0:46:02.520
<v Speaker 2>I mean, you know, even bring out what's what's my

0:46:02.600 --> 0:46:05.160
<v Speaker 2>man name? I think he was like the first Southern

0:46:05.280 --> 0:46:05.800
<v Speaker 2>was Sha.

0:46:05.800 --> 0:46:07.880
<v Speaker 3>D y D.

0:46:08.080 --> 0:46:11.120
<v Speaker 2>Yeah. Yeah, Uncle Luke called me bring them all out,

0:46:11.120 --> 0:46:13.719
<v Speaker 2>se Lo Green, Goodie, Marb you know, like boys with

0:46:13.880 --> 0:46:17.919
<v Speaker 2>your crew. Yeah, yeah, bring them out, Daddy, Trina, bring

0:46:17.960 --> 0:46:19.040
<v Speaker 2>them all out, you know.

0:46:19.160 --> 0:46:21.239
<v Speaker 1>Because Trina was on the show, and so it was

0:46:22.600 --> 0:46:26.880
<v Speaker 1>Florider and t I Florid was on. Yeah, I seemed

0:46:27.320 --> 0:46:30.120
<v Speaker 1>Publar getting me bring out floor Rider. Really yeah, it

0:46:30.280 --> 0:46:32.680
<v Speaker 1>was something. I don't know if he's Yankee Stadium.

0:46:32.280 --> 0:46:32.640
<v Speaker 2>But it was.

0:46:32.680 --> 0:46:35.160
<v Speaker 1>He was there that during that fifty about week.

0:46:35.239 --> 0:46:35.479
<v Speaker 2>Yeah.

0:46:35.920 --> 0:46:38.759
<v Speaker 6>See with this, with with what m seeing became.

0:46:40.680 --> 0:46:47.439
<v Speaker 2>Thanks to Mellie mel was a way of ghetto expression, right,

0:46:48.400 --> 0:46:53.719
<v Speaker 2>and there's more ghettos than New York. You know when

0:46:53.760 --> 0:46:56.960
<v Speaker 2>we heard straight out of Compton and what n w

0:46:56.960 --> 0:46:59.960
<v Speaker 2>A was talking about, you know, we got an expanse

0:47:00.560 --> 0:47:04.279
<v Speaker 2>of what the streets was like in l A. You know,

0:47:06.400 --> 0:47:09.280
<v Speaker 2>when the Ghetto Boys came out, we had a chance

0:47:09.360 --> 0:47:12.719
<v Speaker 2>to experience what the streets was like Houston and what

0:47:12.760 --> 0:47:15.600
<v Speaker 2>do you call that is Southwest.

0:47:15.280 --> 0:47:16.640
<v Speaker 3>In the wars right in the wards.

0:47:17.000 --> 0:47:19.719
<v Speaker 2>Yeah yeah, I mean like the region is that those

0:47:20.000 --> 0:47:23.960
<v Speaker 2>that would that be considered Southwest, Now this is the

0:47:24.040 --> 0:47:28.600
<v Speaker 2>South is so okay, but yeah, you got to experience that,

0:47:28.920 --> 0:47:35.680
<v Speaker 2>you know, I mean even even with eminem because not

0:47:35.760 --> 0:47:41.760
<v Speaker 2>only well oh yeah, not only is that Detroit hood,

0:47:42.239 --> 0:47:44.040
<v Speaker 2>but it's not our hood.

0:47:45.239 --> 0:47:46.919
<v Speaker 6>Yeah, no, he talking trailer parks.

0:47:48.280 --> 0:47:51.080
<v Speaker 2>I'm saying, so you you get to hear by the

0:47:51.120 --> 0:47:53.359
<v Speaker 2>white hood. You know what I'm saying. I mean, I'm

0:47:53.400 --> 0:47:56.600
<v Speaker 2>other than Roseanne. I don't know nothing about no trailer parks.

0:47:57.120 --> 0:47:57.680
<v Speaker 6>You know what I'm saying.

0:47:58.800 --> 0:48:01.319
<v Speaker 2>Eminem gave gave us like what it was like in

0:48:01.360 --> 0:48:03.319
<v Speaker 2>his hood growing up. You know what I'm saying. So

0:48:03.360 --> 0:48:06.279
<v Speaker 2>it's like it's the way what ghetto expression can be. Man.

0:48:06.320 --> 0:48:08.560
<v Speaker 2>It's beautiful man, you know so, I mean it's it's

0:48:08.600 --> 0:48:11.120
<v Speaker 2>out there in all types of different regions man. You know. So,

0:48:11.160 --> 0:48:14.120
<v Speaker 2>I mean, you don't have to just end the Yankee Stadium,

0:48:14.160 --> 0:48:16.600
<v Speaker 2>but you're still young and shit. Throw something in Atlanta,

0:48:16.640 --> 0:48:19.000
<v Speaker 2>throw something in Detroit, throw something in la you know.

0:48:19.200 --> 0:48:20.680
<v Speaker 1>That was one of the things that I noticed about

0:48:20.719 --> 0:48:23.919
<v Speaker 1>your documentary, sorry bounced around, was that you had Eminem

0:48:24.040 --> 0:48:27.399
<v Speaker 1>in the documentary. For those that haven't seen the trailer yet,

0:48:27.719 --> 0:48:30.319
<v Speaker 1>and you know, this is one of them unicorn guys, right,

0:48:30.360 --> 0:48:32.600
<v Speaker 1>this is a guy like no one could get Eminem, right.

0:48:33.360 --> 0:48:35.759
<v Speaker 1>Was it hard for you to reach Eminem or this

0:48:35.840 --> 0:48:37.960
<v Speaker 1>was something that you know, because I know he's a

0:48:38.000 --> 0:48:38.960
<v Speaker 1>real hip hop fan.

0:48:39.120 --> 0:48:47.120
<v Speaker 2>So showed love. When we reached out he said yeah, wow,

0:48:48.840 --> 0:48:53.400
<v Speaker 2>when well, no, let me not say that, but but

0:48:54.800 --> 0:48:57.680
<v Speaker 2>he showed love. He showed love and he made it

0:48:57.760 --> 0:48:59.080
<v Speaker 2>will let me let me, let me see, let me

0:48:59.080 --> 0:49:01.520
<v Speaker 2>word it this way. He made it where we wouldn't

0:49:01.520 --> 0:49:05.080
<v Speaker 2>have no problems, and you know it was okay with

0:49:05.200 --> 0:49:08.360
<v Speaker 2>you know, using his likeness in order, Like he showed

0:49:08.400 --> 0:49:10.439
<v Speaker 2>love and showed up with a with a Big Daddy

0:49:10.480 --> 0:49:11.680
<v Speaker 2>Gang show on to do the interview.

0:49:11.800 --> 0:49:12.680
<v Speaker 1>Wow, goddamn.

0:49:12.840 --> 0:49:17.160
<v Speaker 2>And the craziest thing is he told me stuff about

0:49:17.200 --> 0:49:21.359
<v Speaker 2>myself that I never even thought about, you know, because

0:49:21.360 --> 0:49:23.840
<v Speaker 2>I mean you as an MC, you're writing, yes, but

0:49:23.960 --> 0:49:27.040
<v Speaker 2>it's like you're not sitting there thinking like you know,

0:49:27.360 --> 0:49:30.680
<v Speaker 2>I gotta add something that does this, I gotta add something.

0:49:30.840 --> 0:49:34.279
<v Speaker 2>You just writing what comes to mind. So that's what

0:49:34.320 --> 0:49:36.879
<v Speaker 2>I'm doing. And he pointed out stuff that I did,

0:49:36.920 --> 0:49:39.080
<v Speaker 2>and I'm sitting there listening and talking and when I'm

0:49:39.120 --> 0:49:40.680
<v Speaker 2>the whole time looking at him, but in my mind,

0:49:40.719 --> 0:49:45.239
<v Speaker 2>I'm like, real, I did that. Now I'm sitting there

0:49:45.239 --> 0:49:46.759
<v Speaker 2>and then like you know, we finished, I had to

0:49:46.760 --> 0:49:49.080
<v Speaker 2>like go back and listen to records from the mid

0:49:49.120 --> 0:49:51.719
<v Speaker 2>eighties early eighties, like now they had to be someone

0:49:51.760 --> 0:49:55.759
<v Speaker 2>that did this before me, Like damn, Like I never

0:49:55.840 --> 0:49:58.399
<v Speaker 2>thought about that. Like, yeah, he said some deep stuff, man,

0:49:58.440 --> 0:50:00.520
<v Speaker 2>he said some real deep stuff. He's a suitor of

0:50:00.560 --> 0:50:01.160
<v Speaker 2>the game for sure.

0:50:01.440 --> 0:50:02.359
<v Speaker 3>I love that fact.

0:50:02.400 --> 0:50:05.200
<v Speaker 1>I love the fact that when it comes to the ogs,

0:50:05.239 --> 0:50:06.759
<v Speaker 1>like he always you know what I mean. I mean,

0:50:06.920 --> 0:50:08.439
<v Speaker 1>didn't he accept the award.

0:50:08.400 --> 0:50:12.480
<v Speaker 3>And he listed off, Yeah, mad people almost, But him.

0:50:12.320 --> 0:50:16.600
<v Speaker 1>And Melly Mail were at it, like you can't call

0:50:16.680 --> 0:50:17.760
<v Speaker 1>Mellie mill as they relax.

0:50:19.400 --> 0:50:19.919
<v Speaker 2>Me and Mel.

0:50:20.760 --> 0:50:23.160
<v Speaker 6>Me and Mel actually did talk. See.

0:50:24.120 --> 0:50:28.319
<v Speaker 2>The thing that a lot of people don't understand is like,

0:50:29.360 --> 0:50:34.040
<v Speaker 2>I have a perspective on hip hop because of the

0:50:34.080 --> 0:50:36.879
<v Speaker 2>way I understood it first time I heard hip hop

0:50:36.920 --> 0:50:41.360
<v Speaker 2>was seventy seven. I have a perspective, you know, from

0:50:41.800 --> 0:50:44.600
<v Speaker 2>what I learned from that point. Whenever it was that

0:50:44.680 --> 0:50:46.600
<v Speaker 2>you heard it, whenever it was that you heard it.

0:50:46.800 --> 0:50:52.520
<v Speaker 2>His perspectives that we all have, right, Melly Mel has

0:50:52.560 --> 0:50:56.600
<v Speaker 2>a perspective from the origin. Okay, and a lot of

0:50:56.600 --> 0:51:01.439
<v Speaker 2>those cats feel that when it went to record, hip

0:51:01.480 --> 0:51:05.400
<v Speaker 2>hop was ruined at that point. The purest form of

0:51:05.480 --> 0:51:08.520
<v Speaker 2>hip hop was ruined as soon as it went to record,

0:51:08.800 --> 0:51:11.120
<v Speaker 2>When it became an official music genre.

0:51:11.320 --> 0:51:15.439
<v Speaker 3>Became a business. Yeah, okay, yeah, that gang. I would

0:51:15.440 --> 0:51:18.640
<v Speaker 3>assume that was the first time they felt that way.

0:51:19.239 --> 0:51:21.799
<v Speaker 2>It's possible, but I mean it's like, well, I would

0:51:21.800 --> 0:51:23.879
<v Speaker 2>assume maybe a year so later, because it's like now

0:51:23.920 --> 0:51:27.359
<v Speaker 2>you're seeing the effects. You're seeing what's happening to what

0:51:27.440 --> 0:51:30.680
<v Speaker 2>y'all created and what y'all been doing. Now it's going

0:51:30.719 --> 0:51:34.160
<v Speaker 2>a different direction and how it's being driven. So it's

0:51:34.280 --> 0:51:38.960
<v Speaker 2>like you have to understand his bitterness, you know, because

0:51:38.960 --> 0:51:40.400
<v Speaker 2>it's it's not about hate.

0:51:41.000 --> 0:51:44.000
<v Speaker 6>It's about, you know, what happened.

0:51:43.719 --> 0:51:46.359
<v Speaker 3>To his baby, right, you can't dismiss that.

0:51:46.440 --> 0:51:48.440
<v Speaker 2>You know her cast as well, you know a lot

0:51:48.480 --> 0:51:51.240
<v Speaker 2>of them, you know, so it's what happened to their baby,

0:51:51.840 --> 0:51:55.400
<v Speaker 2>you know. So I mean it's like I respect their anger,

0:51:55.719 --> 0:51:57.880
<v Speaker 2>but at the same time, you know, I try to,

0:51:57.960 --> 0:52:00.640
<v Speaker 2>you know, in a you know, diplomatic wage, just build

0:52:00.640 --> 0:52:03.960
<v Speaker 2>with the brother and say listen, man, it ain't work,

0:52:04.040 --> 0:52:06.040
<v Speaker 2>you know, just you know, you know.

0:52:06.440 --> 0:52:08.759
<v Speaker 1>Yeah, because at one point I felt like Melly Mill

0:52:08.840 --> 0:52:10.759
<v Speaker 1>had a problem with everybody he does.

0:52:11.920 --> 0:52:15.640
<v Speaker 2>Mel cursed my ass out one night, Bell's jumped up

0:52:15.680 --> 0:52:19.600
<v Speaker 2>over me, kicked the fucking Ottoman. Was like motherfucker. You

0:52:19.680 --> 0:52:22.560
<v Speaker 2>wasn't there. He was a baby when it ship started.

0:52:22.600 --> 0:52:32.520
<v Speaker 2>You wasn't he was. I ain't gonna bring it up, man.

0:52:34.960 --> 0:52:38.040
<v Speaker 1>But so it's not just a couple of us, it's everyone.

0:52:38.400 --> 0:52:43.160
<v Speaker 2>Yeah. Yeah, if you relax, be like, all right, yeah,

0:52:43.200 --> 0:52:46.080
<v Speaker 2>I mean, that's just mal, that's just mel Man. I mean,

0:52:46.200 --> 0:52:49.399
<v Speaker 2>but I mean it's like, the bottom line is just man,

0:52:49.520 --> 0:52:57.560
<v Speaker 2>you know, rather he right or wrong. I feel like myself, you, Eminem,

0:52:57.640 --> 0:53:01.280
<v Speaker 2>and so many others wouldn't have been here or wouldn't

0:53:01.320 --> 0:53:03.920
<v Speaker 2>have been gifted at this if it wasn't for Mail.

0:53:03.920 --> 0:53:10.040
<v Speaker 5>Right, you know, let me ask you, in the same

0:53:10.120 --> 0:53:12.560
<v Speaker 5>vein of all this, what do you think? What's your

0:53:12.600 --> 0:53:16.800
<v Speaker 5>perspective on the state of MC today.

0:53:18.760 --> 0:53:21.360
<v Speaker 2>I think that there are a lot of dope mcs

0:53:21.400 --> 0:53:24.880
<v Speaker 2>out there. You just have to find them, right you know.

0:53:25.280 --> 0:53:27.839
<v Speaker 2>I think that there's a lot of dope mcs out there,

0:53:27.840 --> 0:53:31.560
<v Speaker 2>you just have to find them right now because of

0:53:31.640 --> 0:53:37.400
<v Speaker 2>what radio does right now. Because of what radio does,

0:53:37.760 --> 0:53:42.200
<v Speaker 2>they focus on a certain kind of music, you know,

0:53:43.320 --> 0:53:45.600
<v Speaker 2>and because of that, that's what's put to the forefront,

0:53:46.960 --> 0:53:50.720
<v Speaker 2>and that's all you think about. So you're not thinking about,

0:53:50.920 --> 0:53:55.000
<v Speaker 2>you know, who's lyrical and then the other thing. And

0:53:55.000 --> 0:53:59.799
<v Speaker 2>I'm gonna say this to all my lyrical MC's, with

0:54:00.080 --> 0:54:03.719
<v Speaker 2>the exception of Lady London, She's not included.

0:54:03.920 --> 0:54:04.480
<v Speaker 6>Here's why.

0:54:05.440 --> 0:54:09.120
<v Speaker 2>As a lyrical MC, I think that it's very important

0:54:09.160 --> 0:54:12.759
<v Speaker 2>for you to look the part as well look fly

0:54:13.040 --> 0:54:16.200
<v Speaker 2>so that people if they're not paying attention to what

0:54:16.239 --> 0:54:19.719
<v Speaker 2>they say, what you say, they're paying attention to how

0:54:19.760 --> 0:54:24.280
<v Speaker 2>you look and then they gravitate, gravitate to the lyrics,

0:54:24.880 --> 0:54:29.160
<v Speaker 2>you know. But there are a lot of lyrical mcs,

0:54:29.440 --> 0:54:31.640
<v Speaker 2>you just have to find them. But at this point

0:54:31.680 --> 0:54:34.160
<v Speaker 2>in time, what's more important really is like you know,

0:54:34.520 --> 0:54:36.840
<v Speaker 2>a catchy tune, you know, and.

0:54:37.200 --> 0:54:40.640
<v Speaker 5>I'll you said, the look, but also the production, because

0:54:40.680 --> 0:54:45.719
<v Speaker 5>you'll have an incredible lyrically you know, lyrical MC that

0:54:45.920 --> 0:54:48.440
<v Speaker 5>doesn't pick good production to put.

0:54:48.280 --> 0:54:49.000
<v Speaker 3>Those lyrics too.

0:54:49.360 --> 0:54:53.080
<v Speaker 2>Well, it's not he don't pick good production, is that

0:54:53.520 --> 0:54:58.759
<v Speaker 2>he doesn't pick commercial productions. Most lyrical MC is like

0:54:58.800 --> 0:55:02.480
<v Speaker 2>bone BAP and that's not what's really selling or what's

0:55:02.680 --> 0:55:06.000
<v Speaker 2>playing on the radio, you know. But you do have

0:55:06.080 --> 0:55:10.040
<v Speaker 2>lyrical mcs that you know, rhyme over the uh that

0:55:10.200 --> 0:55:11.840
<v Speaker 2>modern style production.

0:55:11.600 --> 0:55:12.840
<v Speaker 6>Like J Cole.

0:55:13.160 --> 0:55:14.480
<v Speaker 1>Government documentary as well.

0:55:14.560 --> 0:55:18.840
<v Speaker 2>He kills Kendrick J. Cole is my favorite MC of

0:55:18.920 --> 0:55:21.600
<v Speaker 2>this era. Shout out to Conway the Machine. I love

0:55:21.680 --> 0:55:23.160
<v Speaker 2>him to death. Billy Butcher.

0:55:24.280 --> 0:55:27.480
<v Speaker 1>Yeah, on the flag stables out there.

0:55:27.040 --> 0:55:31.720
<v Speaker 2>J Cole, J Cole, Oh man, like he's a problem

0:55:31.719 --> 0:55:31.920
<v Speaker 2>to me.

0:55:32.040 --> 0:55:34.400
<v Speaker 3>Cole and Kendrick, they're they're tied to me.

0:55:34.920 --> 0:55:40.200
<v Speaker 2>I love Kendrick. But you got to understand Cole said,

0:55:41.040 --> 0:55:42.080
<v Speaker 2>no Cosby shipped.

0:55:42.080 --> 0:55:44.000
<v Speaker 6>But if they're sleeping on me, fuck them.

0:55:52.440 --> 0:55:53.560
<v Speaker 1>I didn't even catch that.

0:55:54.800 --> 0:55:57.080
<v Speaker 3>No Cosh but sleeping on them.

0:55:59.280 --> 0:56:02.840
<v Speaker 2>But if they sleeping on me, there's a lot. I

0:56:02.880 --> 0:56:04.000
<v Speaker 2>don't believe that right there?

0:56:04.680 --> 0:56:05.640
<v Speaker 3>Where do you say that that?

0:56:11.080 --> 0:56:20.840
<v Speaker 2>However, y'all want to come back to this, Yeah, yeah, no, no,

0:56:20.640 --> 0:56:29.839
<v Speaker 2>no for Jake Paul. Now, while we're on this subject matter,

0:56:31.560 --> 0:56:35.360
<v Speaker 2>as I said, I'm speaking about everyone except Lady London.

0:56:35.400 --> 0:56:37.960
<v Speaker 2>The reason why I say that is because Lady London

0:56:38.080 --> 0:56:41.399
<v Speaker 2>she does look the part. She stay fly from head

0:56:41.400 --> 0:56:45.600
<v Speaker 2>to toe, you know what I'm saying. And her bars

0:56:45.880 --> 0:56:49.120
<v Speaker 2>are ridiculous, ridiculous, you know.

0:56:50.040 --> 0:56:51.360
<v Speaker 6>And not only.

0:56:51.200 --> 0:56:55.080
<v Speaker 2>That she she don't be half naked, not say anything

0:56:55.120 --> 0:56:57.319
<v Speaker 2>negative about the women that do. I'm just saying that,

0:56:57.680 --> 0:57:00.799
<v Speaker 2>you know, she don't rely on that you rely on

0:57:00.880 --> 0:57:05.400
<v Speaker 2>her beauty and her lyrics, mainly her lyrics, you know.

0:57:06.120 --> 0:57:11.960
<v Speaker 2>And Lady London, m she said, I go on a

0:57:12.080 --> 0:57:14.839
<v Speaker 2>date just for a date. Just I let that sit

0:57:14.880 --> 0:57:18.920
<v Speaker 2>there for them, catch up, take.

0:57:18.800 --> 0:57:27.520
<v Speaker 3>Your time.

0:57:26.400 --> 0:57:27.320
<v Speaker 2>For Lady London.

0:57:33.840 --> 0:57:35.960
<v Speaker 1>That was woman.

0:57:35.760 --> 0:57:43.640
<v Speaker 2>Didn't get that. Somebody please explain matter of fact, let

0:57:43.720 --> 0:57:48.240
<v Speaker 2>me explain that that that that don't understand. I go

0:57:48.320 --> 0:57:51.400
<v Speaker 2>on a date just for a date, just date, just

0:57:51.480 --> 0:57:55.480
<v Speaker 2>as a rolex. Yes, that's a kind of rolex. So

0:57:55.560 --> 0:57:57.360
<v Speaker 2>she's saying, yeah, I go on a date just just

0:57:57.600 --> 0:58:01.520
<v Speaker 2>for for a dude to buy me a Rolex. Don't

0:58:01.520 --> 0:58:08.320
<v Speaker 2>play with that girl, quick time, let's do it.

0:58:10.040 --> 0:58:15.919
<v Speaker 1>Okay, Oh yeah, yeah, well ka, big daddy king my brother.

0:58:16.200 --> 0:58:18.040
<v Speaker 1>Let me just tell you something. Our show is about

0:58:18.080 --> 0:58:21.120
<v Speaker 1>giving people their flowers. Were always wanted to have this

0:58:21.200 --> 0:58:25.000
<v Speaker 1>show to, you know, to to to to salute our ogs,

0:58:25.040 --> 0:58:28.760
<v Speaker 1>the people that made this life possible for us to

0:58:28.800 --> 0:58:30.200
<v Speaker 1>live the life that we live. And we want to

0:58:30.200 --> 0:58:35.560
<v Speaker 1>give you, face to face your flowers. Said, It's like

0:58:35.560 --> 0:58:48.560
<v Speaker 1>a Grammy because it comes from your own people and.

0:58:43.600 --> 0:58:44.320
<v Speaker 2>We have you back.

0:58:44.400 --> 0:58:49.440
<v Speaker 1>Yes, yeah yeah. And by the way, he always drinks

0:58:49.440 --> 0:58:52.960
<v Speaker 1>so exclusive ship drink some Exclusive ship let me just

0:58:52.960 --> 0:58:58.160
<v Speaker 1>tell you something, young whipper snappers. He is og to

0:58:58.320 --> 0:59:03.800
<v Speaker 1>the per talking about anything about him, his motherfucking impeccable.

0:59:03.920 --> 0:59:05.040
<v Speaker 3>Goddamn. Let's go one.

0:59:05.040 --> 0:59:07.160
<v Speaker 1>All right, we're gonna you wanna splain them, Thomas.

0:59:07.520 --> 0:59:10.600
<v Speaker 5>Yeah, We're gonna give you two choices. If you pick one,

0:59:11.280 --> 0:59:14.800
<v Speaker 5>nobody's drinking. This is a drinking game, by the way. Okay,

0:59:14.200 --> 0:59:17.280
<v Speaker 5>so if you pick one, nobody's drinking. If you say

0:59:17.440 --> 0:59:21.720
<v Speaker 5>both or neither, we all drink.

0:59:22.080 --> 0:59:22.880
<v Speaker 3>I mean he could do whatever.

0:59:22.880 --> 0:59:24.800
<v Speaker 2>He yeah, he can, we don't.

0:59:25.480 --> 0:59:27.320
<v Speaker 1>Yeah, yeah, yeah, yeah, that's okay, you can do it.

0:59:27.360 --> 0:59:30.880
<v Speaker 2>Now what what what? What's the answer if someone has.

0:59:31.440 --> 0:59:33.920
<v Speaker 5>If I'm saying, we're gonna give you two choices, if

0:59:33.960 --> 0:59:35.480
<v Speaker 5>you pick one, that said, would we just go on

0:59:35.520 --> 0:59:38.000
<v Speaker 5>to the next one. If you say both, like you say,

0:59:38.040 --> 0:59:41.200
<v Speaker 5>well that I'm picking both or I'm picking neither of them,

0:59:41.720 --> 0:59:42.400
<v Speaker 5>then we're drinking.

0:59:42.840 --> 0:59:44.040
<v Speaker 3>Cool all right?

0:59:46.000 --> 0:59:48.280
<v Speaker 9>No, no, no, why yeah, yeah, le's keep it with the wine.

0:59:48.280 --> 0:59:58.360
<v Speaker 9>That's right, Okay, Tupac or d m X. It's your

0:59:58.400 --> 1:00:00.520
<v Speaker 9>mind and you can explain it. You don't have takes place.

1:00:00.600 --> 1:00:01.760
<v Speaker 9>It's all up to you.

1:00:03.640 --> 1:00:12.040
<v Speaker 2>If if we talking artists, Tupac, if we're talking lyricists X.

1:00:12.400 --> 1:00:14.120
<v Speaker 3>That sounds like a drink to me. Sounds like both

1:00:14.240 --> 1:00:14.680
<v Speaker 3>sounds like.

1:00:17.880 --> 1:00:21.720
<v Speaker 1>Again, all right, I like this one Primo or Lars pro.

1:00:24.280 --> 1:00:30.280
<v Speaker 2>Mm hmmm. I would have to say I would have

1:00:30.520 --> 1:00:37.160
<v Speaker 2>I would I would have to say I would have

1:00:37.200 --> 1:00:41.040
<v Speaker 2>to say Primo okay. I would have to say Primo.

1:00:41.080 --> 1:00:43.240
<v Speaker 3>Okay, kick Apri or DJ Scratch.

1:00:44.280 --> 1:00:45.400
<v Speaker 6>You ain't putting me in that ship.

1:00:46.760 --> 1:00:47.240
<v Speaker 3>That's a good.

1:00:47.320 --> 1:00:54.880
<v Speaker 2>That's a good. I'll say like this said Rock a Party,

1:00:55.240 --> 1:00:58.000
<v Speaker 2>Kick Apri, DJ Battle Scratch.

1:00:58.600 --> 1:01:03.400
<v Speaker 1>That sounds like a drink to me, because that was

1:01:03.440 --> 1:01:04.960
<v Speaker 1>the big debate that night.

1:01:06.800 --> 1:01:11.160
<v Speaker 2>Uh, the verses, right, Yeah, I kind of take blame

1:01:11.240 --> 1:01:12.840
<v Speaker 2>for that, man, Okay, let's just play.

1:01:13.160 --> 1:01:15.360
<v Speaker 1>I can see your face.

1:01:16.240 --> 1:01:22.280
<v Speaker 2>No, because like when I told you earlier, he didn't

1:01:22.280 --> 1:01:24.760
<v Speaker 2>want to do it, okay, but then when when they

1:01:24.800 --> 1:01:27.320
<v Speaker 2>got cares to do it, he got he agreed to

1:01:27.320 --> 1:01:31.160
<v Speaker 2>do it with KRS got. So then when Charlie Max said, Yo,

1:01:31.400 --> 1:01:34.880
<v Speaker 2>we want you to use DJ Scratch, I said, okay, fine,

1:01:35.920 --> 1:01:38.760
<v Speaker 2>and then I called Scratch and I was like, yo,

1:01:39.000 --> 1:01:46.520
<v Speaker 2>his as you know, but I didn't know that. You

1:01:46.560 --> 1:01:49.200
<v Speaker 2>know that, you know, they had a little something going

1:01:49.240 --> 1:01:53.160
<v Speaker 2>on and you know, and you know when when Scratch

1:01:53.280 --> 1:01:55.960
<v Speaker 2>went the sucker DJ, and I was like, I was like, no,

1:01:56.160 --> 1:01:58.960
<v Speaker 2>hold no, just like you know, yeah, I came with

1:01:59.080 --> 1:02:05.320
<v Speaker 2>bars right and I spit some some simple ship, you know,

1:02:05.520 --> 1:02:07.840
<v Speaker 2>hoping that Chris was going to, you know, bite off

1:02:07.840 --> 1:02:10.560
<v Speaker 2>of it, you'll come but but he didn't. But I mean,

1:02:12.160 --> 1:02:15.760
<v Speaker 2>even with what I had locked and loaded, I wasn't

1:02:15.800 --> 1:02:18.800
<v Speaker 2>gonna call him no sucker and see nothing that degrading.

1:02:18.880 --> 1:02:20.600
<v Speaker 2>You know what I'm saying. That's my brother. It's like

1:02:20.680 --> 1:02:22.760
<v Speaker 2>I would spit some battle rounds, but I'm not going

1:02:22.760 --> 1:02:24.400
<v Speaker 2>to do. I love him, you know what I'm saying.

1:02:24.640 --> 1:02:26.440
<v Speaker 2>And you know I didn't know. I love k Caprice,

1:02:26.440 --> 1:02:28.600
<v Speaker 2>so I don't want you don't call him a sucker DJ.

1:02:29.160 --> 1:02:31.480
<v Speaker 6>A gentleman's yeah.

1:02:31.520 --> 1:02:35.400
<v Speaker 1>I mean I didn't take it that way. Asked me

1:02:35.480 --> 1:02:37.840
<v Speaker 1>watching it, I'll be watching it. I really did take

1:02:37.840 --> 1:02:39.880
<v Speaker 1>it as a DJ type type of thing. But when

1:02:40.440 --> 1:02:42.000
<v Speaker 1>Caprite didn't indulged back.

1:02:41.880 --> 1:02:43.560
<v Speaker 3>That's what I was like, Oh, maybe this wasn't right.

1:02:44.480 --> 1:02:46.120
<v Speaker 2>I mean it was like, you know, it was like

1:02:46.240 --> 1:02:48.600
<v Speaker 2>at that moment when scratched, I said, you know what,

1:02:49.200 --> 1:02:53.760
<v Speaker 2>I forgot you the funk I was talking to I'm like,

1:02:53.840 --> 1:02:56.200
<v Speaker 2>this is what the ship stra he was he was

1:02:56.240 --> 1:03:01.640
<v Speaker 2>going scratch. This was just me being being upset with Caprie.

1:03:01.760 --> 1:03:05.320
<v Speaker 2>You know, so now you can do it. Okay, answer

1:03:05.920 --> 1:03:08.640
<v Speaker 2>you know, but but you know, but I forgot who

1:03:08.680 --> 1:03:10.600
<v Speaker 2>I was dealing with. That was that was about fault

1:03:10.640 --> 1:03:13.800
<v Speaker 2>man poo. I'm sorry, brother, I'm sorry, brother.

1:03:14.080 --> 1:03:16.520
<v Speaker 3>Okay, care ras one or rock.

1:03:16.400 --> 1:03:26.800
<v Speaker 2>Him hm hmm. Once again, it's it depends. It's like.

1:03:28.280 --> 1:03:29.240
<v Speaker 3>You're gonna get a lot of it.

1:03:32.280 --> 1:03:32.960
<v Speaker 2>On a song.

1:03:33.680 --> 1:03:36.000
<v Speaker 6>Rock him in the battle Karres.

1:03:36.640 --> 1:03:42.920
<v Speaker 1>Okay, this sounds like.

1:03:43.680 --> 1:03:44.960
<v Speaker 2>Why are you all in our.

1:03:46.600 --> 1:03:49.640
<v Speaker 5>I was trying to avoid I get the next? Okay,

1:03:51.480 --> 1:03:54.360
<v Speaker 5>good one, by the way, all right, Guru or big

1:03:54.480 --> 1:03:56.680
<v Speaker 5>l rest in pieces of both.

1:03:59.280 --> 1:04:01.600
<v Speaker 2>I don't want to I don't. I mean these brothers

1:04:01.680 --> 1:04:03.320
<v Speaker 2>and they're not here no more, I don't. I don't

1:04:03.320 --> 1:04:03.960
<v Speaker 2>want to do that one.

1:04:04.040 --> 1:04:07.720
<v Speaker 1>Yes, we're gonna drink for that, so we're drinking. That

1:04:07.800 --> 1:04:12.600
<v Speaker 1>sounds like bo you one the next word because didn't

1:04:12.600 --> 1:04:14.680
<v Speaker 1>mister C bring Biggie to your career?

1:04:15.600 --> 1:04:15.760
<v Speaker 2>No?

1:04:15.760 --> 1:04:18.640
<v Speaker 6>No, no, okay, mister C.

1:04:18.880 --> 1:04:22.200
<v Speaker 2>Let me hear them. Okay, like he he did the

1:04:22.240 --> 1:04:24.560
<v Speaker 2>thing in his house with Biggie Ryman over the blind

1:04:24.600 --> 1:04:27.520
<v Speaker 2>alley beat that I just have stepping let me hear it.

1:04:27.640 --> 1:04:29.600
<v Speaker 6>Oh wow, yeah, Like she used to be like, yo,

1:04:29.760 --> 1:04:30.440
<v Speaker 6>you don't hear it.

1:04:31.000 --> 1:04:34.320
<v Speaker 2>I'm like because she thought that we sounded similar, and

1:04:34.360 --> 1:04:36.360
<v Speaker 2>I'm like, I don't really. Yeah, I'm like, I don't

1:04:36.400 --> 1:04:39.080
<v Speaker 2>hear it. Big I could see it. I didn't see

1:04:39.080 --> 1:04:41.520
<v Speaker 2>it though, Oh I could no, no, no, But eventually

1:04:41.520 --> 1:04:44.360
<v Speaker 2>I did, like I think with partying bullshit came out

1:04:44.440 --> 1:04:48.560
<v Speaker 2>and I was like even then, I was telling see,

1:04:48.640 --> 1:04:49.280
<v Speaker 2>I don't see it.

1:04:49.440 --> 1:04:49.720
<v Speaker 3>Wow.

1:04:49.880 --> 1:04:52.760
<v Speaker 2>Then the One More Chance remix came out and I called, see, yeah,

1:04:52.800 --> 1:04:55.120
<v Speaker 2>I see it.

1:04:56.520 --> 1:05:01.840
<v Speaker 1>I'm like, okay, quests or day I soul.

1:05:06.520 --> 1:05:09.960
<v Speaker 2>Pour up. That's a that's a tough one, man, because

1:05:10.000 --> 1:05:12.800
<v Speaker 2>you know, like Mace is my dude, like my brother.

1:05:13.280 --> 1:05:18.840
<v Speaker 2>But I probably I probably listened to more and then

1:05:19.000 --> 1:05:21.800
<v Speaker 2>what you call it. Dave was such a dope MC too.

1:05:23.040 --> 1:05:24.880
<v Speaker 2>Dave was such a dope see, but I don't know

1:05:24.920 --> 1:05:28.000
<v Speaker 2>make it. I probably listened to more tribe records. I

1:05:28.000 --> 1:05:30.400
<v Speaker 2>probably listened to more tribe records.

1:05:29.960 --> 1:05:34.160
<v Speaker 1>And bigger Dave try day I saw because they you know,

1:05:34.240 --> 1:05:37.080
<v Speaker 1>recently got their master's back. Is that something that you

1:05:37.200 --> 1:05:38.360
<v Speaker 1>you have your masters as well?

1:05:38.480 --> 1:05:39.800
<v Speaker 6>I'm in the process now.

1:05:39.720 --> 1:05:42.560
<v Speaker 1>Okay, yeah, that's what all of the Oh Jesus is saying.

1:05:43.360 --> 1:05:44.800
<v Speaker 1>I'm glad the next.

1:05:44.560 --> 1:05:51.160
<v Speaker 5>One DJ Hollywood or Cool Hirk. I'm kind of already well, I.

1:05:51.120 --> 1:05:54.680
<v Speaker 2>Mean, naturally, I would have to pick Hollywood because I'm

1:05:54.680 --> 1:05:57.520
<v Speaker 2>an MC, like I would expect the DJ would pick herk.

1:05:58.040 --> 1:06:00.080
<v Speaker 2>I'm an MC, so I mean, you know, I feel like,

1:06:00.160 --> 1:06:01.760
<v Speaker 2>you know, he birthed me, you know what I mean.

1:06:02.080 --> 1:06:03.880
<v Speaker 6>So I would they have to pick Hollywood just for

1:06:03.920 --> 1:06:04.440
<v Speaker 6>that reason.

1:06:04.560 --> 1:06:17.320
<v Speaker 5>Right right next one, Latifa Queen Latifa drink. Oh and

1:06:17.360 --> 1:06:19.200
<v Speaker 5>we need both of them on drinks. Yeah, we've been

1:06:19.240 --> 1:06:24.720
<v Speaker 5>asking for years. Yeah, okay, Molly mal or Pete Rock.

1:06:29.040 --> 1:06:31.360
<v Speaker 2>I would have to go with Mally for the simple

1:06:31.440 --> 1:06:38.240
<v Speaker 2>fact that there would be no Pete Rock. Primo Large

1:06:38.280 --> 1:06:41.640
<v Speaker 2>Professor just blazed, none of them. It wasn't for mallypet

1:06:41.800 --> 1:06:45.480
<v Speaker 2>that's who you know, brought that sample. Like I think

1:06:45.520 --> 1:06:48.080
<v Speaker 2>Curtis Blow is the first person to use a sample,

1:06:48.680 --> 1:06:52.360
<v Speaker 2>but it's just percussions from a Troublefunk record. The person

1:06:52.400 --> 1:06:55.840
<v Speaker 2>that really made sample and the way of hip hop

1:06:56.000 --> 1:06:58.200
<v Speaker 2>production is Marley. So I gotta go with Mally.

1:06:58.320 --> 1:07:03.200
<v Speaker 3>God damn it. Latin quarters are the fever Latin quarters.

1:07:03.600 --> 1:07:05.400
<v Speaker 2>I was so young for the fever, ok like yeah,

1:07:05.720 --> 1:07:08.600
<v Speaker 2>like right now, like south from the Fever. Yeah, even

1:07:08.720 --> 1:07:11.560
<v Speaker 2>be like, yo, man, I need you to do this

1:07:11.560 --> 1:07:14.800
<v Speaker 2>here show for me by I got like ten grand

1:07:14.800 --> 1:07:16.360
<v Speaker 2>come on and this is me, Sally sal came and

1:07:16.400 --> 1:07:22.040
<v Speaker 2>this me Salid. Y'all fucking twelve, man, I wasn't. I

1:07:22.080 --> 1:07:24.520
<v Speaker 2>don't owe you nothing, man, I'm fucking twelve years old,

1:07:24.600 --> 1:07:29.000
<v Speaker 2>so man, don't. But I love Salve Man. I love

1:07:29.120 --> 1:07:32.000
<v Speaker 2>Salve Man as matter of fact. Man, It's like, you know,

1:07:32.240 --> 1:07:35.000
<v Speaker 2>if I'm correct, I believe that's the first hip hop club, right.

1:07:37.000 --> 1:07:39.080
<v Speaker 3>No, the fever, the fever, Oh I'm not. I'm not

1:07:39.120 --> 1:07:39.800
<v Speaker 3>sureing that.

1:07:39.640 --> 1:07:42.760
<v Speaker 2>Fever's like what seventy eight seventy seven, because fever's before

1:07:42.800 --> 1:07:47.400
<v Speaker 2>Halem World, right, yeah, I don't know. I figure it out.

1:07:47.840 --> 1:07:48.680
<v Speaker 3>Yeah.

1:07:48.720 --> 1:07:51.360
<v Speaker 2>If I'm right, then sal you deserve this right right,

1:07:51.400 --> 1:07:54.240
<v Speaker 2>right right?

1:07:54.280 --> 1:07:54.560
<v Speaker 1>Okay?

1:07:55.160 --> 1:07:57.919
<v Speaker 6>Sam Cook? Oh right, y'alls, Sam Cook.

1:08:00.560 --> 1:08:03.040
<v Speaker 2>You know I think Ray Charles, you know, yeah, I

1:08:03.080 --> 1:08:06.800
<v Speaker 2>think he's the first one to take gospel chords and

1:08:07.520 --> 1:08:09.680
<v Speaker 2>sing love music over it.

1:08:09.760 --> 1:08:12.560
<v Speaker 6>But Sam Cook perfected it.

1:08:13.200 --> 1:08:16.200
<v Speaker 2>He put a much more sexier voice to it, and

1:08:16.280 --> 1:08:18.519
<v Speaker 2>perfected the way it was done, you know.

1:08:18.920 --> 1:08:24.080
<v Speaker 3>Yeah, Okay, run DMC or a p M d.

1:08:28.439 --> 1:08:28.880
<v Speaker 2>M hmm.

1:08:36.920 --> 1:08:38.880
<v Speaker 3>Yeah, Lord Fess or.

1:08:38.800 --> 1:08:50.920
<v Speaker 2>Oc Well, I would say, Lord Finess. I think that

1:08:52.920 --> 1:08:57.960
<v Speaker 2>Lord Finess is a great levers system, great livers system,

1:08:58.080 --> 1:09:03.880
<v Speaker 2>and and also he's responsible for a lot of other

1:09:03.920 --> 1:09:04.879
<v Speaker 2>people having careers.

1:09:05.000 --> 1:09:13.880
<v Speaker 1>Absolutely flat top or gumby.

1:09:12.840 --> 1:09:21.880
<v Speaker 2>You fucking serious, he's got war man. I mean as

1:09:21.960 --> 1:09:24.880
<v Speaker 2>much as I love my my Man Bobby Man, come on,

1:09:25.040 --> 1:09:26.160
<v Speaker 2>man who flat top rules?

1:09:26.200 --> 1:09:35.120
<v Speaker 5>And Jimmy Hendrix or Santana, I.

1:09:35.000 --> 1:09:39.880
<v Speaker 2>Love Santana man, but I gotta go with Jimmy just

1:09:39.920 --> 1:09:45.400
<v Speaker 2>for the simple fact of, like, you know, the blues

1:09:45.479 --> 1:09:48.960
<v Speaker 2>stuff that he did, the way he would make his

1:09:49.160 --> 1:09:53.800
<v Speaker 2>rock guitar talk on a blues song, right, I don't know.

1:09:53.840 --> 1:09:56.080
<v Speaker 5>That's what I think somebody told us here on Drink Sham.

1:09:56.200 --> 1:10:01.040
<v Speaker 5>I think so taught himself. It was Jeordie Clinton that

1:10:01.080 --> 1:10:01.559
<v Speaker 5>told us that.

1:10:03.439 --> 1:10:05.960
<v Speaker 1>Master Ace or Special ad.

1:10:09.280 --> 1:10:11.800
<v Speaker 2>Ace is juice crew man that.

1:10:13.760 --> 1:10:18.959
<v Speaker 1>Says it all okay, fat Joe or Rick Ross.

1:10:26.880 --> 1:10:27.400
<v Speaker 6>It's like.

1:10:31.280 --> 1:10:38.519
<v Speaker 2>I I I kind of want to lean towards Rick

1:10:38.600 --> 1:10:43.400
<v Speaker 2>Ross and see the dark skin chubby dude. But you know, Joe,

1:10:43.520 --> 1:10:46.479
<v Speaker 2>my dude, man, Joe, my dude. That's that's always showed

1:10:46.520 --> 1:10:48.920
<v Speaker 2>me love man, Joe, Joe, Joe, my dude. Man.

1:10:49.240 --> 1:10:53.880
<v Speaker 1>Okay, so we're gonna let that one sly ice Cube

1:10:53.960 --> 1:10:54.600
<v Speaker 1>or Scarface.

1:10:58.160 --> 1:11:02.200
<v Speaker 2>That's a hard one there, man, real hard and that

1:11:02.200 --> 1:11:05.439
<v Speaker 2>that's a good one. Yeah yeah, yeah, yeah, yeah, that.

1:11:05.439 --> 1:11:06.880
<v Speaker 6>Actually would have been a great verses.

1:11:07.000 --> 1:11:10.559
<v Speaker 2>Yeah yeah, that would have been a great verse That's

1:11:10.600 --> 1:11:11.680
<v Speaker 2>that's that's a hard one.

1:11:11.840 --> 1:11:12.960
<v Speaker 6>I don't know, I don't.

1:11:13.040 --> 1:11:16.360
<v Speaker 2>I don't know both because it's it's like, you know,

1:11:16.439 --> 1:11:24.280
<v Speaker 2>Scarface I think is the better storyteller. But oh man,

1:11:24.320 --> 1:11:26.320
<v Speaker 2>I don't know. Man, I don't that one. I don't know.

1:11:26.680 --> 1:11:30.360
<v Speaker 2>I don't know. I mean because like Cube c got

1:11:30.360 --> 1:11:34.840
<v Speaker 2>some joints man, Anywright movies, well they ain't got nothing

1:11:34.880 --> 1:11:35.439
<v Speaker 2>to do with hip hop.

1:11:36.880 --> 1:11:38.040
<v Speaker 3>Let's just try and help you out.

1:11:39.439 --> 1:11:43.000
<v Speaker 6>I mean, I mean yeah, I mean, I don't back

1:11:43.000 --> 1:11:43.800
<v Speaker 6>to n W a Q.

1:11:44.040 --> 1:11:48.040
<v Speaker 2>It's just yeah, Cube man, Like like I remember when

1:11:48.040 --> 1:11:50.880
<v Speaker 2>I heard a Bitch is a Bitch from that song alone,

1:11:51.000 --> 1:11:52.599
<v Speaker 2>I was like, this is is gonna be a problem,

1:11:53.520 --> 1:11:58.120
<v Speaker 2>you know. Yeah, so we say both, Yeah, I guess

1:11:58.720 --> 1:12:01.480
<v Speaker 2>Lola Brook or Lady London.

1:12:03.680 --> 1:12:04.320
<v Speaker 6>Lady London.

1:12:04.439 --> 1:12:04.799
<v Speaker 2>Okay.

1:12:05.880 --> 1:12:07.280
<v Speaker 3>Video music Box or your.

1:12:07.240 --> 1:12:09.280
<v Speaker 2>TV matter of fact, come back ask me that question again.

1:12:10.040 --> 1:12:15.000
<v Speaker 2>Load of Brook or Lady lo Okay, Okay, I mean no, listen,

1:12:15.400 --> 1:12:17.880
<v Speaker 2>Lola Brook. I'm gonna be honest with you. I really

1:12:18.200 --> 1:12:20.400
<v Speaker 2>would love to link up with her and work with

1:12:20.439 --> 1:12:22.880
<v Speaker 2>her because what I saw at the BET Awards, I'm

1:12:22.880 --> 1:12:28.000
<v Speaker 2>a fan. Yeah, she goes all out, but Lady London,

1:12:28.240 --> 1:12:32.000
<v Speaker 2>like I would love to actually be in a studio

1:12:32.680 --> 1:12:36.439
<v Speaker 2>with male artists. When Lady London walk in, I got

1:12:36.439 --> 1:12:38.439
<v Speaker 2>a funny feeling that I'm gonna see something I've seen

1:12:38.520 --> 1:12:42.559
<v Speaker 2>before me And like back when I used to DJ

1:12:42.680 --> 1:12:45.880
<v Speaker 2>for Shante, I used to see Shante come in dressing

1:12:45.960 --> 1:12:51.559
<v Speaker 2>rooms and mail artists turn around to avoid smoke. No

1:12:52.160 --> 1:12:55.160
<v Speaker 2>establish male artists that had hit records will turn their

1:12:55.280 --> 1:12:57.920
<v Speaker 2>back to avoid their make an eye contact with rock

1:12:58.000 --> 1:13:00.960
<v Speaker 2>Sanne Shante scared to death for a little sixteen year

1:13:01.000 --> 1:13:01.400
<v Speaker 2>old girl.

1:13:01.680 --> 1:13:04.320
<v Speaker 5>Wow, yeah, we can't let it go. And notice he

1:13:04.360 --> 1:13:07.400
<v Speaker 5>said when he's the DJ for Shant, Yes, I caught that.

1:13:07.640 --> 1:13:09.400
<v Speaker 5>I cut that. I cut that. That was hard.

1:13:09.840 --> 1:13:12.960
<v Speaker 3>Okay. Video music Box or your TV.

1:13:12.880 --> 1:13:17.120
<v Speaker 6>Raps, video music box, Hideo music Box.

1:13:17.240 --> 1:13:20.880
<v Speaker 1>Big up to Ralph mc dames, mob Deep or Mop.

1:13:25.400 --> 1:13:30.400
<v Speaker 2>I mean I love both, but you know, Mop, that's

1:13:30.439 --> 1:13:33.760
<v Speaker 2>that Brooklyn ship, Man, that's that Brooklyn ship. It ain't

1:13:34.280 --> 1:13:39.679
<v Speaker 2>ain't nothing like heying, you know, slap and dance, scream,

1:13:39.720 --> 1:13:44.360
<v Speaker 2>they fucking lungs out on the song. Man. Ain't nothing

1:13:44.439 --> 1:13:47.400
<v Speaker 2>like that energy. Yeah, that energy is just something else

1:13:47.439 --> 1:13:47.720
<v Speaker 2>we need.

1:13:47.800 --> 1:13:51.200
<v Speaker 3>Mop on here too. Scoop a scrap mm hmm.

1:13:54.439 --> 1:14:00.320
<v Speaker 2>Those my brothers. Man, drink that, yeah, drink you mean

1:14:00.400 --> 1:14:04.040
<v Speaker 2>school band scrash? What what you said? I said, I

1:14:04.080 --> 1:14:07.439
<v Speaker 2>said school you know he's no, he said school or scrap.

1:14:07.840 --> 1:14:10.360
<v Speaker 2>I said, you mean school band scrap. I look at

1:14:10.400 --> 1:14:12.440
<v Speaker 2>them as one man, all together.

1:14:13.960 --> 1:14:18.160
<v Speaker 3>This because of my shirt. Bro oh yeah, all in

1:14:18.200 --> 1:14:18.840
<v Speaker 3>the same game.

1:14:22.400 --> 1:14:25.120
<v Speaker 2>I mean, I'm gonna say both man, because they both

1:14:25.160 --> 1:14:26.760
<v Speaker 2>served a beautiful.

1:14:26.360 --> 1:14:33.240
<v Speaker 5>Cause it was a great movement man, guy Michael or Prince.

1:14:38.920 --> 1:14:47.760
<v Speaker 2>It's like it's multi talented. As as as as Prince was.

1:14:50.320 --> 1:14:55.080
<v Speaker 2>I don't I don't think that you know, we're ever

1:14:55.200 --> 1:14:58.839
<v Speaker 2>going to see another artist like Michael Jackson.

1:14:58.840 --> 1:15:01.479
<v Speaker 1>Man, you said Mike was Prince in the verses.

1:15:02.040 --> 1:15:06.320
<v Speaker 2>In the verses, yeah, okay, versus where on.

1:15:06.400 --> 1:15:09.599
<v Speaker 1>Stage and Kingston.

1:15:10.120 --> 1:15:16.080
<v Speaker 2>No, no Mike in the versus. I mean because you

1:15:16.080 --> 1:15:24.400
<v Speaker 2>you you got to understand Prince play numerous instruments. Prince

1:15:24.680 --> 1:15:33.600
<v Speaker 2>vocal range was ridiculous, you know, ridiculous, you know. So,

1:15:33.920 --> 1:15:35.960
<v Speaker 2>I mean, and he can and he could, and he

1:15:36.000 --> 1:15:38.280
<v Speaker 2>could and he could, he could dance, but he couldn't

1:15:38.320 --> 1:15:39.000
<v Speaker 2>dance like Mike.

1:15:39.760 --> 1:15:40.920
<v Speaker 6>He can't dance like Mike.

1:15:41.400 --> 1:15:45.360
<v Speaker 2>Mike is but Mike is that the better performer though

1:15:46.160 --> 1:15:51.040
<v Speaker 2>Mike is the better performer, you know, So.

1:15:52.680 --> 1:15:54.360
<v Speaker 6>In the versus it's hard to say.

1:15:54.840 --> 1:15:58.840
<v Speaker 2>Because if if, if, if Prince is strategic, he could

1:15:58.880 --> 1:16:03.040
<v Speaker 2>get the edge. But if he's not, Michael, Michael tell

1:16:03.080 --> 1:16:06.360
<v Speaker 2>him apart. But I mean overall, just it's like it's like,

1:16:06.400 --> 1:16:09.200
<v Speaker 2>I don't think I think that Michael Jackson is the

1:16:09.280 --> 1:16:11.280
<v Speaker 2>biggest artist ever.

1:16:11.400 --> 1:16:13.080
<v Speaker 6>I don't think we're gonna ever see another Michael jack

1:16:13.280 --> 1:16:13.920
<v Speaker 6>Michael Jackson.

1:16:14.680 --> 1:16:18.360
<v Speaker 2>No, I had the opportunity, but it was just so

1:16:18.400 --> 1:16:23.479
<v Speaker 2>many people crowded around, and I just was like, I'm good, Prince. Yes,

1:16:23.600 --> 1:16:24.360
<v Speaker 2>I haven't met Prince.

1:16:25.000 --> 1:16:26.280
<v Speaker 3>Where was y'all at We.

1:16:26.360 --> 1:16:30.520
<v Speaker 2>Was in Warner Brothers in more Austin office.

1:16:30.920 --> 1:16:31.679
<v Speaker 3>Was he purple?

1:16:32.200 --> 1:16:33.400
<v Speaker 6>Was he?

1:16:33.760 --> 1:16:36.000
<v Speaker 2>No? I'm correct, I think he has some white shit on.

1:16:38.240 --> 1:16:40.160
<v Speaker 2>He has some white shit or but he was, you know,

1:16:40.240 --> 1:16:42.960
<v Speaker 2>sitting down at more Austin.

1:16:42.720 --> 1:16:45.919
<v Speaker 3>Deaths, you know, hyper dedicated.

1:16:47.280 --> 1:16:53.400
<v Speaker 2>He was like Michael Nah, he was like, you know,

1:16:54.280 --> 1:16:56.519
<v Speaker 2>how may I help you out today? Like acting like

1:16:56.520 --> 1:16:58.240
<v Speaker 2>he was more Awston. He was playing around and act

1:16:58.280 --> 1:16:59.080
<v Speaker 2>like he was more Awson.

1:16:59.640 --> 1:17:00.679
<v Speaker 3>You like this Prince?

1:17:00.680 --> 1:17:04.160
<v Speaker 2>I know you are. Yeah. I was like atually I

1:17:04.200 --> 1:17:06.679
<v Speaker 2>was like like Shot, you know you like, oh Ship,

1:17:06.760 --> 1:17:07.360
<v Speaker 2>this is Prince.

1:17:07.439 --> 1:17:10.400
<v Speaker 3>You know Prince had a deep voice. Yeah yeah, yeah,

1:17:10.760 --> 1:17:12.680
<v Speaker 3>really that's the truth. So I say, you sound like

1:17:12.680 --> 1:17:13.720
<v Speaker 3>Michael Jackson.

1:17:14.920 --> 1:17:15.160
<v Speaker 2>Prince.

1:17:16.040 --> 1:17:20.120
<v Speaker 5>I thought he Mike was the same Prince. Imagine we

1:17:20.120 --> 1:17:22.120
<v Speaker 5>would have had both of them still around to this day.

1:17:22.640 --> 1:17:25.000
<v Speaker 6>I would love to see that. That would have been crazy.

1:17:26.720 --> 1:17:32.480
<v Speaker 1>We did w A, n w A or public Enemy.

1:17:34.400 --> 1:17:38.320
<v Speaker 2>I'm not playing with Shot. I mean, this ain't my thing,

1:17:38.360 --> 1:17:43.320
<v Speaker 2>you know, honestly, I don't you know, I'm I'm I'm

1:17:43.880 --> 1:17:46.160
<v Speaker 2>like uncomfortable with putting artists against each other.

1:17:46.160 --> 1:17:47.240
<v Speaker 6>That's something I never raised.

1:17:48.160 --> 1:17:49.920
<v Speaker 2>I know we're playing, I know we're playing, but I

1:17:49.960 --> 1:17:51.920
<v Speaker 2>mean that's just something I just ain't really.

1:17:53.080 --> 1:17:54.559
<v Speaker 1>This one, this one and did I'm gonna get up

1:17:54.560 --> 1:17:56.520
<v Speaker 1>out of here digital or analog?

1:17:58.160 --> 1:18:03.080
<v Speaker 2>Analog? Analog? Right? I mean, it's so like the capabilities

1:18:03.080 --> 1:18:07.920
<v Speaker 2>are endless with digital. But that feel of analog, man,

1:18:08.000 --> 1:18:12.160
<v Speaker 2>that that's feel that his. I mean, just just the

1:18:12.479 --> 1:18:16.800
<v Speaker 2>the tape alone create a hum noise that fills up

1:18:16.800 --> 1:18:17.920
<v Speaker 2>the track, you know what I mean.

1:18:18.240 --> 1:18:20.640
<v Speaker 6>It's just just.

1:18:20.439 --> 1:18:21.720
<v Speaker 3>It records the energy.

1:18:21.439 --> 1:18:21.840
<v Speaker 4>In the room.

1:18:21.960 --> 1:18:22.960
<v Speaker 2>Yeah, sure you right.

1:18:23.080 --> 1:18:26.000
<v Speaker 1>Yeah, So this last one, say the movie one. I

1:18:26.000 --> 1:18:28.000
<v Speaker 1>think the movie one's fair for him? You do it

1:18:28.360 --> 1:18:29.639
<v Speaker 1>New Jack City or Juice?

1:18:32.720 --> 1:18:45.840
<v Speaker 2>Mm hm hm hmm. That's interesting. Oh man, you know

1:18:45.880 --> 1:18:50.320
<v Speaker 2>what I think I might say. I think I might

1:18:50.360 --> 1:18:55.880
<v Speaker 2>say Juice. I think I might say Juice. I mean

1:18:56.320 --> 1:19:05.599
<v Speaker 2>my reason is because, uh, Juice felt real New York. Right.

1:19:06.600 --> 1:19:10.840
<v Speaker 2>You know, I didn't know any drug dealers that act

1:19:10.960 --> 1:19:15.320
<v Speaker 2>like Nino in the eighties. Like all the drug dealers

1:19:15.320 --> 1:19:18.479
<v Speaker 2>I knew in the eighties, they didn't act like my

1:19:18.560 --> 1:19:20.880
<v Speaker 2>Wesley played the Nino character, right right?

1:19:21.240 --> 1:19:24.400
<v Speaker 5>Jack said, Yeah, and you got a song on the

1:19:24.479 --> 1:19:28.160
<v Speaker 5>Juice soundtrack. That's an amazing song.

1:19:28.240 --> 1:19:28.400
<v Speaker 2>I do.

1:19:28.520 --> 1:19:30.559
<v Speaker 6>It's an amazing song. Thank you, thank you.

1:19:31.640 --> 1:19:33.639
<v Speaker 1>Last one, and then we're gonna go back to the interview.

1:19:33.840 --> 1:19:35.760
<v Speaker 1>Loyalty or respect?

1:19:38.439 --> 1:19:41.759
<v Speaker 6>Loyalty or respect? Can I get them both? Of course?

1:19:42.400 --> 1:19:46.680
<v Speaker 3>That's that's the time we'recording ring your klecoffee.

1:19:46.760 --> 1:19:51.920
<v Speaker 1>Yeah yeah, I'm drinking killer. That's the time where we

1:19:51.960 --> 1:19:53.680
<v Speaker 1>always say we should say both. You know what I mean,

1:19:53.760 --> 1:19:54.639
<v Speaker 1>because I think one.

1:19:54.520 --> 1:19:56.880
<v Speaker 3>Goes hand to hand. You think that absolutely.

1:19:57.880 --> 1:20:01.280
<v Speaker 1>So let me ask you because this is something I

1:20:01.360 --> 1:20:04.679
<v Speaker 1>always wanted to know when I first, you know, came

1:20:04.720 --> 1:20:08.400
<v Speaker 1>in and to knowledge with the five percent Nation. One

1:20:08.400 --> 1:20:10.880
<v Speaker 1>of the things that they said it was a stop

1:20:10.920 --> 1:20:17.280
<v Speaker 1>for law. You cannot do, you cannot have was yellow, right, yes,

1:20:17.680 --> 1:20:20.640
<v Speaker 1>And the biz mark says, daddy can't my mic my

1:20:20.720 --> 1:20:21.800
<v Speaker 1>mellow you know on the.

1:20:21.840 --> 1:20:23.240
<v Speaker 3>Mike, because you know you yellow.

1:20:23.760 --> 1:20:25.240
<v Speaker 1>I always wanted to act.

1:20:29.520 --> 1:20:30.240
<v Speaker 2>Like wait a.

1:20:30.160 --> 1:20:36.559
<v Speaker 1>Minute, always want to like wait a minute.

1:20:37.439 --> 1:20:40.040
<v Speaker 6>I mean, you know, nobody take this serious.

1:20:40.120 --> 1:20:44.000
<v Speaker 2>I mean he was just making something round with mellow,

1:20:46.320 --> 1:20:47.640
<v Speaker 2>make around with mellow. You know.

1:20:48.120 --> 1:20:50.839
<v Speaker 3>So no one never said hey, hey, god.

1:20:51.840 --> 1:20:59.559
<v Speaker 10>No no, because that's workin ye pork the coloring like

1:21:00.080 --> 1:21:00.880
<v Speaker 10>the cars too.

1:21:01.600 --> 1:21:04.120
<v Speaker 2>Now, the guards was pissed at me about the Madonna book,

1:21:04.200 --> 1:21:06.599
<v Speaker 2>but never about the jell O Ship book.

1:21:07.840 --> 1:21:09.040
<v Speaker 3>When you was finger popping.

1:21:12.720 --> 1:21:13.040
<v Speaker 1>Immed.

1:21:17.160 --> 1:21:21.160
<v Speaker 3>You know, you know what's crazy. That was a different time.

1:21:21.320 --> 1:21:22.519
<v Speaker 3>Must have been a crazy time.

1:21:23.240 --> 1:21:26.839
<v Speaker 1>But but did you only see backlash from the guards

1:21:27.080 --> 1:21:29.560
<v Speaker 1>or what from everybody?

1:21:29.560 --> 1:21:32.960
<v Speaker 2>From everybody, you know, but I mean but yeah, yeah, yeah,

1:21:33.000 --> 1:21:36.639
<v Speaker 2>but I mean like there was like a lot of guards. Hey, yo,

1:21:36.800 --> 1:21:39.240
<v Speaker 2>god man, you need to we need to have a bill, man,

1:21:39.280 --> 1:21:41.479
<v Speaker 2>I need to don't know the science behind that, man,

1:21:41.520 --> 1:21:46.000
<v Speaker 2>you know, you know, but I mean, you know, I

1:21:46.000 --> 1:21:50.280
<v Speaker 2>mean at that point in time, man, you know those

1:21:50.400 --> 1:21:54.439
<v Speaker 2>that really understand, you know, the culture Islam. You know,

1:21:55.120 --> 1:22:00.920
<v Speaker 2>you know that there are white Muslims you know does

1:22:00.960 --> 1:22:05.040
<v Speaker 2>not approve and they don't he probably wouldn't, but they

1:22:05.040 --> 1:22:10.759
<v Speaker 2>don't identify as white, nor the black ones identify as black.

1:22:10.800 --> 1:22:15.880
<v Speaker 2>They all identify as Muslim, right, you know, so you know,

1:22:16.000 --> 1:22:20.559
<v Speaker 2>with that understanding understood, I mean, you know, I'm not gonna,

1:22:21.479 --> 1:22:26.200
<v Speaker 2>you know, be against Madonna because or anybody because they're white.

1:22:26.320 --> 1:22:28.760
<v Speaker 1>You know, It's true, like once she went game, she

1:22:28.960 --> 1:22:50.120
<v Speaker 1>still remains. Man. Yes, so I know we covering this

1:22:50.160 --> 1:22:54.880
<v Speaker 1>the last time. But that Nam Campbell photo shoot? What

1:22:54.960 --> 1:22:56.000
<v Speaker 1>was that for Calvin Klein?

1:22:56.280 --> 1:22:57.080
<v Speaker 3>What was that?

1:22:57.200 --> 1:22:57.840
<v Speaker 6>The Madonna book?

1:22:58.600 --> 1:23:01.479
<v Speaker 1>The same thing? Okay, okay, you was you was outside, man,

1:23:02.160 --> 1:23:03.080
<v Speaker 1>You was outside?

1:23:03.120 --> 1:23:09.479
<v Speaker 3>Man, I ain't gonna lie, brother, Yes, great, yes, yes,

1:23:09.680 --> 1:23:11.840
<v Speaker 3>because nah, this I don't know.

1:23:11.880 --> 1:23:12.960
<v Speaker 6>There's a cartoon.

1:23:13.960 --> 1:23:17.240
<v Speaker 2>There's a cartoon where someone like redid the photo with

1:23:17.280 --> 1:23:20.439
<v Speaker 2>the characters from the cartoon. I don't know what cartoon

1:23:20.479 --> 1:23:22.320
<v Speaker 2>it is, but that's why I was like, yeah, I'm

1:23:22.320 --> 1:23:23.479
<v Speaker 2>like I need that on the T shirt.

1:23:24.840 --> 1:23:26.120
<v Speaker 6>But it is a known cartoon.

1:23:26.160 --> 1:23:28.640
<v Speaker 2>But they did it like with the one in the

1:23:28.640 --> 1:23:30.599
<v Speaker 2>water with me, Naomi and Madonna.

1:23:31.000 --> 1:23:32.680
<v Speaker 6>But I was like, oh, I need that on the T.

1:23:32.720 --> 1:23:41.120
<v Speaker 1>Shirt because you know, like again, you faved a way

1:23:41.479 --> 1:23:45.120
<v Speaker 1>for like, you know, these big hip records, these big

1:23:46.760 --> 1:23:50.240
<v Speaker 1>moments in hip hop, right, because I remember it seemed

1:23:50.240 --> 1:23:54.200
<v Speaker 1>like there was nothing bigger than Big Daddy came, like

1:23:54.360 --> 1:23:58.519
<v Speaker 1>I remember like my whole childhood, like like I said,

1:23:58.880 --> 1:24:02.040
<v Speaker 1>my flat top was and correct like I was, you know,

1:24:02.080 --> 1:24:03.720
<v Speaker 1>I was trying to get my flat top right. I

1:24:03.760 --> 1:24:07.160
<v Speaker 1>was trying to get and and then I remember there

1:24:07.240 --> 1:24:09.880
<v Speaker 1>was one point I believe it was like when I

1:24:09.960 --> 1:24:13.200
<v Speaker 1>Get the Job Done record came out and people was like, man,

1:24:13.640 --> 1:24:17.479
<v Speaker 1>we lost Kane, like Caine is transcended hip hops into

1:24:17.520 --> 1:24:21.400
<v Speaker 1>this whole nother world like they was like that. I

1:24:21.439 --> 1:24:23.640
<v Speaker 1>believe it was using commercial at the time. Was that

1:24:23.760 --> 1:24:25.960
<v Speaker 1>something that you received the backlash for, like I know

1:24:26.200 --> 1:24:26.759
<v Speaker 1>we spoke.

1:24:26.520 --> 1:24:31.080
<v Speaker 2>About the absolutely oh yeah, a whole lot of it,

1:24:31.120 --> 1:24:32.120
<v Speaker 2>A whole lot of it.

1:24:32.120 --> 1:24:33.200
<v Speaker 3>The record wasn't the video.

1:24:34.800 --> 1:24:37.200
<v Speaker 2>I think the record okay, But I mean there was

1:24:37.479 --> 1:24:38.800
<v Speaker 2>several songs, you know.

1:24:39.479 --> 1:24:45.280
<v Speaker 6>But let me ask you this in hip hop.

1:24:45.120 --> 1:24:52.479
<v Speaker 2>Today, right, I'm ready, how many songs do you hear

1:24:53.240 --> 1:24:58.000
<v Speaker 2>that sound commercial? Yes? How many songs do you hear

1:24:58.920 --> 1:25:05.839
<v Speaker 2>that have singing on them? Right? And how many songs

1:25:05.840 --> 1:25:10.040
<v Speaker 2>do you hear on the radio that sound like boom back?

1:25:11.160 --> 1:25:16.559
<v Speaker 2>Not a lot? See me as a student of hip hop,

1:25:17.400 --> 1:25:24.519
<v Speaker 2>one thing I've always understood is that hip hop music

1:25:25.080 --> 1:25:32.560
<v Speaker 2>musically has no origin. Grandmaster Cas said it best. I

1:25:32.960 --> 1:25:37.920
<v Speaker 2>didn't invent anything. It reinvented everything. Musically, it has no

1:25:38.080 --> 1:25:43.719
<v Speaker 2>origin because what herk was doing was taking other people

1:25:43.840 --> 1:25:49.639
<v Speaker 2>music and bringing the breakbeat part playing that other people music,

1:25:49.680 --> 1:25:52.839
<v Speaker 2>and that's what rappers rhyme to. That's what beat boys

1:25:52.920 --> 1:26:00.519
<v Speaker 2>danced so right. Even though Human beat Box when they

1:26:00.560 --> 1:26:05.280
<v Speaker 2>started out, they was doing beatboxing to break from records.

1:26:06.080 --> 1:26:09.760
<v Speaker 2>There was other people music and those records were what

1:26:15.160 --> 1:26:20.439
<v Speaker 2>impeached to President by Royal c. Soul song soul music,

1:26:21.439 --> 1:26:29.640
<v Speaker 2>not hip hop soul music. Good Times by Chic Disco

1:26:31.080 --> 1:26:36.519
<v Speaker 2>Rocket James Brown, Funk, Rocket in the Pocket by Saron

1:26:37.600 --> 1:26:43.040
<v Speaker 2>Techno or Electronic or whichever one you want to use.

1:26:44.120 --> 1:26:49.559
<v Speaker 2>Big Beat by Billy Squire, rock and roll, you see

1:26:49.560 --> 1:26:54.920
<v Speaker 2>what I'm saying. Nautilists by Bob James Jazz. So all

1:26:54.960 --> 1:26:57.599
<v Speaker 2>of those elements always been a part of hip hop.

1:26:58.560 --> 1:27:02.040
<v Speaker 2>And that's all I was doing, was incorporating elements that

1:27:02.200 --> 1:27:05.640
<v Speaker 2>already been a part of hip hop. Right you know?

1:27:06.600 --> 1:27:10.120
<v Speaker 1>Do you think that because like, like you said, like

1:27:10.280 --> 1:27:12.080
<v Speaker 1>it's so many hooks, like if you look at job RULs,

1:27:12.200 --> 1:27:13.880
<v Speaker 1>so many things that do you think that was the

1:27:14.360 --> 1:27:17.519
<v Speaker 1>invention of like people thinking that this is the way

1:27:17.560 --> 1:27:21.080
<v Speaker 1>to go at the commercial route? Matter fact, let me

1:27:21.080 --> 1:27:24.439
<v Speaker 1>rephrase that question. Was that more of a record label

1:27:24.520 --> 1:27:26.800
<v Speaker 1>thing or was that a cane thing when you were

1:27:26.800 --> 1:27:28.120
<v Speaker 1>saying let me let me go down?

1:27:28.320 --> 1:27:29.040
<v Speaker 6>That was a cane thing.

1:27:29.080 --> 1:27:33.080
<v Speaker 2>When I was doing it, I wanted to explore different

1:27:33.120 --> 1:27:36.720
<v Speaker 2>things and try to open the mind frame of my

1:27:36.840 --> 1:27:40.920
<v Speaker 2>fan base, you know, to see a bigger picture. That's

1:27:40.960 --> 1:27:43.800
<v Speaker 2>what I was really trying to do. I just was

1:27:43.880 --> 1:27:48.000
<v Speaker 2>a little too early with it, right you know. Had

1:27:48.040 --> 1:27:52.320
<v Speaker 2>I waited till like nineteen ninety four, and it did

1:27:52.360 --> 1:27:53.880
<v Speaker 2>it on Bad Boy Records, I would have been a

1:27:53.880 --> 1:27:59.559
<v Speaker 2>bad mon I mean Puff sort of vision Puff, you know,

1:28:00.280 --> 1:28:04.200
<v Speaker 2>you know, like like I love and respect Puff for that.

1:28:04.360 --> 1:28:07.559
<v Speaker 2>Like he's like clearly he must have told Big like no, no,

1:28:07.640 --> 1:28:12.280
<v Speaker 2>go ahead, kick all your gangster ship, but do it

1:28:12.320 --> 1:28:14.920
<v Speaker 2>on this beat right here, right you know what I'm saying.

1:28:15.000 --> 1:28:17.200
<v Speaker 1>That's what's the crazy thing about him is Big. If

1:28:17.240 --> 1:28:19.200
<v Speaker 1>you look at all of his lyrics, it's as hard

1:28:19.240 --> 1:28:22.519
<v Speaker 1>as but he, like, like you said, Puff kind of

1:28:22.560 --> 1:28:25.320
<v Speaker 1>like puts soft beats under it and you kind of

1:28:25.320 --> 1:28:26.320
<v Speaker 1>like don't see it.

1:28:26.760 --> 1:28:28.360
<v Speaker 2>Well, I mean, I mean I'm not even gonna call

1:28:28.400 --> 1:28:32.000
<v Speaker 2>it soft beasts because I mean ship we used to know,

1:28:32.080 --> 1:28:34.000
<v Speaker 2>I mean we should lose get me out, We used

1:28:34.040 --> 1:28:36.160
<v Speaker 2>to lose our mind in the club when Juicy Fruit

1:28:36.200 --> 1:28:39.120
<v Speaker 2>came on. But you can't call it a soft song

1:28:39.240 --> 1:28:41.400
<v Speaker 2>because there's that Ship used to bang in the club

1:28:41.760 --> 1:28:44.920
<v Speaker 2>Juicy Fruit, you know, banging the club.

1:28:45.040 --> 1:28:46.120
<v Speaker 3>And your era too.

1:28:46.160 --> 1:28:49.160
<v Speaker 5>On the other side, you had Hammer pushing that envelope

1:28:49.200 --> 1:28:52.280
<v Speaker 5>of of going commercial and catching a lot of fleck

1:28:52.320 --> 1:28:52.719
<v Speaker 5>as well.

1:28:53.200 --> 1:28:55.000
<v Speaker 6>But I mean he was a commercial artist.

1:28:55.280 --> 1:28:58.360
<v Speaker 2>But I mean I don't see what I honestly don't

1:28:58.400 --> 1:29:02.000
<v Speaker 2>see what the problem is. Like, I don't have a

1:29:02.040 --> 1:29:04.439
<v Speaker 2>problem with Hammer music. I didn't have a problem with

1:29:04.520 --> 1:29:08.800
<v Speaker 2>Fresh Prince music. I mean because it was hip hop

1:29:08.840 --> 1:29:13.360
<v Speaker 2>from a commercial standpoint. You know, everything don't need to

1:29:13.400 --> 1:29:17.759
<v Speaker 2>be thubbed out. We got artists like Okay, for example,

1:29:19.000 --> 1:29:23.320
<v Speaker 2>what if Will Smith would have put out some gangster

1:29:23.360 --> 1:29:27.280
<v Speaker 2>stuff in the eighties and and some some some real

1:29:27.320 --> 1:29:30.840
<v Speaker 2>live street dudes would have tried them, it would have

1:29:30.840 --> 1:29:36.960
<v Speaker 2>been you know what I'm saying. You know, you know,

1:29:37.240 --> 1:29:39.519
<v Speaker 2>it's like, you know, he he did what was right

1:29:39.560 --> 1:29:43.559
<v Speaker 2>for him, and the bars was right, like like lyrically

1:29:43.600 --> 1:29:44.240
<v Speaker 2>he was spitting.

1:29:44.880 --> 1:29:45.800
<v Speaker 6>I thought it was dope.

1:29:46.479 --> 1:29:48.960
<v Speaker 2>It was commercial, but it was dope, and he was

1:29:48.960 --> 1:29:50.840
<v Speaker 2>coming from a different perspective. I don't see what the

1:29:50.880 --> 1:29:53.640
<v Speaker 2>problem was, you know, but I mean, you know, it's like,

1:29:53.720 --> 1:29:56.240
<v Speaker 2>you know, you know, people just love to find something

1:29:56.240 --> 1:29:58.160
<v Speaker 2>wrong with everything everything.

1:29:58.280 --> 1:30:01.360
<v Speaker 1>How about Buella likes how you feel about him?

1:30:01.600 --> 1:30:04.320
<v Speaker 2>Same thing with Aillis. I don't think that you know

1:30:05.840 --> 1:30:09.479
<v Speaker 2>that the music was bad. You know what I'm saying.

1:30:09.479 --> 1:30:12.080
<v Speaker 2>I don't have a problem with him making commercial hip hop.

1:30:12.240 --> 1:30:15.000
<v Speaker 2>You know, I think that some of the things that

1:30:15.040 --> 1:30:21.040
<v Speaker 2>he said in interviews was bad. You know, it's like

1:30:21.040 --> 1:30:21.559
<v Speaker 2>like you know.

1:30:21.560 --> 1:30:24.840
<v Speaker 3>The discrepancies where he was from.

1:30:25.760 --> 1:30:27.840
<v Speaker 2>Yeah, all types of stuff, and he invented the yep

1:30:27.960 --> 1:30:31.880
<v Speaker 2>yep and all this other stuff, and it was like,

1:30:32.000 --> 1:30:37.320
<v Speaker 2>you know, just just just just be this successful hip

1:30:37.320 --> 1:30:40.320
<v Speaker 2>hop artists, you know, just winning in the commercial market.

1:30:41.000 --> 1:30:44.080
<v Speaker 2>Just be him. You know, I think that that would

1:30:44.120 --> 1:30:48.280
<v Speaker 2>have worked so much better for him. You know, it's

1:30:48.320 --> 1:30:51.719
<v Speaker 2>just the backlash I think got the better of him,

1:30:52.160 --> 1:30:56.559
<v Speaker 2>because I mean, you look at like Eminem, he never

1:30:56.600 --> 1:30:59.920
<v Speaker 2>tried to be black. He never tried to be black,

1:31:01.080 --> 1:31:04.080
<v Speaker 2>and he talking hood ship but it's his hood trailer park,

1:31:04.400 --> 1:31:08.200
<v Speaker 2>you know what I'm saying. But even though there was

1:31:08.240 --> 1:31:10.320
<v Speaker 2>a lot of people that you know, wanted to hate

1:31:10.360 --> 1:31:14.040
<v Speaker 2>on him.

1:31:12.360 --> 1:31:14.320
<v Speaker 3>You couldn't because he was himself.

1:31:14.520 --> 1:31:17.519
<v Speaker 2>Yeah, because it's like there's there's nothing that's back in

1:31:17.640 --> 1:31:21.240
<v Speaker 2>what you're saying, because he's not trying to be black.

1:31:22.400 --> 1:31:25.320
<v Speaker 2>In fact, he's employing a whole bunch of black people,

1:31:26.560 --> 1:31:30.920
<v Speaker 2>you know, on the label and working for the label,

1:31:31.520 --> 1:31:33.080
<v Speaker 2>you know what I'm saying. So it's like, you know,

1:31:33.840 --> 1:31:36.080
<v Speaker 2>it's like he didn't go through it when the lights

1:31:36.160 --> 1:31:36.839
<v Speaker 2>went through.

1:31:37.479 --> 1:31:39.479
<v Speaker 1>And he was lyrically respected through underground.

1:31:39.880 --> 1:31:42.280
<v Speaker 6>Oh yeah, Well that played the heavy part too. He

1:31:42.320 --> 1:31:43.000
<v Speaker 6>paid his dues.

1:31:44.080 --> 1:31:51.240
<v Speaker 5>I forgot the outside, Yeah, the outside.

1:31:48.080 --> 1:31:51.160
<v Speaker 2>You I mean, being nice as fuck on the mic too,

1:31:51.200 --> 1:31:52.960
<v Speaker 2>and play heavy a major part too.

1:31:53.840 --> 1:31:56.080
<v Speaker 5>But it boils down to authenticities what you're saying, Like,

1:31:56.120 --> 1:31:57.040
<v Speaker 5>I think that's one.

1:31:56.880 --> 1:31:59.160
<v Speaker 3>Of the pillars of hip hop that is important.

1:31:59.160 --> 1:32:02.880
<v Speaker 5>Like if you're truly authentically who you are, that'll shine

1:32:02.880 --> 1:32:03.760
<v Speaker 5>through and get you through a lot.

1:32:03.840 --> 1:32:04.960
<v Speaker 1>But what's the last one?

1:32:05.080 --> 1:32:05.479
<v Speaker 3>They group?

1:32:05.520 --> 1:32:07.000
<v Speaker 6>I thought today was called ever Last.

1:32:06.880 --> 1:32:07.559
<v Speaker 3>Year of Pain?

1:32:08.320 --> 1:32:08.800
<v Speaker 2>Ever Last.

1:32:08.880 --> 1:32:10.840
<v Speaker 5>He was down with Ryme Syndicate with Iced ty in

1:32:10.880 --> 1:32:12.840
<v Speaker 5>them right and then and then he did House of Pain.

1:32:13.240 --> 1:32:15.880
<v Speaker 1>I we think it insane. Clown Posse is authentic to

1:32:15.880 --> 1:32:17.280
<v Speaker 1>what they do and to where they're from.

1:32:17.600 --> 1:32:22.559
<v Speaker 2>Yeah, for real, even even Beastie Boys, absolutely, you know,

1:32:22.600 --> 1:32:27.680
<v Speaker 2>because these is punk rockers turned hip hop, And I

1:32:27.720 --> 1:32:32.479
<v Speaker 2>mean it's like their songs are more punk rock vibe, right,

1:32:33.040 --> 1:32:35.160
<v Speaker 2>you know, I mean the way the way they spitting

1:32:35.200 --> 1:32:35.960
<v Speaker 2>and stuff, you know.

1:32:36.439 --> 1:32:39.200
<v Speaker 3>So, I mean and coming out of a and they

1:32:39.200 --> 1:32:40.639
<v Speaker 3>got to Brooklyn, but.

1:32:40.600 --> 1:32:42.400
<v Speaker 5>Coming out of an era where punk rock and hip

1:32:42.400 --> 1:32:43.759
<v Speaker 5>hop were kind of together.

1:32:43.880 --> 1:32:49.439
<v Speaker 2>Yeah, yeah, absolutely, like seventy seven, seventy seventy seven to

1:32:49.479 --> 1:32:55.760
<v Speaker 2>seventy nine was really like where punk rock and hip

1:32:55.800 --> 1:32:58.560
<v Speaker 2>hop came into the forefront.

1:32:58.200 --> 1:32:59.000
<v Speaker 1>That just walked this way.

1:33:00.080 --> 1:33:01.559
<v Speaker 6>That's for now.

1:33:01.640 --> 1:33:05.960
<v Speaker 2>I'm talking like Deborah Harry, the Ramones.

1:33:06.120 --> 1:33:07.240
<v Speaker 3>Almost Queens.

1:33:07.479 --> 1:33:13.800
<v Speaker 2>Yeah yeah, yeah, yeah, yeah yeah, like like they like,

1:33:13.880 --> 1:33:16.040
<v Speaker 2>you know, like that whole punk because what was happening

1:33:16.120 --> 1:33:20.280
<v Speaker 2>was like you had people like Fab five Freddy He's

1:33:20.320 --> 1:33:25.639
<v Speaker 2>going to the white parties, Russell Simmons, Yeah the time. Yeah,

1:33:25.800 --> 1:33:29.200
<v Speaker 2>but they're they're hanging out at CBGB's for the punk

1:33:29.280 --> 1:33:32.080
<v Speaker 2>rock parties. And then they're taking all these hi punk

1:33:32.120 --> 1:33:35.840
<v Speaker 2>broadcasts uptown to Harlem World for a hip hop party.

1:33:36.280 --> 1:33:39.080
<v Speaker 2>So it's like this their mission because they.

1:33:39.520 --> 1:33:42.880
<v Speaker 3>The spikes come from right, the spikes.

1:33:43.080 --> 1:33:46.479
<v Speaker 2>I don't know, Okay, I mean it's a possibility a lot.

1:33:46.560 --> 1:33:48.160
<v Speaker 2>I mean, but then again, you know, that could have

1:33:48.200 --> 1:33:49.640
<v Speaker 2>just been some I don't know, that could have been

1:33:49.680 --> 1:33:51.439
<v Speaker 2>some brock ship. I don't know, I don't know.

1:33:51.680 --> 1:33:54.160
<v Speaker 5>I think it came the disco. Yeah who told us that.

1:33:54.240 --> 1:33:56.640
<v Speaker 5>I think we heard We've heard different things. I know

1:33:56.680 --> 1:33:59.080
<v Speaker 5>Africa been botting. All them were the first adopters of that.

1:33:59.160 --> 1:34:02.360
<v Speaker 2>Look, yeah, yeah, that's who you need to ask, like

1:34:02.439 --> 1:34:08.160
<v Speaker 2>Van Barda or Mail or flash. We definitely need Yes, yes,

1:34:08.439 --> 1:34:10.240
<v Speaker 2>if y'all bring mail, I want to come back.

1:34:10.360 --> 1:34:11.400
<v Speaker 6>I just want to sit over there.

1:34:15.920 --> 1:34:17.719
<v Speaker 3>It would be amazing to have melly mellow.

1:34:17.840 --> 1:34:21.160
<v Speaker 2>Yeah, I'm a I'm ana be in that corner, just

1:34:21.200 --> 1:34:22.840
<v Speaker 2>like like Derek d ditt.

1:34:22.880 --> 1:34:24.160
<v Speaker 6>I tell them why you man?

1:34:25.040 --> 1:34:35.040
<v Speaker 1>Man? Yeah, So let's talk about set it off?

1:34:35.080 --> 1:34:35.320
<v Speaker 2>Man?

1:34:36.760 --> 1:34:38.080
<v Speaker 3>How did how did that session?

1:34:38.120 --> 1:34:38.439
<v Speaker 1>How did that?

1:34:38.600 --> 1:34:40.000
<v Speaker 3>How did how did that record come about?

1:34:41.000 --> 1:34:48.080
<v Speaker 2>Set it off? Me and Biz went to Mark forty

1:34:48.120 --> 1:34:53.280
<v Speaker 2>five King Crib Yeah, and he played this beat that

1:34:53.320 --> 1:35:03.320
<v Speaker 2>he had for Biz and Biz didn't like it. So

1:35:03.760 --> 1:35:08.960
<v Speaker 2>I told Mark. I was like, yo, if if it's

1:35:08.960 --> 1:35:11.800
<v Speaker 2>okay with you, I use it, and he said, yeah,

1:35:11.840 --> 1:35:12.479
<v Speaker 2>you can have it.

1:35:13.040 --> 1:35:14.439
<v Speaker 6>I said, but can it go a little faster?

1:35:14.800 --> 1:35:16.200
<v Speaker 2>So he, you know, he tried to speed up a

1:35:16.240 --> 1:35:18.280
<v Speaker 2>little bit and I was like, no, no, no, I

1:35:18.360 --> 1:35:21.320
<v Speaker 2>meant faster, like if it's thirty three, can you play

1:35:21.320 --> 1:35:22.160
<v Speaker 2>it on forty five?

1:35:22.920 --> 1:35:24.840
<v Speaker 6>And he said, funny you say that.

1:35:25.800 --> 1:35:28.320
<v Speaker 2>He took the disc out and loaded up another disc

1:35:29.320 --> 1:35:34.960
<v Speaker 2>and this disc it was playing. He was like, that's

1:35:35.000 --> 1:35:37.240
<v Speaker 2>the actual speed, he said. I slowed it down for

1:35:37.280 --> 1:35:39.559
<v Speaker 2>Biz because I know he don't like fast beasts. But

1:35:39.640 --> 1:35:42.599
<v Speaker 2>this is the actual speed. I was like, I take it,

1:35:43.160 --> 1:35:45.599
<v Speaker 2>and then he told me, yeah, I already submitted it

1:35:45.640 --> 1:35:49.040
<v Speaker 2>for a public Enemy remix. I can't remember whether it

1:35:49.080 --> 1:35:51.240
<v Speaker 2>was Bring the Noise or not a Living base Head,

1:35:51.439 --> 1:35:53.479
<v Speaker 2>but he had submitted it for a public Enemy remix,

1:35:53.680 --> 1:35:56.960
<v Speaker 2>so he told me I couldn't have it, so, you know,

1:35:57.040 --> 1:36:00.280
<v Speaker 2>BIZ stayed on top of him until finally, I don't

1:36:00.280 --> 1:36:02.160
<v Speaker 2>know whether they turned it down. I don't know if

1:36:02.160 --> 1:36:03.840
<v Speaker 2>def Jam turned it down or whether the case may

1:36:03.880 --> 1:36:05.800
<v Speaker 2>be with Bit stayed on top of him until I

1:36:05.800 --> 1:36:06.360
<v Speaker 2>could get.

1:36:06.200 --> 1:36:09.160
<v Speaker 3>It on your behalf. Bit stay on top of him, Yeah,

1:36:09.400 --> 1:36:09.760
<v Speaker 3>that's good.

1:36:09.880 --> 1:36:11.920
<v Speaker 2>Stayed on top of Mark forty five until I can

1:36:11.920 --> 1:36:13.960
<v Speaker 2>get the beat and then Busy you know, like call

1:36:14.040 --> 1:36:18.920
<v Speaker 2>me yeah. And then he gave me the beat, and

1:36:19.520 --> 1:36:24.320
<v Speaker 2>when I was sitting there, I'm like, I'm like, I

1:36:24.320 --> 1:36:26.280
<v Speaker 2>don't really want to rhyme over that. I think we

1:36:26.280 --> 1:36:28.479
<v Speaker 2>should say that for the hook. And then I put

1:36:28.479 --> 1:36:33.760
<v Speaker 2>this James Brown shit in the you know, yeah, I

1:36:33.840 --> 1:36:39.000
<v Speaker 2>put that in there, and then yeah, and that's how

1:36:39.000 --> 1:36:40.599
<v Speaker 2>we did it. And it was like I had something

1:36:40.600 --> 1:36:43.439
<v Speaker 2>in mind already because it was like I had heard

1:36:43.800 --> 1:36:47.120
<v Speaker 2>sex Machine from James Brown, and I'm listening like, you

1:36:47.120 --> 1:36:48.880
<v Speaker 2>know we're gonna do it moving grooving.

1:36:49.040 --> 1:36:49.840
<v Speaker 6>Can I count it off?

1:36:49.880 --> 1:36:52.439
<v Speaker 2>Can I? I'm like, I need something like that where

1:36:52.439 --> 1:36:55.439
<v Speaker 2>like the energy is there before the bea drop. I

1:36:55.800 --> 1:36:57.080
<v Speaker 2>got to figure out a way to do it hip

1:36:57.080 --> 1:36:58.680
<v Speaker 2>hop wise. And I was like, yeah, you know what,

1:36:58.880 --> 1:37:01.800
<v Speaker 2>just start the rhyme off acappella and didn't let the

1:37:01.840 --> 1:37:02.360
<v Speaker 2>bee come in.

1:37:02.640 --> 1:37:04.519
<v Speaker 6>So that's why the letter rope get bold. I just

1:37:04.560 --> 1:37:05.360
<v Speaker 6>caun't let that and.

1:37:05.680 --> 1:37:07.920
<v Speaker 2>Want to build down up. Then I just thought, you know,

1:37:08.640 --> 1:37:10.320
<v Speaker 2>I was trying to like do what James did with

1:37:10.400 --> 1:37:11.160
<v Speaker 2>Sex Machine.

1:37:12.439 --> 1:37:15.760
<v Speaker 3>Makes no noise that I got there. Let's go to

1:37:15.800 --> 1:37:16.280
<v Speaker 3>warm it up?

1:37:16.360 --> 1:37:18.120
<v Speaker 6>Can warm it up?

1:37:18.360 --> 1:37:20.000
<v Speaker 3>Yeah?

1:37:20.240 --> 1:37:25.439
<v Speaker 2>Warm it up? Biz once again? Man Coov called me

1:37:25.520 --> 1:37:29.280
<v Speaker 2>one day. Kov called me on the phone. Kov is

1:37:29.320 --> 1:37:32.360
<v Speaker 2>biz DJ for those that don't know. He called me

1:37:32.400 --> 1:37:34.840
<v Speaker 2>on the phone one day and he was like, Yo,

1:37:36.040 --> 1:37:41.439
<v Speaker 2>I got this joint for you. This shit crazy and

1:37:41.479 --> 1:37:47.400
<v Speaker 2>it's perfect for you. I'm like, okay, what's happening. He

1:37:47.479 --> 1:37:49.799
<v Speaker 2>was like, Nah, it's one of them up tempo joints.

1:37:50.400 --> 1:37:52.920
<v Speaker 2>BIZ was going to use it. But and before you

1:37:52.960 --> 1:37:54.960
<v Speaker 2>could say anything else, you hear bus in the background.

1:37:55.160 --> 1:38:03.600
<v Speaker 2>It so goddamn fast. V was like, but yo, I

1:38:03.600 --> 1:38:05.120
<v Speaker 2>need you do me a favor. I need you to

1:38:05.160 --> 1:38:07.439
<v Speaker 2>write this here ship for me with my BAM. So

1:38:08.320 --> 1:38:10.439
<v Speaker 2>he asked me to write this verse for him, and

1:38:10.680 --> 1:38:12.360
<v Speaker 2>you know then you know they gave me the beat.

1:38:12.720 --> 1:38:14.920
<v Speaker 2>But yeah, yeah, yeah, that's that's another joint that came

1:38:14.960 --> 1:38:17.519
<v Speaker 2>from BIZ just like a step crazy.

1:38:17.600 --> 1:38:18.320
<v Speaker 3>You know what's crazy?

1:38:18.600 --> 1:38:21.040
<v Speaker 1>And I'm jumping off subject but still on subject a

1:38:21.080 --> 1:38:23.880
<v Speaker 1>little bit, you know, I hear you you saying this

1:38:24.040 --> 1:38:26.360
<v Speaker 1>so much, like why was BIZ so much of a

1:38:26.400 --> 1:38:29.759
<v Speaker 1>respect at MC and like you you blatantly like wrote

1:38:29.800 --> 1:38:33.160
<v Speaker 1>his rhymes and like he had help, but no one

1:38:33.240 --> 1:38:36.760
<v Speaker 1>looks at Biz like a person that wasn't an MC.

1:38:37.479 --> 1:38:41.680
<v Speaker 1>Like everyone looks at him like a respectable person. But

1:38:42.360 --> 1:38:45.439
<v Speaker 1>nowadays if someone was to get help on that pen

1:38:45.720 --> 1:38:47.680
<v Speaker 1>that they don't, they don't look at him like a

1:38:47.720 --> 1:38:48.160
<v Speaker 1>real MC.

1:38:49.800 --> 1:38:54.640
<v Speaker 2>Because it's like when it comes to MC, and you know,

1:38:54.800 --> 1:39:02.840
<v Speaker 2>you have lyricists and you have party rockers. Uh you know,

1:39:03.080 --> 1:39:06.960
<v Speaker 2>I'm a lyricist, Rock him is a lyricist, Kress g

1:39:07.160 --> 1:39:12.400
<v Speaker 2>rap you know lyricists. Then you know you got party rockers, Biz,

1:39:13.400 --> 1:39:20.760
<v Speaker 2>Dougie Fresh, Busy Bee, you know, DJ Hollywood, Right, So

1:39:20.800 --> 1:39:24.880
<v Speaker 2>it's like with cats like that. If someone right there rhymes,

1:39:25.680 --> 1:39:28.880
<v Speaker 2>you don't trip on that because it's like their job

1:39:28.920 --> 1:39:31.080
<v Speaker 2>is to rock the party and when they come they

1:39:31.080 --> 1:39:36.200
<v Speaker 2>do their job. With us. We're lyricists. Our job is

1:39:36.240 --> 1:39:38.840
<v Speaker 2>to be lyricists. Someone else right now, ship then we

1:39:38.840 --> 1:39:42.760
<v Speaker 2>ain't really lyricists, right, you know, real talk.

1:39:45.040 --> 1:39:47.320
<v Speaker 5>I want to get shout out bov for and he

1:39:47.360 --> 1:39:48.800
<v Speaker 5>has a show with rock san Chante.

1:39:48.960 --> 1:39:52.160
<v Speaker 1>That's why roll that's right, check it out up. I

1:39:52.200 --> 1:39:54.000
<v Speaker 1>wanted to invite me up, write us on.

1:39:54.520 --> 1:39:59.240
<v Speaker 2>Let's go to r A w row.

1:40:00.080 --> 1:40:01.080
<v Speaker 3>No conners back then.

1:40:01.000 --> 1:40:04.960
<v Speaker 6>Right, They had nothing to do with that. Cut it out.

1:40:08.320 --> 1:40:08.479
<v Speaker 2>Now.

1:40:10.160 --> 1:40:13.439
<v Speaker 6>What happened was we had just rhyming with bizz out.

1:40:13.720 --> 1:40:13.960
<v Speaker 2>Damn.

1:40:13.960 --> 1:40:15.840
<v Speaker 1>That's my next question, man, stop doing my interview.

1:40:18.240 --> 1:40:22.160
<v Speaker 2>I was so happy to have that song out. Unfortunately,

1:40:23.200 --> 1:40:26.080
<v Speaker 2>everybody thought it was Biz's song. It's playing on the radio,

1:40:26.120 --> 1:40:28.680
<v Speaker 2>but it's like biz Ram's first and then I come on,

1:40:28.880 --> 1:40:31.360
<v Speaker 2>so they thought it was Biz's song. So I got

1:40:31.360 --> 1:40:34.120
<v Speaker 2>a new song out yet and stilled though I'm sitting

1:40:34.120 --> 1:40:37.920
<v Speaker 2>at home, broke me and school, gotta walk fifteen blocks

1:40:37.960 --> 1:40:42.360
<v Speaker 2>to the store. Steal missus for missus missus Paul's fish

1:40:42.400 --> 1:40:43.799
<v Speaker 2>sticks Kansas shrimp.

1:40:44.000 --> 1:40:47.479
<v Speaker 3>Wow here, how old are you at this time? More

1:40:47.520 --> 1:40:48.439
<v Speaker 3>or less nineteen?

1:40:48.560 --> 1:40:50.880
<v Speaker 2>I think nineteen Yeah, but I got a record out

1:40:51.040 --> 1:40:53.759
<v Speaker 2>and I'm broke, not making no money because nobody's booking

1:40:53.760 --> 1:40:57.000
<v Speaker 2>me for no shuts right because biz song. So I'm

1:40:57.439 --> 1:40:59.680
<v Speaker 2>damn near crying to fly Tirl like yo mill, come

1:40:59.680 --> 1:41:01.360
<v Speaker 2>on man to put another song out with just me,

1:41:01.840 --> 1:41:04.080
<v Speaker 2>tires like Yore's Life and the songs like then finally,

1:41:04.120 --> 1:41:06.720
<v Speaker 2>at some point, Tied just got tired of me asking him,

1:41:06.720 --> 1:41:07.240
<v Speaker 2>and he just.

1:41:07.200 --> 1:41:11.040
<v Speaker 1>So people know, fly tis the person that own records Colture.

1:41:11.080 --> 1:41:13.800
<v Speaker 2>Yeah. Tie finally got tired of me asking him, and

1:41:13.800 --> 1:41:15.559
<v Speaker 2>he was like, yeah, all right, go ahead, do a song.

1:41:16.760 --> 1:41:21.120
<v Speaker 2>So Mally made a beat and I wrote the rhymes

1:41:21.120 --> 1:41:25.519
<v Speaker 2>the raw. And then this girl I was dating at

1:41:25.520 --> 1:41:28.599
<v Speaker 2>the time, she was like, why are you always going

1:41:28.800 --> 1:41:31.720
<v Speaker 2>on to Molly Malhouse. Won't you spend time with me?

1:41:31.960 --> 1:41:33.840
<v Speaker 2>I got records you can look through my records of

1:41:35.000 --> 1:41:38.320
<v Speaker 2>and she pulled these records out and she had the

1:41:38.360 --> 1:41:41.120
<v Speaker 2>first thing I saw was the soundtrack The Black Cason,

1:41:42.120 --> 1:41:45.200
<v Speaker 2>and I'm like, that was my movie, right, yeah, yeah,

1:41:45.439 --> 1:41:47.439
<v Speaker 2>that was my movie. I'm like, all right, I stay

1:41:47.720 --> 1:41:50.080
<v Speaker 2>so I stayed, I'm looking through the records playing ship

1:41:50.600 --> 1:41:53.320
<v Speaker 2>and the first thing I heard was that that sounded

1:41:53.360 --> 1:41:58.880
<v Speaker 2>funky was pays the cost to be the boss. I

1:41:58.880 --> 1:42:01.800
<v Speaker 2>heard that, I'm like, oh, oh, I gotta use this. But

1:42:01.840 --> 1:42:04.599
<v Speaker 2>then I'm playing more, and then I heard this song

1:42:04.640 --> 1:42:08.760
<v Speaker 2>i'ma feel Good and I heard these horns bo bo,

1:42:10.640 --> 1:42:13.120
<v Speaker 2>and I'm like, oh, that would work on the beat

1:42:13.160 --> 1:42:18.000
<v Speaker 2>that Marley made, you know. So I'm like, yeah, me

1:42:18.040 --> 1:42:21.200
<v Speaker 2>grad this. And then the next morning I did try

1:42:21.240 --> 1:42:23.439
<v Speaker 2>to do what Biz always do, like before he go

1:42:23.520 --> 1:42:26.120
<v Speaker 2>to Marley Cribb. He would always stop it downstairs records.

1:42:26.320 --> 1:42:29.280
<v Speaker 2>That was you know, his you know routine. So I

1:42:29.320 --> 1:42:31.720
<v Speaker 2>did it and I stopped by there and my man

1:42:31.840 --> 1:42:35.840
<v Speaker 2>j C that worked in there. Jac was like, yo,

1:42:35.880 --> 1:42:39.559
<v Speaker 2>we just got these James Brown imports in and he

1:42:39.600 --> 1:42:42.640
<v Speaker 2>played them for me. I forgot what the first one was,

1:42:42.720 --> 1:42:46.800
<v Speaker 2>and he played the other one. It was called cross

1:42:46.840 --> 1:42:49.960
<v Speaker 2>the Tracks kiddn't play. Ended up using it, I think

1:42:50.000 --> 1:42:51.599
<v Speaker 2>from my way, I think that's the name of the song.

1:42:52.640 --> 1:42:55.040
<v Speaker 2>But anyway, then he played the third one and that

1:42:55.200 --> 1:43:00.680
<v Speaker 2>was the catch catch catch. I'm like, yes, I'll take that,

1:43:02.720 --> 1:43:05.439
<v Speaker 2>So I took it, went to Marley crib and was like, yo,

1:43:07.600 --> 1:43:09.479
<v Speaker 2>the song we were somebody. I want to do it,

1:43:09.560 --> 1:43:11.920
<v Speaker 2>but not with your beat. We need to use this.

1:43:12.720 --> 1:43:15.439
<v Speaker 2>Marlly SPADs the funk out. He lost it. Nah, noah,

1:43:15.840 --> 1:43:19.000
<v Speaker 2>we need to But then when I played this ship Mally,

1:43:19.760 --> 1:43:24.280
<v Speaker 2>that ship hot. So he I went to go with

1:43:24.400 --> 1:43:27.080
<v Speaker 2>some pizza and he looped it up. But when I

1:43:27.120 --> 1:43:30.400
<v Speaker 2>came back, he looped up the first two bars. I

1:43:30.439 --> 1:43:35.400
<v Speaker 2>was like, nah, six bars in there's an offbeat sneer.

1:43:35.520 --> 1:43:40.080
<v Speaker 2>We're like, boom, indumped the tape. I'm like, yo, we

1:43:40.120 --> 1:43:44.160
<v Speaker 2>need that. He mad as a motherfucker because now because

1:43:44.240 --> 1:43:47.519
<v Speaker 2>now he got to re sample it. And then after

1:43:47.520 --> 1:43:49.320
<v Speaker 2>he sampled it, dumping the tape again.

1:43:49.720 --> 1:43:54.320
<v Speaker 3>This is pre digital verybody. Yeah, yes, sampled.

1:43:55.680 --> 1:44:01.240
<v Speaker 6>Up again. And then you know he did that and.

1:44:01.280 --> 1:44:04.760
<v Speaker 2>This is rocking, and I'm like, all right, put this

1:44:04.840 --> 1:44:10.040
<v Speaker 2>horn part in. He sampled it, you know, the he

1:44:10.080 --> 1:44:14.479
<v Speaker 2>stopped it. He like, Yo, that shit sound like some

1:44:14.520 --> 1:44:17.679
<v Speaker 2>public Enemy stuff. Man, we ain't trying to sound like them.

1:44:17.680 --> 1:44:20.719
<v Speaker 2>Them niggas want to be Juice Crew. I'm like, Marley,

1:44:22.240 --> 1:44:24.920
<v Speaker 2>this shit gonna drive the record right here. This is

1:44:24.960 --> 1:44:27.920
<v Speaker 2>the thing right here that's driving the record. That horn

1:44:28.040 --> 1:44:30.320
<v Speaker 2>right there is gonna make the world of difference, I

1:44:30.400 --> 1:44:30.840
<v Speaker 2>promise you.

1:44:31.920 --> 1:44:34.000
<v Speaker 6>And then you know, he sampled.

1:44:33.640 --> 1:44:36.720
<v Speaker 2>It in there and put it in there, and then

1:44:37.680 --> 1:44:40.680
<v Speaker 2>I was like, yo, can we get an eight or

1:44:40.720 --> 1:44:44.080
<v Speaker 2>eight on the one the boom? And then Marley said

1:44:44.280 --> 1:44:48.880
<v Speaker 2>watch this, watch this boom boom. He was like ah,

1:44:48.960 --> 1:44:51.840
<v Speaker 2>I'm like hell yeah and yeah. Then I went in

1:44:51.840 --> 1:44:53.559
<v Speaker 2>there and spent the vocals and the rest was his.

1:44:54.400 --> 1:44:54.840
<v Speaker 1>God damn.

1:44:55.160 --> 1:44:57.400
<v Speaker 2>Because the reason that's the reason why I start the

1:44:57.479 --> 1:45:00.160
<v Speaker 2>song off saying here I am l A W is

1:45:00.160 --> 1:45:05.080
<v Speaker 2>because I felt like, finally, here I am because I'm

1:45:05.320 --> 1:45:06.960
<v Speaker 2>a lot to you, not I was broken ship man.

1:45:07.000 --> 1:45:09.080
<v Speaker 2>Were just rhyme with a bit? Just rhyme with Biz?

1:45:10.120 --> 1:45:13.880
<v Speaker 1>That's my next question, And let me ask you because

1:45:14.400 --> 1:45:17.360
<v Speaker 1>this has been like a lifelong debate for me. I'm

1:45:17.400 --> 1:45:22.040
<v Speaker 1>listening to just rhyming with Biz. Were y'all really rhyming

1:45:22.080 --> 1:45:23.360
<v Speaker 1>in the park or.

1:45:23.320 --> 1:45:24.320
<v Speaker 3>That was in the studio?

1:45:24.680 --> 1:45:24.760
<v Speaker 2>That?

1:45:26.040 --> 1:45:29.280
<v Speaker 6>Okay, yeah, it was me Biz and freaking frack because

1:45:29.360 --> 1:45:29.720
<v Speaker 6>as I.

1:45:29.680 --> 1:45:32.080
<v Speaker 1>Listened to it now, it still sounds like because the

1:45:32.200 --> 1:45:33.920
<v Speaker 1>rumor was that you did it in the park, and

1:45:33.960 --> 1:45:34.599
<v Speaker 1>like that was like.

1:45:34.560 --> 1:45:38.040
<v Speaker 2>A no now because what it was was like the

1:45:38.120 --> 1:45:42.080
<v Speaker 2>studio Mic and Mally normally have with the little screen

1:45:42.080 --> 1:45:42.600
<v Speaker 2>thing in front of it.

1:45:43.280 --> 1:45:44.559
<v Speaker 6>We was passing it around.

1:45:44.920 --> 1:45:46.160
<v Speaker 3>Okay, that's the reason why I said it.

1:45:46.320 --> 1:45:50.360
<v Speaker 2>It sounds like it was just me Biz and freaking

1:45:50.439 --> 1:45:53.240
<v Speaker 2>Frack from South Side Queens, the two girls from South

1:45:53.280 --> 1:45:55.840
<v Speaker 2>Side Queens, you know, the female rappers. You know, we

1:45:56.040 --> 1:45:59.479
<v Speaker 2>just was rhyming after I did a song song is

1:45:59.560 --> 1:46:01.760
<v Speaker 2>called something and Funky. It's it's also on the same

1:46:01.960 --> 1:46:05.040
<v Speaker 2>twelve inch that was the actual song, but then we

1:46:05.120 --> 1:46:08.320
<v Speaker 2>just rhymed. Afterwards Marley played the freestyle and people was

1:46:08.320 --> 1:46:12.680
<v Speaker 2>requesting that more than the actual song. Wow, it so

1:46:12.760 --> 1:46:14.760
<v Speaker 2>flying time, you know, put it on the twelve inch.

1:46:15.000 --> 1:46:15.280
<v Speaker 3>Wow.

1:46:15.439 --> 1:46:15.639
<v Speaker 6>Yeah.

1:46:15.680 --> 1:46:17.960
<v Speaker 1>Yeah, So let's let's take it a young gifted.

1:46:17.640 --> 1:46:29.080
<v Speaker 2>In Black, Young Gifted in Black. I did a radio

1:46:29.160 --> 1:46:35.040
<v Speaker 2>promo with Marley Maul called Raw Attitude. It was me

1:46:35.120 --> 1:46:38.800
<v Speaker 2>and Antoinette because Antoinette had a song called I Got

1:46:38.800 --> 1:46:41.800
<v Speaker 2>Attitude and I had Raw So we did this radio

1:46:41.840 --> 1:46:47.720
<v Speaker 2>promo called Royal Attitude for for for bls and that's all.

1:46:47.760 --> 1:46:50.720
<v Speaker 2>It was just radio promo. But then Marley took the

1:46:50.800 --> 1:46:56.720
<v Speaker 2>beat and gave it to Shan. But you know, it

1:46:56.840 --> 1:47:01.160
<v Speaker 2>was like I didn't actually produce this one, this one.

1:47:01.200 --> 1:47:03.920
<v Speaker 2>Like I just gave Marley the sample and he put

1:47:03.960 --> 1:47:06.280
<v Speaker 2>it together and he just gave it to Sham, but

1:47:06.320 --> 1:47:09.760
<v Speaker 2>he didn't ask me, can Shan have it? So I

1:47:10.000 --> 1:47:13.759
<v Speaker 2>was like, yo, you owe me a beat tomorrow tomorrow.

1:47:14.120 --> 1:47:15.280
<v Speaker 2>I'm like, yo, you owe me a beat.

1:47:15.320 --> 1:47:15.479
<v Speaker 6>Man.

1:47:15.520 --> 1:47:17.120
<v Speaker 2>I'm not I didn't tell you to get the Shan

1:47:17.360 --> 1:47:20.000
<v Speaker 2>but no, honesty, I didn't really want it, you know

1:47:20.040 --> 1:47:21.400
<v Speaker 2>what I mean. But I mean I was like, you

1:47:21.439 --> 1:47:24.800
<v Speaker 2>owe me a beat. So Marley played this beat one day.

1:47:26.439 --> 1:47:29.479
<v Speaker 2>I was like, yo, I checked this joint out I

1:47:29.520 --> 1:47:38.639
<v Speaker 2>got for Shan and he played the ship and I'm

1:47:38.680 --> 1:47:43.960
<v Speaker 2>like that's just mean, and he, you know, stopped and

1:47:44.000 --> 1:47:46.679
<v Speaker 2>took it out. I took the fucking fire floppy disk

1:47:47.280 --> 1:47:52.080
<v Speaker 2>and hid that ship in like his R and B stash.

1:47:52.360 --> 1:47:55.560
<v Speaker 2>Real talk that guy. I made it in another stash.

1:47:56.040 --> 1:47:59.080
<v Speaker 2>And then you know, when the time came, it was like, yo,

1:47:59.439 --> 1:48:03.280
<v Speaker 2>you owe me a beat. I need something from you.

1:48:03.479 --> 1:48:06.080
<v Speaker 2>He was like, I he started, you got ready placed

1:48:06.080 --> 1:48:07.400
<v Speaker 2>some stuff. I was like, no, no, no, I already know

1:48:07.400 --> 1:48:09.920
<v Speaker 2>what I want. And I went right back to that

1:48:10.080 --> 1:48:11.840
<v Speaker 2>stash and pulled that disc out and I was like,

1:48:11.920 --> 1:48:13.840
<v Speaker 2>I want that. And when he popped it in and

1:48:13.920 --> 1:48:18.360
<v Speaker 2>so it was y'all been looking for this here ship, yo.

1:48:18.360 --> 1:48:20.280
<v Speaker 2>You know it's supposed to be for sharing. I was like, well,

1:48:20.280 --> 1:48:24.920
<v Speaker 2>you gave share my ship, and that's how that's how

1:48:24.960 --> 1:48:26.439
<v Speaker 2>I ended up with that beat, because the beat was

1:48:26.439 --> 1:48:27.080
<v Speaker 2>really for sharing.

1:48:27.280 --> 1:48:29.280
<v Speaker 5>I said that with vinyl I couldn't afford, I would

1:48:29.320 --> 1:48:31.840
<v Speaker 5>stash it in another section of the violin come back

1:48:31.840 --> 1:48:32.240
<v Speaker 5>to it when.

1:48:32.120 --> 1:48:35.880
<v Speaker 6>I exactly did you you know, you know.

1:48:35.320 --> 1:48:38.639
<v Speaker 5>For the joints that you found samples and co produced,

1:48:38.680 --> 1:48:39.559
<v Speaker 5>did you get the credit?

1:48:39.680 --> 1:48:39.760
<v Speaker 1>No?

1:48:40.880 --> 1:48:42.840
<v Speaker 6>No, and let me let me let me just clear

1:48:42.920 --> 1:48:43.280
<v Speaker 6>that up.

1:48:44.120 --> 1:48:49.160
<v Speaker 2>So there's no uh hate or any way that anybody

1:48:49.240 --> 1:48:54.080
<v Speaker 2>can try to, you know, kick dirt on Marley name

1:48:58.360 --> 1:49:00.800
<v Speaker 2>with the joint I'm talking about that I gave Mally

1:49:00.840 --> 1:49:04.800
<v Speaker 2>a beat and he put it together now with like

1:49:04.960 --> 1:49:09.080
<v Speaker 2>raw and Ain't a Half Stepping. These are songs that

1:49:09.120 --> 1:49:13.360
<v Speaker 2>I put together and Marley just did it on the

1:49:13.439 --> 1:49:15.799
<v Speaker 2>drum machine. But these are songs that I put together,

1:49:16.920 --> 1:49:21.760
<v Speaker 2>So I feel like I produced these songs. Get the credit, no,

1:49:22.640 --> 1:49:25.679
<v Speaker 2>but these are songs that I feel I produce. Now,

1:49:25.920 --> 1:49:28.960
<v Speaker 2>there have been many artists that brought beasts to Marley,

1:49:29.800 --> 1:49:31.839
<v Speaker 2>gave him the record, and then Marley put it together.

1:49:32.760 --> 1:49:35.400
<v Speaker 2>You bring someone a record, that's what we call in

1:49:35.439 --> 1:49:41.599
<v Speaker 2>the streets a good fine, a good fine fine. Yeah, yeah,

1:49:41.640 --> 1:49:45.080
<v Speaker 2>that's that's Craig digging terms. That's a good fine. So

1:49:45.120 --> 1:49:47.280
<v Speaker 2>that's a good fine. But if you give the record

1:49:47.280 --> 1:49:50.519
<v Speaker 2>of Marley and he you know, sample this part, sample

1:49:50.560 --> 1:49:53.360
<v Speaker 2>that part, put a kick snare to it, whatever, you know,

1:49:53.600 --> 1:49:57.080
<v Speaker 2>high hats on tambourines, whatever, he's producing the song.

1:49:57.640 --> 1:50:00.360
<v Speaker 6>You just found a dope break record. That's all you did.

1:50:01.920 --> 1:50:08.120
<v Speaker 2>But like songs like Raw ain't a half step and

1:50:08.200 --> 1:50:09.440
<v Speaker 2>these are joints.

1:50:09.040 --> 1:50:11.519
<v Speaker 6>That you know, I pretty much did all.

1:50:11.400 --> 1:50:13.760
<v Speaker 3>The structureing and you give it a black one.

1:50:14.040 --> 1:50:16.840
<v Speaker 2>That's Molly Young gives him black is all Marley. Lean

1:50:16.920 --> 1:50:20.840
<v Speaker 2>on Me is all Molly you know, yeah, yeah, that's

1:50:20.880 --> 1:50:25.000
<v Speaker 2>all Mally. I'll take you there all Marley. Okay, Yeah.

1:50:25.920 --> 1:50:26.840
<v Speaker 3>How about the Wrath of.

1:50:27.080 --> 1:50:29.479
<v Speaker 6>K Rafter Kane. That would be mek.

1:50:29.960 --> 1:50:33.120
<v Speaker 2>Yeah, that was that was a funny session to Marley

1:50:33.240 --> 1:50:40.439
<v Speaker 2>was pissed, but he didn't. He didn't.

1:50:40.479 --> 1:50:42.360
<v Speaker 6>He was like, it's too far, it's too fast. Let

1:50:42.360 --> 1:50:42.960
<v Speaker 6>me slow it down.

1:50:43.000 --> 1:50:47.040
<v Speaker 2>I'm like nah, I'm like nah, I ain't never go

1:50:47.160 --> 1:50:50.519
<v Speaker 2>this fast. I'm like, I never went this fast, Like

1:50:50.960 --> 1:50:54.880
<v Speaker 2>I need to take it to the next level. And

1:50:54.920 --> 1:50:58.479
<v Speaker 2>he was like, yo, only people gonna like this ship

1:50:58.520 --> 1:51:08.719
<v Speaker 2>is Puerto Ricans and break dances. I like it because

1:51:09.240 --> 1:51:13.240
<v Speaker 2>with Raffa Kine, it's like it had to be switched

1:51:13.280 --> 1:51:17.480
<v Speaker 2>around because the beat goes boom.

1:51:17.200 --> 1:51:20.800
<v Speaker 6>We got get got got boom boom.

1:51:20.520 --> 1:51:24.880
<v Speaker 2>Gat, So we had to catch the second part boom

1:51:24.920 --> 1:51:28.240
<v Speaker 2>get boom gat and make that first to make the

1:51:28.280 --> 1:51:32.200
<v Speaker 2>first part boom but gat gat make that second, so

1:51:32.240 --> 1:51:35.400
<v Speaker 2>it would be like boom gat boom gat boom but

1:51:35.560 --> 1:51:38.600
<v Speaker 2>got gatt. But they had to be switched around, you know,

1:51:38.680 --> 1:51:41.120
<v Speaker 2>not get that part, then get that part and then

1:51:41.120 --> 1:51:43.519
<v Speaker 2>switch play that one you know this first and then

1:51:43.520 --> 1:51:45.240
<v Speaker 2>that's you know what I'm saying. I had them to

1:51:45.280 --> 1:51:48.080
<v Speaker 2>do that, you know. But once again, you're that was

1:51:48.120 --> 1:51:50.640
<v Speaker 2>something that you know, our structured as well, because the

1:51:50.680 --> 1:51:54.920
<v Speaker 2>reason for that was because fly Tire couldn't get them

1:51:54.960 --> 1:51:58.040
<v Speaker 2>to release set it off as the second single. He

1:51:58.160 --> 1:52:00.120
<v Speaker 2>was trying to get Warner Brothers to put out at

1:52:00.160 --> 1:52:02.360
<v Speaker 2>that office a second single. They wouldn't do it. They

1:52:02.439 --> 1:52:05.000
<v Speaker 2>wanted to go and I'll take you there because now

1:52:05.080 --> 1:52:07.120
<v Speaker 2>since I was on Warner Brothers. Prince was willing to

1:52:07.160 --> 1:52:10.360
<v Speaker 2>clear the sample, so they wanted to go with that.

1:52:12.240 --> 1:52:13.680
<v Speaker 6>Fly time. I couldn't get you set up.

1:52:13.760 --> 1:52:15.519
<v Speaker 2>So since I knew that there was nothing I could do,

1:52:15.960 --> 1:52:19.439
<v Speaker 2>and I couldn't even convince them to do set it

1:52:19.479 --> 1:52:21.400
<v Speaker 2>off as the B side, I'm like, well, let's set up.

1:52:21.400 --> 1:52:23.240
<v Speaker 2>They was like one of us was like, no, just

1:52:23.280 --> 1:52:26.040
<v Speaker 2>in case we do a third single, we rather hold off.

1:52:26.840 --> 1:52:28.519
<v Speaker 2>So I just said fuck it. Then I just went

1:52:28.560 --> 1:52:30.240
<v Speaker 2>in the studio. I did a new song, which was

1:52:30.360 --> 1:52:30.840
<v Speaker 2>rafa king.

1:52:31.160 --> 1:52:32.880
<v Speaker 3>But what made you pick that song to come out

1:52:32.880 --> 1:52:33.680
<v Speaker 3>to the Apollo with.

1:52:38.920 --> 1:52:43.519
<v Speaker 2>They told me that they record mostly everything, and they

1:52:43.560 --> 1:52:44.760
<v Speaker 2>was like, you know, we record most of them. We

1:52:44.840 --> 1:52:47.679
<v Speaker 2>got a studio upstairs, so like when people be on stage,

1:52:47.680 --> 1:52:49.600
<v Speaker 2>we normally record, you know stuff, So we have a

1:52:49.640 --> 1:52:52.799
<v Speaker 2>whole lot of shows, concerts record the audio recorded.

1:52:53.520 --> 1:52:55.880
<v Speaker 6>I'm like, okay, I want to I want to do that.

1:52:56.320 --> 1:52:56.920
<v Speaker 2>Did you hear them?

1:52:57.280 --> 1:52:57.720
<v Speaker 1>Did you hear it?

1:52:57.840 --> 1:52:58.040
<v Speaker 6>Yeah?

1:52:58.080 --> 1:53:00.360
<v Speaker 2>Yeah, yeah, No, I don't gotta hit a ground. I

1:53:00.360 --> 1:53:08.559
<v Speaker 2>can hear my asthmetic ass you listen like that was

1:53:08.560 --> 1:53:11.040
<v Speaker 2>the first time I realized. I'm like, yeah, you gotta

1:53:11.040 --> 1:53:12.000
<v Speaker 2>get your breathing right.

1:53:12.160 --> 1:53:13.479
<v Speaker 3>But that's how you know you're perfected.

1:53:13.479 --> 1:53:16.040
<v Speaker 1>This none of us hear that, Oh we hears you

1:53:16.200 --> 1:53:18.439
<v Speaker 1>tearing that ship down and the crowd going crazy.

1:53:18.520 --> 1:53:23.120
<v Speaker 2>But next time we listen to Rath, I'm shouting like

1:53:23.160 --> 1:53:26.960
<v Speaker 2>motherfucking dopad on it, you know what I'm saying on.

1:53:26.880 --> 1:53:29.439
<v Speaker 3>The way here, and that it sounds so dope.

1:53:31.000 --> 1:53:33.920
<v Speaker 1>I love I loved shows back then when you have

1:53:34.000 --> 1:53:36.519
<v Speaker 1>to buy hard tickets and things like that, do you

1:53:36.600 --> 1:53:39.400
<v Speaker 1>do you miss days like that? Hell yeah, because like

1:53:39.479 --> 1:53:43.400
<v Speaker 1>right now, like these people can like buy like online

1:53:44.280 --> 1:53:45.840
<v Speaker 1>not even show show up to your curency.

1:53:46.880 --> 1:53:48.960
<v Speaker 2>Well, I mean it's not really the days of the tickets,

1:53:48.960 --> 1:53:50.160
<v Speaker 2>it's the days of.

1:53:51.600 --> 1:53:52.320
<v Speaker 6>The appreciation.

1:53:53.360 --> 1:53:53.920
<v Speaker 2>Uh.

1:53:54.560 --> 1:53:55.080
<v Speaker 6>It's like.

1:53:57.080 --> 1:54:03.200
<v Speaker 2>Nowadays, you know, you come on stage, if there's ten

1:54:03.280 --> 1:54:07.679
<v Speaker 2>thousand people in the audience, you're probably looking at seven

1:54:07.760 --> 1:54:08.960
<v Speaker 2>thousand cell phones.

1:54:09.360 --> 1:54:11.120
<v Speaker 3>Oh yeah, I hate that they're like this.

1:54:11.520 --> 1:54:17.800
<v Speaker 2>Yeah yeah, you know, it's like nobody's really enjoying.

1:54:17.680 --> 1:54:21.240
<v Speaker 5>Appreciating the experience anymore. Yeah, it's something they're trying to

1:54:21.280 --> 1:54:22.040
<v Speaker 5>capture for later.

1:54:22.120 --> 1:54:26.040
<v Speaker 3>Which yeah, yeah, that's that's kind of crazy. But you know,

1:54:26.160 --> 1:54:26.479
<v Speaker 3>let me just.

1:54:26.520 --> 1:54:30.280
<v Speaker 1>Tell you how powerful your your stage presence is the

1:54:30.320 --> 1:54:35.200
<v Speaker 1>other day, you know, obviously I'm studying, you know, for

1:54:35.280 --> 1:54:37.920
<v Speaker 1>the interview, but I'm also just looking at on the

1:54:37.960 --> 1:54:43.360
<v Speaker 1>internet and I'm looking at your stage show, right, and

1:54:43.400 --> 1:54:45.800
<v Speaker 1>then I just go randomly and I'm looking at money

1:54:45.840 --> 1:54:50.440
<v Speaker 1>bags yo, and money bags Yo, Damn your same routine.

1:54:50.880 --> 1:54:53.160
<v Speaker 1>Like damn, they're like, you know, jumping around and I'm

1:54:53.200 --> 1:54:56.840
<v Speaker 1>looking and I'm like, he probably don't even know, you know,

1:54:57.320 --> 1:55:00.840
<v Speaker 1>like like his stage presence, like where he actually got

1:55:00.880 --> 1:55:03.960
<v Speaker 1>that from, like having dances interacting with them, And I

1:55:04.040 --> 1:55:06.360
<v Speaker 1>was just sitting there like damn, like that this form

1:55:06.360 --> 1:55:09.960
<v Speaker 1>of hip hop is still in, It's just in a

1:55:10.320 --> 1:55:10.880
<v Speaker 1>different thing.

1:55:10.960 --> 1:55:13.080
<v Speaker 6>I gotta I gotta look him up now for me.

1:55:13.160 --> 1:55:16.880
<v Speaker 2>But I would, honestly if that's what you saw, and

1:55:16.960 --> 1:55:18.720
<v Speaker 2>I would love to meet that brother. I would love

1:55:18.760 --> 1:55:20.640
<v Speaker 2>to like really just sit and build with him about,

1:55:20.800 --> 1:55:23.240
<v Speaker 2>you know, performance, just to tell him some of the

1:55:23.280 --> 1:55:24.240
<v Speaker 2>things that I've heard.

1:55:24.360 --> 1:55:26.960
<v Speaker 1>But you know what's crazy. I used to go to

1:55:26.960 --> 1:55:29.680
<v Speaker 1>the road with Oconnelly. Ocannella used to stop and he

1:55:29.720 --> 1:55:32.760
<v Speaker 1>used to do like these girls with bananas and that

1:55:32.840 --> 1:55:35.040
<v Speaker 1>he had he had his version of scoop and scratch

1:55:35.080 --> 1:55:37.360
<v Speaker 1>no no, no death serious because he had put in your

1:55:37.360 --> 1:55:40.320
<v Speaker 1>mouth so he had to make that one song stretched

1:55:40.640 --> 1:55:43.280
<v Speaker 1>you understand I'm saying soul. And then I was sitting

1:55:43.280 --> 1:55:45.120
<v Speaker 1>there and I'd be like and he'd be like, man,

1:55:45.160 --> 1:55:47.720
<v Speaker 1>I got this stage presidence from Kine And I'd be like,

1:55:48.160 --> 1:55:50.760
<v Speaker 1>did you did you know like a lot of people

1:55:51.000 --> 1:55:55.320
<v Speaker 1>like Bay State stage presidence on how entertainment he was

1:55:55.360 --> 1:55:56.560
<v Speaker 1>on and you are on stage.

1:55:58.040 --> 1:56:00.480
<v Speaker 2>No, I didn't know that.

1:56:00.680 --> 1:56:03.480
<v Speaker 6>I mean, I think it's beautiful.

1:56:03.760 --> 1:56:06.520
<v Speaker 2>You know. I remember when me and you had the

1:56:06.560 --> 1:56:11.160
<v Speaker 2>conversation in London about performing down again, you know, But

1:56:11.320 --> 1:56:15.480
<v Speaker 2>I mean it's like I think it's I think I

1:56:15.560 --> 1:56:16.920
<v Speaker 2>think it's a blessing because.

1:56:18.320 --> 1:56:19.640
<v Speaker 6>That's something that's been important to me.

1:56:20.200 --> 1:56:23.440
<v Speaker 2>You know. I saw Bizz perform and do what he

1:56:23.560 --> 1:56:25.560
<v Speaker 2>do and I was like, yo, he's rocking the crowds.

1:56:25.600 --> 1:56:27.920
<v Speaker 2>But it's like I didn't want to do the funny stuff,

1:56:28.720 --> 1:56:31.560
<v Speaker 2>you know. I'm like, Okay, what's my niche? What's it

1:56:31.600 --> 1:56:35.480
<v Speaker 2>gonna be? And I learned my niche from Dougie Fresh.

1:56:36.480 --> 1:56:42.000
<v Speaker 2>It was like doug came to see my show and

1:56:42.040 --> 1:56:44.240
<v Speaker 2>he was like, no, I'm gonna watch it from the crowd,

1:56:44.760 --> 1:56:46.800
<v Speaker 2>And he watched it from the crowd and we came

1:56:46.840 --> 1:56:50.320
<v Speaker 2>backstage It's like everybody's like, yo, you tore that ship down, Yo,

1:56:50.400 --> 1:56:52.600
<v Speaker 2>you bodied it or you just say body then, but

1:56:52.880 --> 1:56:55.800
<v Speaker 2>whatever the word slang was in like eighty seven, you know,

1:56:56.040 --> 1:56:56.920
<v Speaker 2>He's like, yo, this and that.

1:56:57.240 --> 1:56:58.160
<v Speaker 3>What did dog say?

1:56:58.520 --> 1:57:01.680
<v Speaker 2>Dog? Well, you know in his fucking high pitch boys,

1:57:02.600 --> 1:57:05.760
<v Speaker 2>you know, why are.

1:57:03.720 --> 1:57:19.920
<v Speaker 1>You Everyone's telling dogs like man?

1:57:20.720 --> 1:57:23.960
<v Speaker 2>And I mean I'm like looking at him, like, oh,

1:57:24.000 --> 1:57:31.760
<v Speaker 2>you fucking old school hater. But then he goes, yo,

1:57:33.480 --> 1:57:35.400
<v Speaker 2>what you're doing, won't you come back to the crib,

1:57:35.480 --> 1:57:37.840
<v Speaker 2>let's be So we go back to his crib and

1:57:37.920 --> 1:57:44.720
<v Speaker 2>he popping these videos Earth Winning Fire, Michael Jackson, Pink Floyd,

1:57:46.160 --> 1:57:48.440
<v Speaker 2>and he's showing me this stuff and he's like, yo,

1:57:48.480 --> 1:57:50.560
<v Speaker 2>you see what they're doing. He's like, this is what

1:57:50.680 --> 1:57:54.200
<v Speaker 2>I learned from Because everybody else is studying Run DMC

1:57:54.960 --> 1:58:01.000
<v Speaker 2>and Flashing the Furious five and Odini, I'm studying what's

1:58:01.120 --> 1:58:04.600
<v Speaker 2>never been done in hip hop before and introducing it

1:58:04.640 --> 1:58:05.520
<v Speaker 2>for the first time.

1:58:06.120 --> 1:58:08.200
<v Speaker 6>Wow, And I'm like m hm.

1:58:09.240 --> 1:58:12.160
<v Speaker 2>So that next morning I woke up, went straight to

1:58:12.240 --> 1:58:18.840
<v Speaker 2>Tower Video and bought VHS's of James Brown, Barry White,

1:58:19.600 --> 1:58:27.000
<v Speaker 2>and Marvin K and started studying those. I mean, fine,

1:58:27.280 --> 1:58:32.560
<v Speaker 2>like like like fine, fine to like yeah everything you

1:58:32.640 --> 1:58:35.360
<v Speaker 2>know from Barry White taking his pocket square, wiping his

1:58:35.440 --> 1:58:36.760
<v Speaker 2>sweat out us on his face.

1:58:36.800 --> 1:58:38.520
<v Speaker 1>Where do you get that routine when you dropped the

1:58:38.600 --> 1:58:42.000
<v Speaker 1>mic and then you pick it back up?

1:58:42.040 --> 1:58:42.680
<v Speaker 3>What is it with the.

1:58:44.200 --> 1:58:45.480
<v Speaker 2>Drop drop ship make it? Look?

1:58:47.320 --> 1:58:47.920
<v Speaker 3>What did you get?

1:58:48.000 --> 1:58:50.680
<v Speaker 1>Because like, I know what's coming, Like it's like a magician,

1:58:52.200 --> 1:58:54.280
<v Speaker 1>like you know the trick is coming, but I still

1:58:54.280 --> 1:58:54.800
<v Speaker 1>get caught.

1:58:56.080 --> 1:58:56.920
<v Speaker 3>I'm looking like he's.

1:58:56.800 --> 1:58:58.400
<v Speaker 1>Gonna do it, He's gonna do it, and you're still

1:58:58.480 --> 1:58:59.160
<v Speaker 1>not still.

1:58:58.960 --> 1:59:02.880
<v Speaker 2>Amazed, Like well, you know, that was something we used

1:59:02.880 --> 1:59:07.200
<v Speaker 2>to do before internet days, so okay, nobody really knew,

1:59:07.480 --> 1:59:10.600
<v Speaker 2>you know, but then once you know, it became you know,

1:59:10.760 --> 1:59:13.880
<v Speaker 2>like you know, I started trending so crazy. I just

1:59:13.880 --> 1:59:15.960
<v Speaker 2>stopped doing it in the show. But yeah, we used

1:59:16.000 --> 1:59:17.600
<v Speaker 2>to do that a lot back then. This is like

1:59:18.000 --> 1:59:21.360
<v Speaker 2>early two thousands, you know, before you know, Internet was

1:59:21.400 --> 1:59:22.680
<v Speaker 2>real crazy, you know what I'm saying.

1:59:22.880 --> 1:59:24.440
<v Speaker 1>But how did you come up with that? Like did

1:59:24.520 --> 1:59:25.960
<v Speaker 1>you the mike actually drop out of that?

1:59:26.280 --> 1:59:29.400
<v Speaker 2>No? No, no, no, no, no, I was it was like

1:59:29.760 --> 1:59:37.120
<v Speaker 2>it was a rhyme that I wrote and uh, matter

1:59:37.160 --> 1:59:38.680
<v Speaker 2>of fact, now I ain't gonna put dude, on blast.

1:59:40.960 --> 1:59:41.640
<v Speaker 6>Yeah, yeah, yeah.

1:59:41.680 --> 1:59:44.360
<v Speaker 2>Somebody had told me that you know that that that

1:59:44.520 --> 1:59:49.440
<v Speaker 2>the rhyme, that I could have spit something harder, you know,

1:59:49.560 --> 1:59:52.320
<v Speaker 2>and I was just like, you know, like yeah, motherfucker,

1:59:53.760 --> 1:59:57.320
<v Speaker 2>and I started staying it on stage and it was

1:59:57.360 --> 1:59:59.880
<v Speaker 2>coming off on stage, you know, and then I was like,

2:00:02.360 --> 2:00:04.280
<v Speaker 2>I got an idea, this one. I got an idea.

2:00:04.440 --> 2:00:06.520
<v Speaker 1>So I just you talking to this one person in

2:00:06.560 --> 2:00:09.480
<v Speaker 1>your mind. You're saying, you talking to this one person.

2:00:09.240 --> 2:00:11.440
<v Speaker 6>Like like now. It was like, you know, like day

2:00:11.520 --> 2:00:11.880
<v Speaker 6>day day.

2:00:11.960 --> 2:00:13.600
<v Speaker 2>They told me the rhyme was hard enough, and I

2:00:13.600 --> 2:00:16.480
<v Speaker 2>started sage's killing them. And then I'm like, you know

2:00:16.520 --> 2:00:18.640
<v Speaker 2>what I got said the idea. So I just then

2:00:18.840 --> 2:00:20.800
<v Speaker 2>I added those bars in the front of the round,

2:00:21.120 --> 2:00:22.840
<v Speaker 2>those those in the front where I dropped the mic,

2:00:23.160 --> 2:00:25.600
<v Speaker 2>and then I started to ride, you know, and it

2:00:25.960 --> 2:00:27.040
<v Speaker 2>started killing every night.

2:00:27.200 --> 2:00:28.520
<v Speaker 6>It was just something I just came up with.

2:00:29.840 --> 2:00:35.600
<v Speaker 1>Goddamn it. We have we have comedians on here all

2:00:35.640 --> 2:00:37.680
<v Speaker 1>the time. Before and then we'll come back to this,

2:00:38.120 --> 2:00:39.840
<v Speaker 1>uh lean on me and we'll come back to that.

2:00:40.160 --> 2:00:43.120
<v Speaker 1>But we have comedians on here all the time. Comedians

2:00:43.120 --> 2:00:48.280
<v Speaker 1>say that had they had these material uh that they

2:00:48.400 --> 2:00:51.440
<v Speaker 1>that they made back then, now they might not be

2:00:51.680 --> 2:00:54.800
<v Speaker 1>successful comedians. Is there any lyrics that you think though

2:00:55.240 --> 2:00:56.640
<v Speaker 1>from back then that you can.

2:00:56.760 --> 2:01:00.400
<v Speaker 3>That wouldn't survive survive nowadays?

2:01:00.480 --> 2:01:07.760
<v Speaker 2>Did you think, yeah, what's the work's going to mine?

2:01:09.040 --> 2:01:14.880
<v Speaker 2>I'll take you there? I mean I think that the

2:01:14.920 --> 2:01:19.320
<v Speaker 2>song was you know, what I was talking about was,

2:01:19.520 --> 2:01:24.040
<v Speaker 2>you know, a beautiful spiritual message. But I don't now,

2:01:24.360 --> 2:01:25.960
<v Speaker 2>I don't think it would have stood. I don't think

2:01:25.960 --> 2:01:28.400
<v Speaker 2>it stood the test of time. Okay, lyrically, I don't

2:01:28.400 --> 2:01:29.560
<v Speaker 2>think it stood the testa time.

2:01:29.760 --> 2:01:30.640
<v Speaker 3>You don't think it aged?

2:01:30.720 --> 2:01:34.000
<v Speaker 2>Well, nah, no, I'll take you there. Definitely be one

2:01:34.040 --> 2:01:39.440
<v Speaker 2>of those songs I don't think. Yeah, yeah, definitely, I'll

2:01:39.480 --> 2:01:39.960
<v Speaker 2>take you there.

2:01:40.240 --> 2:01:41.680
<v Speaker 3>How about this one? You're ready for one?

2:01:43.160 --> 2:01:46.400
<v Speaker 1>Ready you take them eight to eighty?

2:01:48.040 --> 2:01:54.480
<v Speaker 2>Yeah? Yeah, yeah, like right now, Yeah, I just said

2:01:54.520 --> 2:01:58.960
<v Speaker 2>that ship this year I had register.

2:02:01.720 --> 2:02:04.640
<v Speaker 6>Ebody moving neighborhood.

2:02:05.080 --> 2:02:06.920
<v Speaker 2>Yeah yeah, that would have went you know.

2:02:06.840 --> 2:02:12.320
<v Speaker 1>That's yeah, that was the that was the same.

2:02:12.400 --> 2:02:14.120
<v Speaker 6>But yeah now yeah yeah that ship.

2:02:15.600 --> 2:02:18.760
<v Speaker 1>Well also a great a great song with nicest move

2:02:18.960 --> 2:02:24.000
<v Speaker 1>peppering ain't easy. That's still like around like people still

2:02:24.400 --> 2:02:25.200
<v Speaker 1>say it, say it.

2:02:25.640 --> 2:02:26.760
<v Speaker 3>How did that record come about?

2:02:27.640 --> 2:02:28.720
<v Speaker 6>Just one night in the studio.

2:02:31.120 --> 2:02:35.000
<v Speaker 2>I forgot what we was recording that day, but Nice

2:02:35.000 --> 2:02:36.880
<v Speaker 2>and Smooth came through and we just decided, let's do

2:02:36.960 --> 2:02:42.680
<v Speaker 2>a song. Wow and did that? No? I did that?

2:02:42.720 --> 2:02:45.040
<v Speaker 1>Okay, Wow, that's right. I forgot you.

2:02:44.480 --> 2:02:51.320
<v Speaker 2>Well I did it and had to beat rocking.

2:02:51.400 --> 2:02:53.240
<v Speaker 6>And then Prince Paul he was there too.

2:02:54.000 --> 2:02:57.680
<v Speaker 2>He said, yo, let me put some drums up under it,

2:02:57.960 --> 2:03:00.160
<v Speaker 2>and he put the Mary Mary drums up on of

2:03:00.160 --> 2:03:04.720
<v Speaker 2>it and then basically kicked me out the control room

2:03:04.720 --> 2:03:09.879
<v Speaker 2>and took over the whole goddamn over fucking session.

2:03:10.280 --> 2:03:14.840
<v Speaker 6>Here what you have up him?

2:03:20.360 --> 2:03:21.320
<v Speaker 2>I'm a rap artist.

2:03:22.360 --> 2:03:24.400
<v Speaker 3>Are you the cops that.

2:03:28.960 --> 2:03:30.880
<v Speaker 5>We might have talked about it last time you were here,

2:03:30.920 --> 2:03:34.760
<v Speaker 5>But let's refresher Hollywood Burn Burn, Hollywood Burn with a

2:03:34.760 --> 2:03:36.920
<v Speaker 5>Public Enemy and ice Cube talk about that record.

2:03:39.600 --> 2:03:41.760
<v Speaker 2>Well, I mean when I got the call from Chuck,

2:03:44.240 --> 2:03:46.480
<v Speaker 2>I was like ecstatic, you know, because I mean a

2:03:46.600 --> 2:03:51.600
<v Speaker 2>big Public Enemy fan. And you know, he sat there

2:03:51.640 --> 2:03:54.080
<v Speaker 2>and broke it down while he was envisioned, and I

2:03:54.120 --> 2:03:56.800
<v Speaker 2>thought it was a dope concept. I'm like, yeah, I

2:03:56.920 --> 2:03:57.960
<v Speaker 2>see it, I see it.

2:03:58.920 --> 2:03:59.480
<v Speaker 6>I love it.

2:03:59.840 --> 2:04:02.360
<v Speaker 2>And then at the end then he adds on, yeah,

2:04:02.920 --> 2:04:04.880
<v Speaker 2>ice Cube gonna be on the tool and I'm.

2:04:04.760 --> 2:04:05.800
<v Speaker 3>Like, oh, you didn't know that.

2:04:05.960 --> 2:04:07.080
<v Speaker 6>No, no, no, no.

2:04:07.400 --> 2:04:09.920
<v Speaker 2>He ain't telling me that the end of the conversation, right,

2:04:11.200 --> 2:04:12.920
<v Speaker 2>He told me that at the end of the conversation.

2:04:14.560 --> 2:04:18.280
<v Speaker 2>So I was like, you know, yeah, So, I mean

2:04:18.320 --> 2:04:21.200
<v Speaker 2>I really wanted to like really come through because Chuck

2:04:21.280 --> 2:04:25.480
<v Speaker 2>was somebody that I really admired, looked up to because

2:04:25.520 --> 2:04:27.800
<v Speaker 2>of what he represented in hip hop. Right, you know,

2:04:27.840 --> 2:04:30.520
<v Speaker 2>the type of figure he is, you know, He's someone

2:04:30.560 --> 2:04:33.960
<v Speaker 2>that I've always admired, respected and looked up to. So

2:04:34.040 --> 2:04:36.000
<v Speaker 2>I was like, I'm honored to be on a song

2:04:36.040 --> 2:04:40.440
<v Speaker 2>with you, right, you know, and I wanted to be right.

2:04:39.600 --> 2:04:41.680
<v Speaker 1>So you wrote your verse before knowing ice Cube was

2:04:41.720 --> 2:04:42.040
<v Speaker 1>on there?

2:04:42.480 --> 2:04:44.640
<v Speaker 2>No, no, no, no no, he told me at the end

2:04:44.640 --> 2:04:47.000
<v Speaker 2>of the conversation, so I knew he was going to

2:04:47.040 --> 2:04:47.280
<v Speaker 2>be on it.

2:04:47.880 --> 2:04:51.040
<v Speaker 5>And Chuck told us that that song is what kind

2:04:51.080 --> 2:04:54.640
<v Speaker 5>of ushered you know, qes leaving n w A and

2:04:54.680 --> 2:04:57.120
<v Speaker 5>working with the Bomb Squad and was a part of

2:04:57.120 --> 2:04:58.280
<v Speaker 5>that whole like transition.

2:04:59.320 --> 2:04:59.920
<v Speaker 2>I didn't know that.

2:05:00.080 --> 2:05:02.360
<v Speaker 6>Okay, beautiful, Speaking.

2:05:01.960 --> 2:05:03.800
<v Speaker 1>Of that, do you do you write your rhymes different

2:05:03.840 --> 2:05:06.200
<v Speaker 1>when you know someone else is on the record or

2:05:06.400 --> 2:05:06.600
<v Speaker 1>is it?

2:05:06.680 --> 2:05:06.880
<v Speaker 2>Yeah?

2:05:07.080 --> 2:05:10.600
<v Speaker 6>Okay, yeah, Okay, if I if I know.

2:05:13.360 --> 2:05:17.360
<v Speaker 2>That someone like real lyrical on a joint.

2:05:17.880 --> 2:05:19.160
<v Speaker 6>Matter of fact, I tell you a funny story.

2:05:19.200 --> 2:05:19.520
<v Speaker 1>Let's go.

2:05:22.360 --> 2:05:25.960
<v Speaker 6>I did a song with Game Game. Uh.

2:05:27.000 --> 2:05:30.240
<v Speaker 2>I can't remember the name of the song, and I

2:05:30.360 --> 2:05:34.080
<v Speaker 2>know the chorus is like KRS spits like you know,

2:05:34.160 --> 2:05:36.880
<v Speaker 2>the game spit like the Daddy can't spit. I can't

2:05:36.880 --> 2:05:39.600
<v Speaker 2>remember the name of the song. But anyway, when we

2:05:39.680 --> 2:05:46.760
<v Speaker 2>did it. Now, I had did a song with with

2:05:46.960 --> 2:05:51.720
<v Speaker 2>KRS called it was a tony touches Me KRS and

2:05:51.800 --> 2:05:57.360
<v Speaker 2>g RAT, I think so. But yeah, we me, KRS

2:05:57.360 --> 2:06:00.600
<v Speaker 2>and Givat we did a song and me and he wrapped.

2:06:00.760 --> 2:06:05.760
<v Speaker 2>We came in there on our ship and KRS came

2:06:05.800 --> 2:06:11.200
<v Speaker 2>in there, you know, as the teacher, right, and we

2:06:11.440 --> 2:06:14.680
<v Speaker 2>just did a show together, and you know, he was

2:06:14.880 --> 2:06:19.560
<v Speaker 2>in his teacher mode, you know, you know, so this

2:06:19.800 --> 2:06:26.120
<v Speaker 2>night at the studio, I'm like, okay, me Game, KRS.

2:06:26.240 --> 2:06:28.320
<v Speaker 2>You know, okay, Los.

2:06:28.160 --> 2:06:31.520
<v Speaker 1>Angeles in l A oh wow, Yeah, I just Lucky

2:06:31.640 --> 2:06:34.400
<v Speaker 1>Man Game in Heavy.

2:06:33.640 --> 2:06:35.480
<v Speaker 2>And Heavy d rest in Pieces just did the show

2:06:35.600 --> 2:06:38.800
<v Speaker 2>the House of Blues, Wow, and they all asked us

2:06:38.800 --> 2:06:40.880
<v Speaker 2>to come through the game you know, his.

2:06:40.840 --> 2:06:42.120
<v Speaker 3>People, his game session.

2:06:42.160 --> 2:06:46.560
<v Speaker 1>He invites his game You Cares and Heavy d Heavy.

2:06:46.320 --> 2:06:50.840
<v Speaker 2>He invited me and KRS and Dougie Fresh game like

2:06:50.960 --> 2:06:55.800
<v Speaker 2>Doug beatboxes at the end History History didn't that's history.

2:06:55.840 --> 2:06:57.040
<v Speaker 3>That's a dope track.

2:06:57.400 --> 2:07:00.840
<v Speaker 2>Wow. So you know, in my mind frame, I'm like,

2:07:01.000 --> 2:07:07.040
<v Speaker 2>you know, ship, I'd have been drinking half drunk. I'm like,

2:07:07.120 --> 2:07:11.920
<v Speaker 2>but I got some old ship. I got some old

2:07:11.960 --> 2:07:16.839
<v Speaker 2>ship that a tear them apart. I ain't even trapping.

2:07:18.360 --> 2:07:24.040
<v Speaker 2>And I get there and then kr Rest goes in

2:07:24.080 --> 2:07:28.360
<v Speaker 2>there and Rhyme's first, and I forgot what he said

2:07:28.400 --> 2:07:34.760
<v Speaker 2>something about about remember that song Chicken Noodle Soup. That's

2:07:34.760 --> 2:07:37.280
<v Speaker 2>how your head gonna look on the back of your coop.

2:07:37.240 --> 2:07:39.040
<v Speaker 6>And he was he was sitting on.

2:07:40.040 --> 2:07:44.560
<v Speaker 2>Yeah, he said something about about something about some about

2:07:44.560 --> 2:07:48.600
<v Speaker 2>something about pussy you eat around the bush, and then yeah,

2:07:48.800 --> 2:07:51.120
<v Speaker 2>it was it was like and then like I just

2:07:51.160 --> 2:07:54.280
<v Speaker 2>got up and I grabbed my wife and I'm like,

2:07:54.440 --> 2:07:58.200
<v Speaker 2>you know, going there and make me a cup of coffee.

2:08:01.200 --> 2:08:03.120
<v Speaker 2>You know, I need some coffee. I gotta wake the

2:08:03.160 --> 2:08:06.680
<v Speaker 2>funk up. And she was like, what's wrong, what's wrong?

2:08:07.080 --> 2:08:16.360
<v Speaker 2>The teacher's not here, Blastmaster. I was like, the teacher's

2:08:16.400 --> 2:08:28.000
<v Speaker 2>not like Chris ain't playing shipped to get Yeah, for real, that's.

2:08:27.880 --> 2:08:29.800
<v Speaker 1>The one time you have to be righteous.

2:08:30.160 --> 2:08:33.840
<v Speaker 2>No, well, no, I never. I didn't write anything. I

2:08:33.840 --> 2:08:37.840
<v Speaker 2>was about to say some old ship. I never. You know,

2:08:38.240 --> 2:08:43.240
<v Speaker 2>he ain't playing Oh god, damn kings around. I can't

2:08:43.280 --> 2:08:44.040
<v Speaker 2>remember the lad.

2:08:46.400 --> 2:08:46.840
<v Speaker 1>He's about.

2:08:49.320 --> 2:08:52.800
<v Speaker 5>You do you think in terms of like the way

2:08:52.840 --> 2:08:56.600
<v Speaker 5>that hip hop the trajectory, people are saying that it's

2:08:56.640 --> 2:09:00.200
<v Speaker 5>become a commodity for industry and the cultural aspect, which

2:09:00.240 --> 2:09:03.200
<v Speaker 5>is graffiti, the dancing and the break dancers of B

2:09:03.320 --> 2:09:08.040
<v Speaker 5>boys and be girls, the dj mcs has been dissected,

2:09:08.240 --> 2:09:09.240
<v Speaker 5>taking apart.

2:09:10.160 --> 2:09:11.720
<v Speaker 3>Do you feel that that's true or not true?

2:09:12.320 --> 2:09:14.520
<v Speaker 2>Yeah? But I mean you know what you expect, man,

2:09:15.160 --> 2:09:19.440
<v Speaker 2>I mean, I mean that happened with rock and roll,

2:09:19.920 --> 2:09:21.040
<v Speaker 2>that happened with jazz.

2:09:21.960 --> 2:09:24.440
<v Speaker 5>You know, you don't think it's avoidable for hip hop,

2:09:24.480 --> 2:09:26.000
<v Speaker 5>that it can come back.

2:09:25.840 --> 2:09:29.200
<v Speaker 2>To what it was not not unless we take control

2:09:29.240 --> 2:09:32.520
<v Speaker 2>of hip hop. And when I say we, I don't

2:09:32.560 --> 2:09:37.520
<v Speaker 2>mean the artists. I mean y'all motherfuckers, you know, and

2:09:37.520 --> 2:09:41.520
<v Speaker 2>and uh like the Kevin Lyles and you know those

2:09:41.560 --> 2:09:44.760
<v Speaker 2>type of cats you know say like Okay, look I

2:09:44.800 --> 2:09:49.040
<v Speaker 2>want this. But I also want this, you know, I

2:09:49.120 --> 2:09:50.920
<v Speaker 2>want to talk about this, but I also want to

2:09:50.960 --> 2:09:51.720
<v Speaker 2>talk about.

2:09:51.480 --> 2:09:54.560
<v Speaker 6>That, right, you know, And it's like.

2:09:57.440 --> 2:10:05.680
<v Speaker 2>Showcasing the lyrical artists, showcasing showcasing the conscious artists, you know,

2:10:05.960 --> 2:10:10.200
<v Speaker 2>and making it where you know, everybody guess that same

2:10:10.520 --> 2:10:12.680
<v Speaker 2>equal type of play. Because I mean, you got to

2:10:12.720 --> 2:10:16.000
<v Speaker 2>think about it. You know, conscious hip hop was the

2:10:16.000 --> 2:10:20.880
<v Speaker 2>forefront back then. N w A didn't really get no

2:10:21.000 --> 2:10:24.280
<v Speaker 2>radio play. Luke didn't get no radio play. Ghetto boys

2:10:24.320 --> 2:10:29.560
<v Speaker 2>g Rapped didn't getting no radio play, you know, because

2:10:29.600 --> 2:10:36.640
<v Speaker 2>of the violence or the sexual content that was mentioned

2:10:36.800 --> 2:10:38.320
<v Speaker 2>in the lyrics.

2:10:38.880 --> 2:10:41.960
<v Speaker 6>You know, conscious hip hop was the forefront.

2:10:43.280 --> 2:10:47.760
<v Speaker 2>But they still went platinum, double platinum, you know what

2:10:47.760 --> 2:10:49.920
<v Speaker 2>I'm saying because people love them.

2:10:50.760 --> 2:10:54.800
<v Speaker 3>Who are you talking about? No, no, no, We're just talking

2:10:54.840 --> 2:10:55.560
<v Speaker 3>about culturally.

2:10:55.680 --> 2:10:59.040
<v Speaker 5>Like remember we talked about what specially about the industry

2:10:59.120 --> 2:11:02.360
<v Speaker 5>making hip hop and rap music specifically the commodity and

2:11:02.360 --> 2:11:03.800
<v Speaker 5>the culture dissected into.

2:11:04.120 --> 2:11:05.879
<v Speaker 6>But I mean, you know, it's you got to understand.

2:11:06.000 --> 2:11:08.840
<v Speaker 2>It's like, you know, from a business aspect, it's all

2:11:08.880 --> 2:11:11.720
<v Speaker 2>about what's going to generate money, and that's the only

2:11:11.760 --> 2:11:14.120
<v Speaker 2>thing they going to think about. Corporation is only going

2:11:14.160 --> 2:11:16.600
<v Speaker 2>to think about what's going to generate money, and once

2:11:16.640 --> 2:11:23.680
<v Speaker 2>something becomes commercial, what happens is quality goes out and

2:11:23.800 --> 2:11:27.720
<v Speaker 2>quantity comes in. Right, you know what I'm saying.

2:11:28.440 --> 2:11:31.480
<v Speaker 5>Well, what's different I think for what you're saying and

2:11:31.520 --> 2:11:35.760
<v Speaker 5>for hip hop specifically with the elements, is that the

2:11:35.880 --> 2:11:38.720
<v Speaker 5>music was the first thing that they were easily able

2:11:38.760 --> 2:11:41.800
<v Speaker 5>to make money off of. But the other elements found

2:11:41.800 --> 2:11:44.560
<v Speaker 5>their way in terms of the art figuring out ways

2:11:44.600 --> 2:11:47.880
<v Speaker 5>to make money. Now, breakdances going into the Olympics, they

2:11:47.920 --> 2:11:51.760
<v Speaker 5>figured out to make money, and those elements internationally are

2:11:51.920 --> 2:11:53.640
<v Speaker 5>just as big as the music itself.

2:11:53.960 --> 2:11:55.600
<v Speaker 6>Yeah, so it's.

2:11:55.440 --> 2:11:57.960
<v Speaker 3>Just maybe maybe hip hop could be different.

2:11:58.560 --> 2:12:00.360
<v Speaker 6>Well, I mean it's like.

2:12:04.240 --> 2:12:10.080
<v Speaker 2>Graffiti found its way into art, right, not elevating as

2:12:10.160 --> 2:12:12.680
<v Speaker 2>hip hop? Right, Right, they found its way into art,

2:12:13.520 --> 2:12:18.680
<v Speaker 2>break dancing found its way into the Olympics, right, you know,

2:12:19.560 --> 2:12:21.640
<v Speaker 2>not elevating as hip hop. You know what I'm saying.

2:12:24.080 --> 2:12:24.920
<v Speaker 3>I said it earlier.

2:12:25.440 --> 2:12:28.680
<v Speaker 1>I think I said this, they brung Big to your crib,

2:12:28.960 --> 2:12:31.560
<v Speaker 1>But it was the rumor that Jazzo brong jay Z

2:12:31.680 --> 2:12:32.280
<v Speaker 1>to your crib.

2:12:32.440 --> 2:12:38.400
<v Speaker 2>No, no, no, okay, Shirt Kings and queens.

2:12:38.080 --> 2:12:40.840
<v Speaker 3>Yea queens, we always something.

2:12:42.640 --> 2:12:54.360
<v Speaker 1>Bug around Queens Brome give it up because because the

2:12:54.480 --> 2:12:56.280
<v Speaker 1>rumor was that you were supposed to sign jay Z.

2:12:56.360 --> 2:12:58.280
<v Speaker 1>At one point it was that just a room. Can

2:12:58.280 --> 2:12:59.120
<v Speaker 1>you straighten that out?

2:12:59.520 --> 2:13:07.600
<v Speaker 2>No, no, no, What it was was Shirt Kings asked me

2:13:07.640 --> 2:13:11.160
<v Speaker 2>to do a mixtape with Jazz, which.

2:13:13.320 --> 2:13:13.760
<v Speaker 6>I came.

2:13:15.120 --> 2:13:17.520
<v Speaker 2>I met with them, and then Jazz said, can my

2:13:17.640 --> 2:13:21.880
<v Speaker 2>man rhyme on the tape? I say cool. So we

2:13:21.920 --> 2:13:26.320
<v Speaker 2>did the mixtape, me Jazz and jay Z and then

2:13:26.360 --> 2:13:32.320
<v Speaker 2>on a ride back home, Nike from the Shirt King says, Yo, really,

2:13:32.360 --> 2:13:34.240
<v Speaker 2>we wanted you to do this because we're trying to

2:13:34.280 --> 2:13:37.840
<v Speaker 2>get Jazz a new deal and we was wondering if

2:13:37.840 --> 2:13:40.120
<v Speaker 2>you'd be willing to work with him to get a

2:13:40.160 --> 2:13:47.680
<v Speaker 2>new deal, okay, And I was like, honestly, I kind

2:13:47.680 --> 2:13:50.040
<v Speaker 2>of liked the light skinned motherfucker better. It's impossible I

2:13:50.080 --> 2:13:53.920
<v Speaker 2>could work with him. And then that's how me and

2:13:54.000 --> 2:13:55.280
<v Speaker 2>jay Z got connected.

2:13:55.440 --> 2:13:57.640
<v Speaker 1>Oh, because you didn't know Jazz, I thought y'all was

2:13:57.640 --> 2:13:59.040
<v Speaker 1>like from the same neighborhood as No.

2:13:59.320 --> 2:14:02.920
<v Speaker 2>Jazz was somebody that ship back then. Jazz was somebody

2:14:02.960 --> 2:14:08.520
<v Speaker 2>I was like extremely jealous of. Jazz was the hottest

2:14:08.720 --> 2:14:13.000
<v Speaker 2>unsigned artist in Brooklyn, Like no Jazz was so popular

2:14:13.040 --> 2:14:15.720
<v Speaker 2>in Brooklyn. Like I had battled a lot of people.

2:14:15.800 --> 2:14:19.480
<v Speaker 2>My name was buzzing, but it wasn't like Jazz. It

2:14:19.520 --> 2:14:25.280
<v Speaker 2>was like it was like fat boys in Houdini Jazz.

2:14:25.280 --> 2:14:30.360
<v Speaker 2>Oh big Gotty knew you know what I'm saying, Like yeah,

2:14:30.600 --> 2:14:33.440
<v Speaker 2>you know, so it was like, yeah, he was like popular,

2:14:33.560 --> 2:14:38.200
<v Speaker 2>like a like a signed artist my battle and I

2:14:38.200 --> 2:14:41.000
<v Speaker 2>always wanted to battle this dude but could never find him.

2:14:41.480 --> 2:14:44.040
<v Speaker 2>I even went to Marcy and battled some other dude

2:14:44.240 --> 2:14:47.680
<v Speaker 2>because Jazz wasn't around. But I mean, yeah, I was like,

2:14:47.800 --> 2:14:53.760
<v Speaker 2>you know, like I want to battle. So when they

2:14:53.840 --> 2:14:55.840
<v Speaker 2>said that about it, you know, it's like I got

2:14:55.920 --> 2:14:57.800
<v Speaker 2>records out and stuff. But I mean it was like

2:14:57.880 --> 2:15:01.680
<v Speaker 2>I'm thinking in that mind frame, you know. But then

2:15:01.680 --> 2:15:04.640
<v Speaker 2>when they said this, it was like yeah, I mean

2:15:04.640 --> 2:15:07.440
<v Speaker 2>it was great, you know, meeting Jazz and he did

2:15:07.440 --> 2:15:09.400
<v Speaker 2>that fast rapping ship that night. You know, the first

2:15:09.400 --> 2:15:12.000
<v Speaker 2>time I heard that ship, you know, and I was like, Yo,

2:15:12.080 --> 2:15:14.280
<v Speaker 2>dude is dope. You know, I'm like, but yo, that

2:15:14.280 --> 2:15:16.360
<v Speaker 2>that other dude. He just reminded me of me with

2:15:16.520 --> 2:15:18.880
<v Speaker 2>his slick ass tongue. I like to work with the

2:15:18.960 --> 2:15:22.480
<v Speaker 2>light skin dude. And then that was jay Z and

2:15:22.520 --> 2:15:23.800
<v Speaker 2>then we started working together.

2:15:24.040 --> 2:15:26.280
<v Speaker 1>I want to touch on something you said earlier, because

2:15:26.280 --> 2:15:28.720
<v Speaker 1>you said a mixtape. When you say a mixtape, I

2:15:28.720 --> 2:15:30.720
<v Speaker 1>want these people to understand what you mean meant by

2:15:30.720 --> 2:15:32.040
<v Speaker 1>a mixtape when you said.

2:15:32.000 --> 2:15:34.160
<v Speaker 2>Well what with the French Gordon had the tape with

2:15:34.200 --> 2:15:36.600
<v Speaker 2>a bunch of songs on it, but he had a

2:15:36.640 --> 2:15:41.160
<v Speaker 2>freestyle on it. You know, it's like you know song yeah, yeah, right,

2:15:42.200 --> 2:15:45.600
<v Speaker 2>and it was a freestyle with me Jazz and jay Z. Wow.

2:15:45.760 --> 2:15:47.680
<v Speaker 2>That was on you know tape with a whole bunch

2:15:47.720 --> 2:15:51.840
<v Speaker 2>of other artists, you know, music mixed together. But anyway, though,

2:15:52.200 --> 2:15:53.640
<v Speaker 2>you know I started working with jay Z. I started

2:15:53.640 --> 2:15:57.760
<v Speaker 2>taking him in the studio and recording songs on him

2:15:58.240 --> 2:15:59.760
<v Speaker 2>and trying to get him signed.

2:16:00.960 --> 2:16:03.839
<v Speaker 6>And you know, we we went to many different labels.

2:16:04.320 --> 2:16:06.600
<v Speaker 1>I need you to lay in one label that eight

2:16:06.680 --> 2:16:09.000
<v Speaker 1>Day Heart Outs. Who did he bring the front on?

2:16:09.080 --> 2:16:10.760
<v Speaker 6>Jay Z Giant Records?

2:16:11.320 --> 2:16:13.400
<v Speaker 1>They go Deaf Jam.

2:16:15.040 --> 2:16:19.040
<v Speaker 2>Jamad Giant Records, Death Jam, Warner.

2:16:18.760 --> 2:16:22.040
<v Speaker 6>Brothers, Warner Brothers, You're fucked up when I'm on.

2:16:24.560 --> 2:16:26.120
<v Speaker 3>Wild Wow.

2:16:26.800 --> 2:16:31.520
<v Speaker 2>But yeah yeah they turned it down. Yeah, But I

2:16:31.560 --> 2:16:35.240
<v Speaker 2>mean and then like when I when I went on

2:16:35.280 --> 2:16:40.199
<v Speaker 2>the road with Patty LaBelle. I. I saw that Patty

2:16:40.320 --> 2:16:43.360
<v Speaker 2>was doing outfit changes. Like I'm sitting here talking, I'm like, Yo,

2:16:43.480 --> 2:16:46.640
<v Speaker 2>they have the same ship, Patty. Patty didn't have red

2:16:46.680 --> 2:16:50.480
<v Speaker 2>on just a minute. Yeah yeah, that's about the third

2:16:50.520 --> 2:16:54.240
<v Speaker 2>time I'm sitting there. So now I'm paying attention. So

2:16:54.280 --> 2:16:56.720
<v Speaker 2>when her tour ended and I went back on my tour,

2:16:57.400 --> 2:17:00.000
<v Speaker 2>I'm like, I called jay Z and I called Positive Care.

2:17:00.640 --> 2:17:01.920
<v Speaker 2>I'm like, yeah, I need you to come on the

2:17:01.959 --> 2:17:02.320
<v Speaker 2>road with me.

2:17:02.920 --> 2:17:04.080
<v Speaker 6>I'm gonna bring you out out in the.

2:17:04.800 --> 2:17:05.480
<v Speaker 2>Year year I can.

2:17:07.280 --> 2:17:09.080
<v Speaker 1>I got him? Man, what your man got to do

2:17:09.240 --> 2:17:09.480
<v Speaker 1>with me?

2:17:11.240 --> 2:17:17.480
<v Speaker 5>K holy that that famous recording, that's what jay Z

2:17:17.680 --> 2:17:19.959
<v Speaker 5>comes out, No, Biggie comes out also, right, jay Z

2:17:20.040 --> 2:17:21.400
<v Speaker 5>comes out shy oh yeah.

2:17:21.600 --> 2:17:23.560
<v Speaker 2>In Madison Garden I think it was the ninety three

2:17:23.600 --> 2:17:28.680
<v Speaker 2>I believe. Yeah big it asked mister C can he

2:17:28.760 --> 2:17:33.640
<v Speaker 2>come to the show with the Garden and and say, yo,

2:17:35.240 --> 2:17:38.360
<v Speaker 2>can I come? And can I bring Tupac because Park

2:17:38.480 --> 2:17:43.040
<v Speaker 2>was in New York and you know, see he asked me,

2:17:43.040 --> 2:17:44.800
<v Speaker 2>and I was like, yeah, yeah, absolutely, yeah, bring him

2:17:44.840 --> 2:17:51.360
<v Speaker 2>on throat so big, but pop through and at the

2:17:51.440 --> 2:17:51.760
<v Speaker 2>end of the.

2:17:51.760 --> 2:17:55.600
<v Speaker 1>Show, that's your show, show, Okay, that's right, the famous biggie.

2:17:55.800 --> 2:17:56.879
<v Speaker 6>Yeah.

2:17:57.520 --> 2:18:01.480
<v Speaker 5>Yeah, totally forgot that down here on vinyl tape.

2:18:01.480 --> 2:18:04.160
<v Speaker 3>Masters pressed it up and I got it on vinyl.

2:18:04.280 --> 2:18:07.520
<v Speaker 2>Oh. But I was a super fest, I believe, nineteen

2:18:07.560 --> 2:18:12.360
<v Speaker 2>ninety three, and you know, near the near the end

2:18:12.360 --> 2:18:14.440
<v Speaker 2>of the show, I brought them all up on stage,

2:18:14.520 --> 2:18:19.880
<v Speaker 2>Big Pie, uh shah, heem yeah he was there to yea,

2:18:19.920 --> 2:18:22.760
<v Speaker 2>yeah shah. He was on tour with me, like his label,

2:18:23.000 --> 2:18:26.560
<v Speaker 2>his label, his label sent them. He was there too, No, No.

2:18:26.840 --> 2:18:29.560
<v Speaker 3>Was because not Jaz's not on one of the recordings.

2:18:29.640 --> 2:18:31.240
<v Speaker 6>No, he's not on that, not on that one.

2:18:31.400 --> 2:18:33.440
<v Speaker 3>Maybe he's on that vinyl, just on something else.

2:18:33.600 --> 2:18:36.280
<v Speaker 2>Jay Jay, I think you're talking about my birthday party

2:18:36.280 --> 2:18:36.880
<v Speaker 2>in ninety one.

2:18:37.160 --> 2:18:38.680
<v Speaker 6>Okay, that's probably what you're talking about.

2:18:39.800 --> 2:18:43.440
<v Speaker 2>But yeah, with that one, it was just me, Shaheim,

2:18:44.920 --> 2:18:49.880
<v Speaker 2>Big Jay and School School. Yeah, and in Fat Joe

2:18:49.920 --> 2:18:54.560
<v Speaker 2>was there too, right, yeah, yeah, because other night with yeah,

2:18:54.600 --> 2:18:58.760
<v Speaker 2>because Joe was called supposed to go next. Joe's supposed

2:18:58.760 --> 2:19:00.480
<v Speaker 2>to go next, and then they were on the side

2:19:00.520 --> 2:19:02.440
<v Speaker 2>of the stage. Let me know, you got five minutes

2:19:02.520 --> 2:19:05.400
<v Speaker 2>left and I still hadn't done half stepping off woman up.

2:19:05.480 --> 2:19:08.120
<v Speaker 2>Oh god, Yeah, So I couldn't let Joe on, and

2:19:08.160 --> 2:19:15.560
<v Speaker 2>I had to, like I can't, man, you know that? Yeah,

2:19:15.720 --> 2:19:17.800
<v Speaker 2>and now because I mean it's like, you know, I

2:19:17.840 --> 2:19:20.480
<v Speaker 2>know that feeling because like you know, I was where

2:19:20.600 --> 2:19:21.160
<v Speaker 2>Joe was.

2:19:21.520 --> 2:19:23.000
<v Speaker 6>I was there like a year before.

2:19:23.640 --> 2:19:25.720
<v Speaker 2>You know what I'm saying with Bobby Brown, you know,

2:19:25.800 --> 2:19:28.480
<v Speaker 2>brought me on and let me rob you know, So,

2:19:28.600 --> 2:19:30.879
<v Speaker 2>I mean I really wanted to bring Joe on, but

2:19:31.800 --> 2:19:33.680
<v Speaker 2>we we only had five minutes left and I still

2:19:33.720 --> 2:19:34.800
<v Speaker 2>hadn't done half stepping off.

2:19:34.840 --> 2:19:37.840
<v Speaker 1>Woman up, did you ever think that Tupac and Big

2:19:38.400 --> 2:19:41.880
<v Speaker 1>they camarbority they had at that time whatever end up

2:19:41.879 --> 2:19:44.680
<v Speaker 1>where they was at, especially that night, did you see

2:19:44.760 --> 2:19:45.160
<v Speaker 1>like you know what I.

2:19:45.200 --> 2:19:49.600
<v Speaker 2>Mean successfully or return into the essence what you mean?

2:19:50.360 --> 2:19:54.240
<v Speaker 1>I meant like you know that having beat because at

2:19:54.280 --> 2:19:57.320
<v Speaker 1>the time you look at that, you look at they look.

2:19:57.280 --> 2:20:04.000
<v Speaker 2>Like no, no, these standing next to each otherl you know,

2:20:04.080 --> 2:20:07.280
<v Speaker 2>puff and weed and you know and yeah, and you.

2:20:07.240 --> 2:20:10.160
<v Speaker 1>Just said Big Bung Tupac that you just said that,

2:20:10.360 --> 2:20:14.959
<v Speaker 1>So you didn't even invite Poky Big and Big Bung Tupac.

2:20:15.040 --> 2:20:16.960
<v Speaker 6>Yeah exactly, that's crazy.

2:20:18.120 --> 2:20:21.400
<v Speaker 1>And you and you you saw the the chemistry you

2:20:21.440 --> 2:20:21.920
<v Speaker 1>saw that they.

2:20:21.879 --> 2:20:24.680
<v Speaker 2>Were they was cool they were. They're like like they

2:20:24.760 --> 2:20:28.560
<v Speaker 2>looked like you know, like I saw them, like, you know,

2:20:29.160 --> 2:20:32.200
<v Speaker 2>probably doing a whole bunch of songs together and all

2:20:32.240 --> 2:20:35.000
<v Speaker 2>types of ship. The way they looked at night. Yeah,

2:20:35.000 --> 2:20:36.480
<v Speaker 2>I saw an amazing chemistry.

2:20:36.680 --> 2:20:39.680
<v Speaker 1>So what did you think when when when when this

2:20:39.680 --> 2:20:41.560
<v Speaker 1>beef did transfer?

2:20:41.720 --> 2:20:43.480
<v Speaker 3>Did you liken this guy, this can't.

2:20:43.320 --> 2:20:48.480
<v Speaker 2>Be I mean it really hurt, man, because you know

2:20:48.600 --> 2:20:54.440
<v Speaker 2>it's like I I saw the ll coumo d beef

2:20:55.160 --> 2:20:57.400
<v Speaker 2>and then they would be in front of each other,

2:20:57.920 --> 2:21:02.520
<v Speaker 2>shaking hands, laughing. Yeah, you know, say some sarcastic shit

2:21:02.640 --> 2:21:05.320
<v Speaker 2>back and forth to one another, but it was all.

2:21:05.240 --> 2:21:06.600
<v Speaker 3>Love, almost like a sport.

2:21:06.760 --> 2:21:09.959
<v Speaker 2>Yeah. I've seen, you know, with Shannon care Rests in

2:21:10.000 --> 2:21:13.640
<v Speaker 2>the same room, and you know it wasn't you know,

2:21:13.760 --> 2:21:17.840
<v Speaker 2>no drama, you know what I'm saying. And then like

2:21:17.879 --> 2:21:23.440
<v Speaker 2>to understand that like you know, cold crush, fantastic five,

2:21:25.080 --> 2:21:31.960
<v Speaker 2>like these dudes battling for a thousand dollars, you know

2:21:32.000 --> 2:21:35.120
<v Speaker 2>what I'm saying, and the thousand dollars go to the

2:21:35.160 --> 2:21:40.040
<v Speaker 2>winner the other motherfuckers broke and then a thousand dollars

2:21:41.000 --> 2:21:46.720
<v Speaker 2>how you split that against six members? You know, and

2:21:46.760 --> 2:21:49.560
<v Speaker 2>it's like you know, like that's what hip hop is

2:21:49.600 --> 2:21:54.760
<v Speaker 2>to me, that right there where you know, six dudes

2:21:54.800 --> 2:21:58.360
<v Speaker 2>can battle another six dudes to spit, I mean to

2:21:58.360 --> 2:22:03.560
<v Speaker 2>split one thousand dollars right and then go home satisfied.

2:22:04.320 --> 2:22:06.960
<v Speaker 2>And look at that at wob Loss, it's like we

2:22:07.000 --> 2:22:08.640
<v Speaker 2>need to write some new ship and that's the end

2:22:08.640 --> 2:22:11.680
<v Speaker 2>of it. You know, to see that this can escalate

2:22:11.680 --> 2:22:14.720
<v Speaker 2>into something like that, you know, it was just sad

2:22:14.720 --> 2:22:16.440
<v Speaker 2>to see. Man, it was sad to see.

2:22:17.520 --> 2:22:19.959
<v Speaker 1>How was it traveling to l A at that time

2:22:20.080 --> 2:22:22.960
<v Speaker 1>for for you? Like you know, I mean I remember

2:22:23.840 --> 2:22:26.400
<v Speaker 1>somewhere around that period we had no choice, like when

2:22:26.400 --> 2:22:30.000
<v Speaker 1>we flaned into la like the record labels had security

2:22:30.040 --> 2:22:32.400
<v Speaker 1>around us, like we had no choice. How was it

2:22:32.600 --> 2:22:35.000
<v Speaker 1>for you after that time period?

2:22:35.680 --> 2:22:41.800
<v Speaker 2>No problems? I mean, you know that ship. Nobody was

2:22:41.800 --> 2:22:44.760
<v Speaker 2>looking at me like that like I never had no issue.

2:22:47.160 --> 2:22:50.080
<v Speaker 2>I mean, I think that was more or less a

2:22:50.240 --> 2:22:54.400
<v Speaker 2>bad boy death crew against crew. You know.

2:22:56.400 --> 2:23:00.560
<v Speaker 6>Now there was summer y'all that.

2:23:00.959 --> 2:23:03.039
<v Speaker 2>You know, it shipped me a trinkle down on because

2:23:03.040 --> 2:23:10.320
<v Speaker 2>it's like, okay, you you know, I think there was

2:23:10.360 --> 2:23:12.840
<v Speaker 2>some ship with NAS and you know, you know, with

2:23:12.959 --> 2:23:14.280
<v Speaker 2>your affiliation with nods.

2:23:14.480 --> 2:23:15.720
<v Speaker 6>Yeah, you know, what I'm saying.

2:23:15.760 --> 2:23:19.480
<v Speaker 2>You know, so it could, you know, but with me,

2:23:19.720 --> 2:23:21.879
<v Speaker 2>it was like I wasn't affiliated with none of that ship.

2:23:22.160 --> 2:23:24.039
<v Speaker 1>Didn't Eric be try to sign you to death Row

2:23:24.200 --> 2:23:25.039
<v Speaker 1>East at one point?

2:23:25.120 --> 2:23:25.320
<v Speaker 2>Yeah?

2:23:25.640 --> 2:23:27.680
<v Speaker 3>Okay, how did that? What happened with that?

2:23:30.520 --> 2:23:31.640
<v Speaker 6>He called.

2:23:32.760 --> 2:23:37.320
<v Speaker 2>And said, Yo, still trying to you know, build a

2:23:37.360 --> 2:23:42.120
<v Speaker 2>death Row East man, and you know, I think it

2:23:42.200 --> 2:23:44.760
<v Speaker 2>might be a good look for you. And you know,

2:23:44.800 --> 2:23:48.800
<v Speaker 2>he ready to cut a check. Yeah, you're willing to

2:23:48.800 --> 2:23:51.480
<v Speaker 2>meet with him? I'm like yeah. So I went out there.

2:23:51.640 --> 2:23:55.520
<v Speaker 2>You know, we had a meeting and then he was like, Yo,

2:23:56.040 --> 2:23:58.519
<v Speaker 2>we're going to Vegas tomorrow. You on the roll yet?

2:23:58.760 --> 2:24:01.280
<v Speaker 2>So I went to Vegas with them for a tyson

2:24:01.360 --> 2:24:06.160
<v Speaker 2>fight and then you know we out there. No, not

2:24:06.200 --> 2:24:08.879
<v Speaker 2>the one that Pop got, This was the one right

2:24:08.920 --> 2:24:14.160
<v Speaker 2>before it. No, no, no, no, no, no, this one

2:24:14.200 --> 2:24:19.160
<v Speaker 2>before before that one. But we went and then you know,

2:24:19.600 --> 2:24:23.760
<v Speaker 2>Sugar was talking about working with death Row artists. I'm

2:24:23.760 --> 2:24:27.640
<v Speaker 2>like yeah, And then part came over and he was like,

2:24:27.840 --> 2:24:30.000
<v Speaker 2>you know, like, yo, I love the work we cane

2:24:31.240 --> 2:24:33.240
<v Speaker 2>and he was like, well, Ship, let's stop talking about it.

2:24:33.320 --> 2:24:37.600
<v Speaker 2>Let's make it happen. So we leave Vegas and we

2:24:37.720 --> 2:24:40.800
<v Speaker 2>just got there. We leave Vegas and go back to

2:24:40.840 --> 2:24:44.200
<v Speaker 2>take a flight back to l A that night and

2:24:44.280 --> 2:24:46.600
<v Speaker 2>go to Death Row to the studios to do the deal.

2:24:47.200 --> 2:24:53.320
<v Speaker 2>No to to record to record. Okay, So me and

2:24:53.400 --> 2:24:56.120
<v Speaker 2>Park went in the studio and did a song together.

2:24:57.440 --> 2:25:03.520
<v Speaker 2>And then the them, the little dudes, Yeah.

2:25:03.040 --> 2:25:04.240
<v Speaker 6>They came as soon as we got it.

2:25:04.320 --> 2:25:06.600
<v Speaker 2>They came up the park talking about you old Lauren,

2:25:06.640 --> 2:25:08.800
<v Speaker 2>He'll dish you mob deep dishoe that, this and that,

2:25:08.840 --> 2:25:11.600
<v Speaker 2>and so then Park went in the studio and started

2:25:11.640 --> 2:25:14.560
<v Speaker 2>writing some ship about I think it might have been that.

2:25:15.280 --> 2:25:23.039
<v Speaker 6>I think it was. Yeah, he started he started writing

2:25:23.040 --> 2:25:23.480
<v Speaker 6>that ship.

2:25:23.560 --> 2:25:26.760
<v Speaker 2>While he was in there writing that ship, I I

2:25:26.800 --> 2:25:30.959
<v Speaker 2>wrote a song for Hammer. Hamm was on death for

2:25:31.360 --> 2:25:35.160
<v Speaker 2>I wrote a song for Hammer. And then then they

2:25:35.280 --> 2:25:38.360
<v Speaker 2>was like yo, Sugar, Sugar, ready to meet with you.

2:25:39.640 --> 2:25:46.200
<v Speaker 2>And we sat and we had a meeting, and like

2:25:46.280 --> 2:25:49.680
<v Speaker 2>when I walked in, these two big ass rock willers

2:25:49.720 --> 2:25:50.279
<v Speaker 2>came around.

2:25:50.520 --> 2:25:54.880
<v Speaker 4>The dogs there they come running around, sniffing around me

2:25:54.959 --> 2:25:58.600
<v Speaker 4>and stuff, you know, and then Sugar, you know, he

2:25:58.680 --> 2:26:01.600
<v Speaker 4>comes out the back, sits down with a cigar, sits

2:26:01.600 --> 2:26:05.800
<v Speaker 4>a cigar down and does this, and both the dogs

2:26:05.879 --> 2:26:08.360
<v Speaker 4>ran and sat down next to him.

2:26:08.600 --> 2:26:10.520
<v Speaker 6>So I'm like, okay, this one of the meetings.

2:26:14.400 --> 2:26:18.440
<v Speaker 5>You know, I don't I never my picture.

2:26:21.560 --> 2:26:24.039
<v Speaker 6>And then we talked and.

2:26:26.760 --> 2:26:31.600
<v Speaker 2>Uh he said, well what you want and you know,

2:26:31.680 --> 2:26:33.280
<v Speaker 2>keep in mind, you know this is back then, you know.

2:26:33.360 --> 2:26:36.000
<v Speaker 2>So I'm like and I'm not. I'm not sure where

2:26:36.040 --> 2:26:38.520
<v Speaker 2>his head is at and how relevant he see me?

2:26:39.440 --> 2:26:42.959
<v Speaker 2>So the play is safe. I'm like, well, listen, man,

2:26:43.040 --> 2:26:46.640
<v Speaker 2>why don't we just do a one album deal with

2:26:46.720 --> 2:26:54.640
<v Speaker 2>a one year option, right and you know, say like

2:26:54.720 --> 2:26:59.640
<v Speaker 2>a four hundred thousand advents. He's like, that's an odd number,

2:26:59.640 --> 2:27:02.520
<v Speaker 2>while you just simply say five hundred thousand, Like, well

2:27:02.520 --> 2:27:06.360
<v Speaker 2>the five hundred thousand of this, and man, you big

2:27:06.440 --> 2:27:13.120
<v Speaker 2>daddy came, Man, I can't see myself, you know, signing

2:27:13.120 --> 2:27:14.959
<v Speaker 2>you for less than a million. I got to give

2:27:15.000 --> 2:27:15.560
<v Speaker 2>you a million.

2:27:15.879 --> 2:27:16.359
<v Speaker 1>Wow.

2:27:16.640 --> 2:27:18.280
<v Speaker 6>He because you're already a household name.

2:27:18.959 --> 2:27:19.400
<v Speaker 2>That's why.

2:27:20.160 --> 2:27:23.439
<v Speaker 6>And then he said something that was so appealing.

2:27:24.360 --> 2:27:28.640
<v Speaker 2>He said, because you see Pop, you know, Pop became

2:27:28.640 --> 2:27:33.440
<v Speaker 2>a household name. Snoop became a household name. And that's

2:27:33.480 --> 2:27:36.240
<v Speaker 2>what I be trying to tell the Dog Pound. They

2:27:36.280 --> 2:27:38.920
<v Speaker 2>got to, you know, make themselves a house household name,

2:27:39.160 --> 2:27:42.040
<v Speaker 2>but they didn't want to identify, you know, as individuals.

2:27:42.120 --> 2:27:44.280
<v Speaker 2>They just want to keep scro dog pound and that's

2:27:44.320 --> 2:27:47.360
<v Speaker 2>why the motherfucker's only sold two million, and I'm like,

2:27:47.480 --> 2:27:53.720
<v Speaker 2>two million is low number. I'm like, my man, you

2:27:53.760 --> 2:27:57.040
<v Speaker 2>know that was appealing to me. He said that, but

2:27:57.080 --> 2:27:58.560
<v Speaker 2>then he was like, well, yo, look, I don't know

2:27:58.640 --> 2:28:02.400
<v Speaker 2>how you doing financially, but you know, if you want,

2:28:02.440 --> 2:28:04.120
<v Speaker 2>you know, I can, you know, you know probably, you know,

2:28:04.240 --> 2:28:06.320
<v Speaker 2>you know, just just get your hundred k in the morning.

2:28:07.280 --> 2:28:09.760
<v Speaker 2>That's when I knew was tign to go. I was like,

2:28:09.920 --> 2:28:11.879
<v Speaker 2>you're just gonna give me a hundred thousand.

2:28:12.480 --> 2:28:15.840
<v Speaker 3>Nah, I don't know contract I owe.

2:28:15.640 --> 2:28:18.440
<v Speaker 2>Someone a hundred thousand with no agreement. I was like,

2:28:22.520 --> 2:28:25.560
<v Speaker 2>I'll let you know tomorrow. And then I went and

2:28:25.680 --> 2:28:28.160
<v Speaker 2>switched my flight to like a six a m joint,

2:28:28.760 --> 2:28:31.480
<v Speaker 2>got the fuck up out of La hit Eric and

2:28:31.680 --> 2:28:34.680
<v Speaker 2>was like, you know, yeah, nah, I'm good man. I'm

2:28:34.680 --> 2:28:41.000
<v Speaker 2>gonna chill man. But it wasn't that like physical respect,

2:28:41.240 --> 2:28:45.680
<v Speaker 2>no showed mad love. It was just that didel Yeah.

2:28:46.400 --> 2:28:48.600
<v Speaker 2>It's like, that's not I don't you know what I'm saying.

2:28:48.680 --> 2:28:51.320
<v Speaker 2>It's like, you're to me, that's like the start of debt.

2:28:51.760 --> 2:28:54.720
<v Speaker 2>And it just wasn't a good I didn't feel it.

2:28:54.720 --> 2:28:56.720
<v Speaker 1>It's almost like the guy checking into jail and the

2:28:56.840 --> 2:28:59.440
<v Speaker 1>fires a box of new Ports on his on his bed.

2:29:00.640 --> 2:29:02.800
<v Speaker 1>I'm like, where the fuck did this come from? Like

2:29:02.879 --> 2:29:06.640
<v Speaker 1>you know that like this ain't free. There's something to

2:29:06.680 --> 2:29:11.320
<v Speaker 1>be paid back. Taking that exactly exactly.

2:29:10.840 --> 2:29:14.960
<v Speaker 3>I understand you. Yeah, so what was the beef for you? A?

2:29:15.360 --> 2:29:15.560
<v Speaker 1>Shan?

2:29:17.520 --> 2:29:17.879
<v Speaker 2>The beef?

2:29:19.440 --> 2:29:21.160
<v Speaker 6>Honestly, I don't know what it was.

2:29:25.640 --> 2:29:29.280
<v Speaker 2>I guess when I got down, you know, well, I

2:29:29.320 --> 2:29:32.800
<v Speaker 2>mean a quote according to Shan, it was like he

2:29:32.840 --> 2:29:35.360
<v Speaker 2>said that that's what that's what they thing was like,

2:29:35.480 --> 2:29:36.959
<v Speaker 2>you know, you're the new member.

2:29:37.240 --> 2:29:40.840
<v Speaker 6>You gotta pay dues, Yeah, you gotta pay dues.

2:29:41.160 --> 2:29:44.199
<v Speaker 2>Wow. But you know it's like when I got down

2:29:44.200 --> 2:29:47.160
<v Speaker 2>with Biz, it wasn't that type of thing, you know

2:29:47.160 --> 2:29:50.480
<v Speaker 2>what I'm saying. It wasn't like you know, like you know,

2:29:50.959 --> 2:29:53.920
<v Speaker 2>saying like ship or asking me to carry his bags

2:29:53.920 --> 2:29:56.600
<v Speaker 2>and ship like that. You know. So when I got

2:29:56.680 --> 2:29:59.280
<v Speaker 2>down and like you know, Shan kept referring to me

2:29:59.600 --> 2:30:03.280
<v Speaker 2>as the you know, I just felt like, okay, dude

2:30:03.360 --> 2:30:07.440
<v Speaker 2>got something against me. And you know, you know, I

2:30:07.480 --> 2:30:11.120
<v Speaker 2>try to, you know, just just keep my distance. But

2:30:13.000 --> 2:30:16.119
<v Speaker 2>I remember one time, and I think it was in Virginia.

2:30:16.280 --> 2:30:22.200
<v Speaker 2>Showed Fat Boys and Salt and Pepper, and you know,

2:30:22.280 --> 2:30:26.040
<v Speaker 2>he was doing a little he was getting real extra

2:30:26.120 --> 2:30:29.240
<v Speaker 2>with it, and you know, I said something to Biz

2:30:29.280 --> 2:30:32.119
<v Speaker 2>about it, and you know, Biz told me to chill

2:30:32.680 --> 2:30:35.240
<v Speaker 2>what I'm doing. So I just, you know, I just

2:30:35.280 --> 2:30:38.280
<v Speaker 2>try to keep my distance. You know. It's like all right,

2:30:39.560 --> 2:30:41.240
<v Speaker 2>you know, And I was like, all, let me just

2:30:41.280 --> 2:30:43.959
<v Speaker 2>stay away from dude, you know, you know, And that's

2:30:43.959 --> 2:30:46.600
<v Speaker 2>the way I just tried to handle it. But then

2:30:47.720 --> 2:30:50.440
<v Speaker 2>we eventually got cool, you know, like it was me

2:30:50.800 --> 2:30:53.600
<v Speaker 2>and him. We was living on the same block and

2:30:53.800 --> 2:30:58.519
<v Speaker 2>g Rapp was living in the condo right behind Highborhood.

2:30:59.000 --> 2:30:59.400
<v Speaker 3>Yeah.

2:31:00.080 --> 2:31:02.879
<v Speaker 2>Yeah, so we ended up getting cool. And I'm in

2:31:02.959 --> 2:31:06.360
<v Speaker 2>his condo, he and my condo. You know that type

2:31:06.400 --> 2:31:11.000
<v Speaker 2>of thing, you know. Yeah, like you know, yeah, I

2:31:11.040 --> 2:31:13.800
<v Speaker 2>mean I love sham Man. I love Shaping. It's like,

2:31:13.840 --> 2:31:17.080
<v Speaker 2>you know, once I got to know him, I know that, Okay, Yeah, he.

2:31:17.240 --> 2:31:18.320
<v Speaker 3>Just the personality.

2:31:18.400 --> 2:31:21.760
<v Speaker 2>Yeah, he just like to argue and you know, you

2:31:21.800 --> 2:31:24.880
<v Speaker 2>know that's his thing, you know. Yeah, and you know, yeah,

2:31:25.080 --> 2:31:27.119
<v Speaker 2>I love sham So.

2:31:28.000 --> 2:31:31.720
<v Speaker 1>Is the symphony the greatest hip hop posse cut.

2:31:31.640 --> 2:31:32.320
<v Speaker 3>Of all time.

2:31:34.280 --> 2:31:36.200
<v Speaker 6>I think so, I think so.

2:31:36.800 --> 2:31:43.919
<v Speaker 2>I mean, uh, the only reason I say that is because.

2:31:45.400 --> 2:31:49.560
<v Speaker 6>When I think of like my favorites, what is your favorite?

2:31:49.600 --> 2:31:58.640
<v Speaker 1>Like head banger, Okay, so that's the Vegas head banger.

2:32:00.080 --> 2:32:07.039
<v Speaker 2>With depth guard though, right banger saying what's the jay

2:32:07.120 --> 2:32:10.160
<v Speaker 2>Z joint? You mean him and her? Is that name

2:32:10.160 --> 2:32:13.800
<v Speaker 2>of it? You meant him and her? Yeah, Like, when

2:32:13.800 --> 2:32:17.080
<v Speaker 2>I think about it, it's like the reason why we'll

2:32:17.080 --> 2:32:21.280
<v Speaker 2>go with the symphony is because I think that everybody

2:32:21.360 --> 2:32:22.400
<v Speaker 2>on there spit fire.

2:32:22.560 --> 2:32:23.360
<v Speaker 3>Yes, I believe.

2:32:23.400 --> 2:32:26.000
<v Speaker 2>So, you know, I think there's a lot of great

2:32:26.120 --> 2:32:28.480
<v Speaker 2>posse joint. What's what's the nods joint?

2:32:28.560 --> 2:32:33.920
<v Speaker 4>Live the barbecue, But that's more of an extra P joint.

2:32:34.120 --> 2:32:36.600
<v Speaker 1>That's but that's a puzzy cuts. But you said the

2:32:36.680 --> 2:32:37.800
<v Speaker 1>nas joint. I want to give it.

2:32:38.040 --> 2:32:40.560
<v Speaker 2>I mean, I mean, I mean, oh yeah, no no.

2:32:40.600 --> 2:32:46.600
<v Speaker 5>But he's saying, like, it's how a lot of people

2:32:46.600 --> 2:32:57.080
<v Speaker 5>discovered that you're absolutely right, is a good cut? Yeah, yes, yeah, there's.

2:32:56.879 --> 2:33:00.560
<v Speaker 2>A lot of them. But it's like, man.

2:33:00.360 --> 2:33:04.040
<v Speaker 3>From scenario scenario, I think scenario.

2:33:03.959 --> 2:33:08.280
<v Speaker 1>Scenarios number two. I think scenario's number one, Scenarios number two.

2:33:08.879 --> 2:33:12.000
<v Speaker 2>See I see with me It's like I would probably

2:33:12.600 --> 2:33:23.160
<v Speaker 2>go symphony headbangers, and then you meet him and her.

2:33:23.680 --> 2:33:25.440
<v Speaker 3>I forget what that one is.

2:33:25.600 --> 2:33:29.240
<v Speaker 2>That's jay Z, bleak beans and what was the girl name?

2:33:29.959 --> 2:33:31.080
<v Speaker 3>Oh?

2:33:31.560 --> 2:33:31.840
<v Speaker 2>Okay?

2:33:32.040 --> 2:33:34.039
<v Speaker 3>I yeah, yeah, I don't know. I wouldn't put that

2:33:34.160 --> 2:33:34.480
<v Speaker 3>up there.

2:33:34.560 --> 2:33:36.960
<v Speaker 1>Yeah, I don't got that up there. I got reservrat

2:33:37.040 --> 2:33:40.560
<v Speaker 1>dogs with jay Z and locks and beans in them.

2:33:40.600 --> 2:33:43.160
<v Speaker 1>I got that up there. More reservoir dogs.

2:33:43.360 --> 2:33:44.160
<v Speaker 2>I love that.

2:33:44.240 --> 2:33:46.080
<v Speaker 3>You me, I got Shatcha.

2:33:46.800 --> 2:33:50.000
<v Speaker 5>Yeah, I would even I know, I know this is

2:33:50.040 --> 2:33:52.720
<v Speaker 5>not it wouldn't be considered a positive because they're a group,

2:33:52.800 --> 2:33:54.280
<v Speaker 5>but they are individuals.

2:33:54.320 --> 2:33:57.440
<v Speaker 3>It's protecting neck. No, I can't put that as a

2:33:57.480 --> 2:34:02.279
<v Speaker 3>post come looking back at it now as their individuals

2:34:02.440 --> 2:34:02.840
<v Speaker 3>as hell.

2:34:03.720 --> 2:34:05.720
<v Speaker 1>You know, I didn't realize how out of line I

2:34:05.800 --> 2:34:08.360
<v Speaker 1>was by rhyming on the symphony until I've seen Tyler

2:34:08.440 --> 2:34:10.680
<v Speaker 1>Qually the other day. He did it, and I wanted

2:34:10.680 --> 2:34:11.640
<v Speaker 1>to call him and say, don't you.

2:34:11.640 --> 2:34:12.440
<v Speaker 3>Ever do that again?

2:34:14.360 --> 2:34:19.800
<v Speaker 2>No, No, I think that Tyler lib versus Dopey.

2:34:20.200 --> 2:34:22.280
<v Speaker 1>None of us can. None of us can recreate that moment.

2:34:23.480 --> 2:34:26.440
<v Speaker 1>Got that record alone, all of us lead a symphony alone.

2:34:26.640 --> 2:34:29.760
<v Speaker 2>No, no, no, But I think I Honestly, I thought

2:34:29.760 --> 2:34:32.960
<v Speaker 2>that it was just great to just see that type

2:34:32.959 --> 2:34:35.680
<v Speaker 2>of vibe, you know, because I mean it's like, you know,

2:34:37.000 --> 2:34:41.640
<v Speaker 2>you got to think from a musician standpoint, right, you know,

2:34:42.760 --> 2:34:44.640
<v Speaker 2>it's like there's a lot of stuff that you look

2:34:44.680 --> 2:34:49.920
<v Speaker 2>at his classics, but like tell the truth, man, you

2:34:51.040 --> 2:34:57.560
<v Speaker 2>like say say say Michael Jackson, Paul McCartney. You wouldn't

2:34:57.600 --> 2:35:02.080
<v Speaker 2>have been mad at print doing Paul McCartney focus with

2:35:02.160 --> 2:35:05.520
<v Speaker 2>you at all. You know what I'm saying. It's like,

2:35:05.640 --> 2:35:08.520
<v Speaker 2>you know, it's it's like, you know, sometimes it's just

2:35:08.840 --> 2:35:11.440
<v Speaker 2>something it's just a little a little different. You know,

2:35:11.760 --> 2:35:16.520
<v Speaker 2>it's the original and that's a variation of it, you know.

2:35:16.640 --> 2:35:19.400
<v Speaker 6>But yeah, it's it's good to just you know, think.

2:35:19.320 --> 2:35:21.920
<v Speaker 2>Out the box and try something different sometimes. Man.

2:35:22.840 --> 2:35:26.400
<v Speaker 3>So you my bad fad changing up.

2:35:26.440 --> 2:35:30.280
<v Speaker 1>But you recently just performed the queens Bridge Yeah, and

2:35:30.320 --> 2:35:31.959
<v Speaker 1>you how was that?

2:35:32.680 --> 2:35:34.560
<v Speaker 2>I mean it was it was like I had g

2:35:34.680 --> 2:35:37.280
<v Speaker 2>Wrap come into Lincoln Center. That was dope, And he's

2:35:37.400 --> 2:35:39.600
<v Speaker 2>told me that he had a show in Queen's Bridge.

2:35:40.080 --> 2:35:41.840
<v Speaker 3>He brong you out. I thought you brung him out.

2:35:41.959 --> 2:35:44.520
<v Speaker 2>No, no, no, it was wrapped folks show. And he told

2:35:44.560 --> 2:35:46.400
<v Speaker 2>me he had to join Queen's Bridge, and I was

2:35:46.440 --> 2:35:48.400
<v Speaker 2>like when I'm like, well, I'm here in New York.

2:35:48.440 --> 2:35:50.440
<v Speaker 2>I mean, I'm like, you need me, and he was

2:35:50.480 --> 2:35:54.320
<v Speaker 2>like hell yeah, I'm like all right, cool. And I

2:35:54.360 --> 2:35:58.040
<v Speaker 2>was like, we'll shoot me your email and I'll I'll

2:35:58.080 --> 2:36:00.959
<v Speaker 2>send you an instrumental of the symphony because he said

2:36:01.080 --> 2:36:03.320
<v Speaker 2>he said he only had a version, you know, Josh

2:36:03.560 --> 2:36:06.280
<v Speaker 2>edited version just for his verse. Oh, so I was like,

2:36:06.320 --> 2:36:10.400
<v Speaker 2>I'll send you a version, you know, for both of us, okay,

2:36:10.920 --> 2:36:12.600
<v Speaker 2>And then he was like you know, and I was like,

2:36:12.640 --> 2:36:13.959
<v Speaker 2>I was like, you need me to do something else.

2:36:14.480 --> 2:36:17.000
<v Speaker 2>He was like yeah yeah. I was like all right, well,

2:36:16.400 --> 2:36:19.280
<v Speaker 2>I'll send you the symphony joint and I sent woman

2:36:19.400 --> 2:36:21.720
<v Speaker 2>up and then you know, I came, you know, rock

2:36:21.800 --> 2:36:23.240
<v Speaker 2>with him.

2:36:23.680 --> 2:36:27.680
<v Speaker 1>God damn, I don't know.

2:36:28.040 --> 2:36:30.440
<v Speaker 3>I think the tragedy. And he said that he came to.

2:36:30.400 --> 2:36:33.080
<v Speaker 1>See you, I believe, and when you was in Queensborgs

2:36:33.120 --> 2:36:35.280
<v Speaker 1>or something like that, or he came to see you perform.

2:36:35.760 --> 2:36:38.400
<v Speaker 1>But so they didn't announce your name, no, no, oh,

2:36:38.440 --> 2:36:39.320
<v Speaker 1>well he was a surprise.

2:36:39.440 --> 2:36:40.959
<v Speaker 2>Yeah. I was a surprised guest because this was g

2:36:41.080 --> 2:36:43.800
<v Speaker 2>rap show, you know, I mean, it's like, you know,

2:36:44.320 --> 2:36:48.560
<v Speaker 2>she rapped that man that that may be my favorite

2:36:48.640 --> 2:36:52.560
<v Speaker 2>MC man. I mean, he's someone that I've always loved

2:36:52.600 --> 2:36:56.000
<v Speaker 2>and he's always been so inspirational to me. Man. I mean,

2:36:56.040 --> 2:36:59.320
<v Speaker 2>I can remember numerous nights, you know, back in the eighties,

2:36:59.440 --> 2:37:01.560
<v Speaker 2>like you know, I called his brother up on the

2:37:01.640 --> 2:37:04.520
<v Speaker 2>phone late at night and right and I'm like, you know, like, yo,

2:37:04.640 --> 2:37:06.840
<v Speaker 2>check this out. I got this joint the best, So yes,

2:37:06.879 --> 2:37:08.800
<v Speaker 2>I guess, yes, the best. Your fast. You know.

2:37:09.720 --> 2:37:10.680
<v Speaker 6>He's like, oh, that's fired.

2:37:11.400 --> 2:37:14.760
<v Speaker 2>Then two nights later, Gi called me back and he's like, yo,

2:37:15.080 --> 2:37:17.200
<v Speaker 2>I got just from the joint, checked this out, the

2:37:17.240 --> 2:37:21.200
<v Speaker 2>creature feature capture rough to teach. He like it was like,

2:37:21.240 --> 2:37:23.240
<v Speaker 2>you know, he was like that dude that always kept

2:37:23.240 --> 2:37:26.120
<v Speaker 2>me on my toes man, I mean, and just a

2:37:26.240 --> 2:37:29.360
<v Speaker 2>hell of an m C. And I mean, and the

2:37:29.400 --> 2:37:31.440
<v Speaker 2>crazy thing is like we got down with the Juice Crew,

2:37:32.600 --> 2:37:35.400
<v Speaker 2>damn near at the same time. Like he got down

2:37:35.520 --> 2:37:38.600
<v Speaker 2>like maybe like six months before me or some shit

2:37:38.680 --> 2:37:41.640
<v Speaker 2>like that, right, you know, because Polo had this dude

2:37:41.720 --> 2:37:45.080
<v Speaker 2>Frost and he got locked up, and then Polo you know,

2:37:45.160 --> 2:37:50.280
<v Speaker 2>brought on g in and then Biz brought me in.

2:37:50.959 --> 2:37:53.080
<v Speaker 2>But this all happened in eighty six.

2:37:53.760 --> 2:37:56.880
<v Speaker 1>Wow. You know, so let me ask you if Master,

2:37:57.080 --> 2:38:00.160
<v Speaker 1>if you have a show with Master Ace, Craig g

2:38:00.160 --> 2:38:04.000
<v Speaker 1>g rap and you all on the same show, who

2:38:04.040 --> 2:38:09.360
<v Speaker 1>performed symphony? Do y'all do it together or do y'all

2:38:09.360 --> 2:38:09.879
<v Speaker 1>do it separate?

2:38:10.000 --> 2:38:13.200
<v Speaker 2>Or no? We would definitely do it together, okay on

2:38:13.240 --> 2:38:16.199
<v Speaker 2>the show and whoever's I mean, I guess whoever's going last?

2:38:16.200 --> 2:38:18.640
<v Speaker 2>I would think it would make bad sense. Okay, who

2:38:18.800 --> 2:38:19.879
<v Speaker 2>was going to last? Okay?

2:38:20.000 --> 2:38:21.840
<v Speaker 1>Yeah, be selfish? Is somebody to come out and just

2:38:21.840 --> 2:38:22.440
<v Speaker 1>do that first?

2:38:22.480 --> 2:38:22.720
<v Speaker 3>Right?

2:38:23.879 --> 2:38:25.320
<v Speaker 6>I mean I don't think that we would do that.

2:38:25.360 --> 2:38:27.320
<v Speaker 2>I think that you know, we would, you know, get

2:38:27.320 --> 2:38:30.520
<v Speaker 2>together collectively, you know, figure out Okay, yeah, how we're

2:38:30.520 --> 2:38:32.040
<v Speaker 2>gonna work the symphony in right?

2:38:32.600 --> 2:38:34.360
<v Speaker 3>Definitely? Let me ask you.

2:38:34.440 --> 2:38:40.240
<v Speaker 1>Right, everyone has love for mister See everyone knows and

2:38:40.400 --> 2:38:41.520
<v Speaker 1>you know, from from.

2:38:41.360 --> 2:38:43.120
<v Speaker 3>You the biggie to all of this.

2:38:43.240 --> 2:38:45.080
<v Speaker 1>And then it was at one point it was like

2:38:45.200 --> 2:38:47.480
<v Speaker 1>this controversy that he was going through. What did you

2:38:47.480 --> 2:38:50.600
<v Speaker 1>think of that when you heard, you know, like like

2:38:51.200 --> 2:38:52.920
<v Speaker 1>he was living an alternative lifestyle.

2:38:54.560 --> 2:38:58.200
<v Speaker 2>I mean, that's that's that's that's his life. I mean,

2:38:58.360 --> 2:39:01.920
<v Speaker 2>you know, it's a brother I've known since high school.

2:39:02.640 --> 2:39:06.120
<v Speaker 2>You know, I've known this brother since high school and

2:39:06.320 --> 2:39:09.039
<v Speaker 2>he helped me down through thinking things. That's beautiful, you know.

2:39:10.440 --> 2:39:17.320
<v Speaker 2>So I've always loved and respected mister C. And whatever

2:39:17.560 --> 2:39:20.760
<v Speaker 2>he going through, I personally feel like I'm going through

2:39:20.760 --> 2:39:23.039
<v Speaker 2>it too. So I mean, anything I can do to

2:39:23.160 --> 2:39:25.760
<v Speaker 2>help or be in his corner, I'm willing to do.

2:39:25.920 --> 2:39:29.039
<v Speaker 2>You know. I love mister C like a brother, you know.

2:39:34.560 --> 2:39:37.160
<v Speaker 1>So what's what's left for Caina doing this game? Man?

2:39:38.800 --> 2:39:42.080
<v Speaker 2>I think, you know, honestly, I wanted I want to,

2:39:42.400 --> 2:39:45.640
<v Speaker 2>you know, do some more movies, and I really I

2:39:45.680 --> 2:39:51.520
<v Speaker 2>really want to, you know, connect with with some young artists.

2:39:51.560 --> 2:39:53.800
<v Speaker 6>I would really like to like that. I like that

2:39:54.160 --> 2:39:55.640
<v Speaker 6>with some young artists, you know.

2:39:56.640 --> 2:40:02.720
<v Speaker 2>You know. Yeah, yeah, I mean I just certain artists

2:40:02.720 --> 2:40:05.080
<v Speaker 2>I just see and I'm like, I see something special.

2:40:05.600 --> 2:40:09.000
<v Speaker 2>Like Lady London. I think she's special. I think Lola

2:40:09.080 --> 2:40:14.520
<v Speaker 2>Brook is special, a special. You know, certain artists I

2:40:14.600 --> 2:40:20.039
<v Speaker 2>just feel like they just special. You know. Even even

2:40:21.560 --> 2:40:26.000
<v Speaker 2>Conway the Machine, there's something special about him. But I

2:40:26.040 --> 2:40:30.520
<v Speaker 2>don't know if he's really channeling into it. I think

2:40:30.560 --> 2:40:33.720
<v Speaker 2>I see it, but I see something very Yeah. We

2:40:33.760 --> 2:40:37.039
<v Speaker 2>did a song. I did a song for for Buster oh.

2:40:37.040 --> 2:40:41.280
<v Speaker 1>Yes, it's like three generations I saw and everything R.

2:40:41.240 --> 2:40:43.320
<v Speaker 2>Yeah yeah, yeah, yeah, yeah yeah.

2:40:43.160 --> 2:40:46.879
<v Speaker 1>Yeah hip hop man like coming off fifty years. I

2:40:46.879 --> 2:40:49.360
<v Speaker 1>know we spoke about it earlier. I know we spoke about,

2:40:49.480 --> 2:40:52.280
<v Speaker 1>you know, the cliches of it being this far. But

2:40:52.400 --> 2:40:55.480
<v Speaker 1>now with this AI thing, you you are you are

2:40:55.480 --> 2:40:57.800
<v Speaker 1>you are you? With AI.

2:41:00.440 --> 2:41:09.200
<v Speaker 6>Another no, no, I am not. And he's the.

2:41:10.840 --> 2:41:16.200
<v Speaker 2>Really shit about that AI comes into effect. Right.

2:41:17.640 --> 2:41:21.520
<v Speaker 6>I don't think it's going to affect me. I'm a performer.

2:41:23.080 --> 2:41:27.520
<v Speaker 2>I have a set fan base where I haven't had

2:41:27.560 --> 2:41:33.360
<v Speaker 2>a hit record in like thirty years. Right, It's not

2:41:33.400 --> 2:41:37.840
<v Speaker 2>going to affect me Big Daddy Kane fans that want

2:41:37.879 --> 2:41:46.400
<v Speaker 2>to see me, hear me. I think that what's gearing

2:41:46.480 --> 2:41:51.039
<v Speaker 2>up for the future is that because right now with

2:41:51.120 --> 2:41:54.320
<v Speaker 2>the younger generation, it ain't like how I said, you know,

2:41:54.640 --> 2:41:56.560
<v Speaker 2>if we got a ten thousand, see the seven thousand

2:41:56.720 --> 2:41:59.160
<v Speaker 2>of them got their phones out. With the younger generation,

2:41:59.240 --> 2:42:01.320
<v Speaker 2>they're in a ten thousd I see the ten thousands

2:42:01.320 --> 2:42:05.080
<v Speaker 2>of them got their phones out, so they already watching

2:42:05.080 --> 2:42:07.800
<v Speaker 2>the ship or filming the show instead of really focusing

2:42:07.840 --> 2:42:11.320
<v Speaker 2>on it. It's a phone thing, right, We got AI

2:42:12.200 --> 2:42:16.720
<v Speaker 2>and we have holograms. Right, we got a bunch of

2:42:16.760 --> 2:42:22.160
<v Speaker 2>young artists there's not really really performing on stage, right,

2:42:23.800 --> 2:42:27.920
<v Speaker 2>So what's going to happen is there's going to be

2:42:29.440 --> 2:42:36.080
<v Speaker 2>digital artists. They're going to create holograms of of uh

2:42:36.840 --> 2:42:38.360
<v Speaker 2>this perfect looking artist.

2:42:38.400 --> 2:42:40.080
<v Speaker 1>Oh you didn't see they had one. They had like

2:42:40.120 --> 2:42:45.680
<v Speaker 1>an artist and no, no, no, no, no, Drake, shut the

2:42:45.720 --> 2:42:48.000
<v Speaker 1>fuck up. No, no, I'm talking about There was a

2:42:48.040 --> 2:42:50.680
<v Speaker 1>real artist that was an AI artist. He was signed

2:42:50.680 --> 2:42:52.400
<v Speaker 1>the Universal and then he said nigga and then he

2:42:52.480 --> 2:42:56.080
<v Speaker 1>dropped them. Y'all know what I'm talking about. Yeah, he

2:42:56.160 --> 2:42:57.440
<v Speaker 1>said like he was he was.

2:42:57.760 --> 2:43:00.800
<v Speaker 2>That's what's getting ready to happen where you you what's

2:43:00.840 --> 2:43:03.439
<v Speaker 2>going to happen is they're going to create holograms.

2:43:03.840 --> 2:43:07.680
<v Speaker 6>And with the AI thing, it'd be like, you know what, would.

2:43:07.440 --> 2:43:10.000
<v Speaker 2>This artiste give them some blonde dreads, make a bunch

2:43:10.080 --> 2:43:12.680
<v Speaker 2>of tattoos, muscle bound and you know what makes his

2:43:12.760 --> 2:43:16.200
<v Speaker 2>voice sound like Michael Jackson, No, I ain't hurt Michael Jackson,

2:43:16.280 --> 2:43:19.640
<v Speaker 2>spitting bars make his voice sound like Michael Jackson. And

2:43:20.959 --> 2:43:25.000
<v Speaker 2>concerts will be downloaded to your phone right where you

2:43:25.040 --> 2:43:28.280
<v Speaker 2>don't even have to go because you ain't fucking looking anyway,

2:43:29.080 --> 2:43:30.800
<v Speaker 2>This younger generation ain't looking anyway.

2:43:31.440 --> 2:43:33.039
<v Speaker 6>They just got their phone up the whole show.

2:43:33.480 --> 2:43:36.000
<v Speaker 2>So wouldn't it make more sense for them to just

2:43:36.040 --> 2:43:39.119
<v Speaker 2>be able to buy the concert and just right there

2:43:39.160 --> 2:43:40.200
<v Speaker 2>because the.

2:43:40.320 --> 2:43:43.720
<v Speaker 1>Streaming selling selling tickets today. Concert where you don't even

2:43:43.720 --> 2:43:45.400
<v Speaker 1>get to see them, What do you mean you don't

2:43:45.400 --> 2:43:47.080
<v Speaker 1>get to see them? You don't get you know, it's

2:43:47.080 --> 2:43:50.400
<v Speaker 1>all your owing audio only. That's some crazy shit.

2:43:50.600 --> 2:43:53.000
<v Speaker 3>It's hard. It just makes some noise for them discovering

2:43:53.000 --> 2:43:53.320
<v Speaker 3>the trick.

2:43:55.879 --> 2:44:00.760
<v Speaker 1>Think about that, they're going there to hear it. Okay,

2:44:00.879 --> 2:44:03.240
<v Speaker 1>you lost me then yeah, they go to the car sirt,

2:44:03.600 --> 2:44:04.640
<v Speaker 1>but they don't get to see her.

2:44:04.680 --> 2:44:06.000
<v Speaker 3>That's what I'm saying. They don't get to see them, and.

2:44:06.360 --> 2:44:10.359
<v Speaker 1>But they get to hear it's it's audio tickets, yeah, said.

2:44:10.280 --> 2:44:14.160
<v Speaker 5>Wild because the concert to me is everything is visual.

2:44:14.560 --> 2:44:18.280
<v Speaker 1>Yeah that turns me off. Like when I go on stage.

2:44:18.600 --> 2:44:20.360
<v Speaker 1>Seldomly go on stage, but I go on stage and

2:44:20.360 --> 2:44:23.040
<v Speaker 1>everyone's just like this, I'm looking like motherfucker, I'm right here.

2:44:23.400 --> 2:44:26.160
<v Speaker 5>Yeah, that's the point to see your favorite artists on

2:44:26.240 --> 2:44:27.760
<v Speaker 5>stage live like moment.

2:44:28.240 --> 2:44:30.560
<v Speaker 2>All right, But I mean with this younger generation need

2:44:30.640 --> 2:44:35.240
<v Speaker 2>to understand that it's going to affect them down the line.

2:44:36.160 --> 2:44:38.440
<v Speaker 2>And I don't mean far down the line. No, it's

2:44:38.480 --> 2:44:42.040
<v Speaker 2>all happening. It's happening very fast. And I would hate

2:44:42.080 --> 2:44:45.600
<v Speaker 2>to see that happen to the younger generation where they're

2:44:45.640 --> 2:44:51.800
<v Speaker 2>replaced by digital images and digital voices. I want to

2:44:51.840 --> 2:44:55.720
<v Speaker 2>see them when be successful, you know, make money, be

2:44:55.760 --> 2:44:58.000
<v Speaker 2>able to feed their family, you know, and you know,

2:44:58.240 --> 2:44:59.800
<v Speaker 2>have you know, successful careers.

2:45:00.240 --> 2:45:02.640
<v Speaker 3>That was part of the sack strike right now, that

2:45:02.720 --> 2:45:03.520
<v Speaker 3>big sag strike.

2:45:03.800 --> 2:45:06.600
<v Speaker 4>It's about all of that. Yeah, that's part of it.

2:45:06.640 --> 2:45:09.560
<v Speaker 5>Yeah, the digital, the facial stuff, and they just want

2:45:09.640 --> 2:45:11.840
<v Speaker 5>you to be a voice actor and then they're gonna

2:45:11.840 --> 2:45:12.760
<v Speaker 5>take your whole image and.

2:45:12.680 --> 2:45:15.160
<v Speaker 3>You different things, different ways that they'll apply it.

2:45:15.760 --> 2:45:20.840
<v Speaker 1>And you ran into something too, like the sign language interpreter.

2:45:22.000 --> 2:45:23.320
<v Speaker 3>You remember what fake one.

2:45:23.680 --> 2:45:25.800
<v Speaker 2>No no, no, no, no.

2:45:25.879 --> 2:45:27.800
<v Speaker 6>He was a real interpreter.

2:45:28.560 --> 2:45:35.040
<v Speaker 2>What happened was, uh, like I've seen like people that

2:45:35.160 --> 2:45:37.520
<v Speaker 2>do sign and you know, they're standing there, you know,

2:45:37.600 --> 2:45:41.000
<v Speaker 2>doing what they do. So when I came on stage,

2:45:41.040 --> 2:45:45.400
<v Speaker 2>I'm performing, and then I looked to the side of the

2:45:45.400 --> 2:45:48.440
<v Speaker 2>stage and I stupid like this, you know, and he's like,

2:45:50.000 --> 2:45:52.840
<v Speaker 2>I didn't know that he was an interpreting. Oh yeah,

2:45:53.160 --> 2:45:55.160
<v Speaker 2>I thought that he was somebody came out on that

2:45:55.280 --> 2:45:57.760
<v Speaker 2>crowd just making gestures.

2:45:58.360 --> 2:46:00.960
<v Speaker 6>I don't speak sign. I mean, I don't really, I don't,

2:46:01.000 --> 2:46:01.200
<v Speaker 6>you know.

2:46:01.520 --> 2:46:04.600
<v Speaker 2>So when I saw him, because of his energy, because

2:46:04.600 --> 2:46:07.360
<v Speaker 2>he's jumping, so I'm thinking that he's just someone just

2:46:07.400 --> 2:46:10.560
<v Speaker 2>came out there just having any moment, Like I'm big

2:46:10.600 --> 2:46:14.240
<v Speaker 2>that he can't hype man. So I pushed him to

2:46:14.280 --> 2:46:18.400
<v Speaker 2>the side and then I went and started performing. Now look,

2:46:18.640 --> 2:46:22.400
<v Speaker 2>he was back out there again, and I pushed his

2:46:22.520 --> 2:46:27.080
<v Speaker 2>ass to the side again, and then I went. And

2:46:27.120 --> 2:46:31.760
<v Speaker 2>then when when we finished the song, my DJ was like, yo, yo,

2:46:31.920 --> 2:46:35.000
<v Speaker 2>he you know, he told me who he was. And

2:46:35.040 --> 2:46:36.960
<v Speaker 2>then I walked up the dude and I was like, yo,

2:46:37.240 --> 2:46:38.840
<v Speaker 2>I'm sorry, man, I didn't know.

2:46:39.280 --> 2:46:40.160
<v Speaker 6>Poly you know.

2:46:40.160 --> 2:46:43.880
<v Speaker 2>I apologized, and then and then I held his hand

2:46:43.920 --> 2:46:46.200
<v Speaker 2>up and told the crowds, you know, like listen, you know,

2:46:48.000 --> 2:46:50.240
<v Speaker 2>I'm glad he here. I say. I said something like

2:46:50.520 --> 2:46:55.520
<v Speaker 2>because even if you can't hear me, I want you

2:46:55.560 --> 2:46:58.680
<v Speaker 2>to enjoy the show. So thank you brother, you know,

2:46:58.800 --> 2:47:01.520
<v Speaker 2>and and left it like that. And then he finished

2:47:01.600 --> 2:47:03.640
<v Speaker 2>finished what he was doing. But I didn't know.

2:47:03.680 --> 2:47:05.720
<v Speaker 1>I didn't know that was that was like a first

2:47:05.800 --> 2:47:09.000
<v Speaker 1>like controversy on the internet, like like you know, like

2:47:09.040 --> 2:47:11.520
<v Speaker 1>I mean probably yeah, you know what I'm saying, Like

2:47:11.520 --> 2:47:12.800
<v Speaker 1>like in this new version of.

2:47:14.400 --> 2:47:17.039
<v Speaker 6>Me, you know, everybody wanted to cancel you, you know

2:47:17.160 --> 2:47:17.640
<v Speaker 6>for something.

2:47:18.000 --> 2:47:22.120
<v Speaker 2>It's like it's like everybody looking for some ship to

2:47:22.160 --> 2:47:22.879
<v Speaker 2>be bitter about.

2:47:23.320 --> 2:47:25.600
<v Speaker 1>You know, was that something abnormal to you or you

2:47:25.720 --> 2:47:27.960
<v Speaker 1>you adapted to it because you know, back back in

2:47:28.000 --> 2:47:29.920
<v Speaker 1>the days, the room was about you, but you it.

2:47:29.879 --> 2:47:30.760
<v Speaker 3>Wouldn't come to you.

2:47:30.760 --> 2:47:33.320
<v Speaker 1>You didn't have especially you didn't have an Instagram, Like,

2:47:33.640 --> 2:47:36.080
<v Speaker 1>so was that something like that was that was different

2:47:36.080 --> 2:47:36.280
<v Speaker 1>for you?

2:47:36.320 --> 2:47:37.840
<v Speaker 2>When when when you I mean, I ain't really give

2:47:37.840 --> 2:47:40.160
<v Speaker 2>a ship, man, I mean, because it was like it

2:47:40.240 --> 2:47:43.800
<v Speaker 2>was the type of thing where you know, I know,

2:47:43.959 --> 2:47:47.600
<v Speaker 2>I didn't do nothing wrong, and once I understood who

2:47:47.680 --> 2:47:50.920
<v Speaker 2>he was, I apologized to him, and.

2:47:50.920 --> 2:47:52.119
<v Speaker 1>You did on your Instagram as well.

2:47:52.280 --> 2:47:55.679
<v Speaker 6>Yeah, man, I mean it was like you know, people.

2:47:57.320 --> 2:48:04.199
<v Speaker 2>Even had they well you you didn't uh apologize to

2:48:04.320 --> 2:48:05.720
<v Speaker 2>the death community.

2:48:06.280 --> 2:48:07.760
<v Speaker 6>I ain't doing it to the death community.

2:48:08.200 --> 2:48:12.400
<v Speaker 2>I pushed him the guy, and I apologize them. That's

2:48:12.400 --> 2:48:16.320
<v Speaker 2>who I would the apology to, you know, plain and simple,

2:48:16.840 --> 2:48:18.800
<v Speaker 2>you know, and I mean you know, because it's like

2:48:18.800 --> 2:48:21.080
<v Speaker 2>I didn't understan, I didn't know what was going on, but.

2:48:20.959 --> 2:48:22.879
<v Speaker 6>Once I found out what was going on, corrected to

2:48:22.879 --> 2:48:23.800
<v Speaker 6>me quickly.

2:48:23.959 --> 2:48:27.160
<v Speaker 2>You know, because yeah, because of Yes, if you can't

2:48:27.160 --> 2:48:29.920
<v Speaker 2>hear the show and he's there to help you understand, yes,

2:48:30.360 --> 2:48:32.959
<v Speaker 2>I need him, like I would love for someone like

2:48:33.040 --> 2:48:36.720
<v Speaker 2>him to be at every goddamn show, you know. I

2:48:36.720 --> 2:48:39.000
<v Speaker 2>see the importance and I respect that. You know.

2:48:39.640 --> 2:48:41.959
<v Speaker 1>Yeah, you think people are too sensitive nowadays?

2:48:42.040 --> 2:48:48.120
<v Speaker 2>Well yeah, well yeah, like we so sensitive that you

2:48:48.200 --> 2:48:52.360
<v Speaker 2>can be on someone's side, agree with what they're saying,

2:48:52.920 --> 2:48:55.400
<v Speaker 2>but just if you word it in a way that

2:48:55.560 --> 2:48:59.720
<v Speaker 2>don't sound like they'll get mad at you all the time.

2:49:02.800 --> 2:49:05.240
<v Speaker 2>That's why it's for me, it's it's just so much

2:49:05.320 --> 2:49:08.280
<v Speaker 2>easier to just ship what we call the fuck up.

2:49:09.920 --> 2:49:12.080
<v Speaker 2>I'll just be quiet and go ahead, go ahead?

2:49:13.920 --> 2:49:20.080
<v Speaker 1>Was you know? Because we're pushing this documentary. What made

2:49:20.120 --> 2:49:22.760
<v Speaker 1>you want to come together and push this documentary?

2:49:23.800 --> 2:49:30.640
<v Speaker 2>The documentary is called Paragraphs I manifest Para, and what

2:49:30.680 --> 2:49:34.680
<v Speaker 2>it's about is the lyricism in hip hop and the

2:49:34.720 --> 2:49:38.640
<v Speaker 2>importance of it, Uh, songwriting.

2:49:40.879 --> 2:49:43.880
<v Speaker 6>What made you write this song? What was the inspiration?

2:49:44.680 --> 2:49:48.280
<v Speaker 2>Things of that nature, Because the documentary is really for

2:49:48.400 --> 2:49:53.720
<v Speaker 2>the younger generation. I want the younger generation to understand

2:49:54.320 --> 2:49:57.880
<v Speaker 2>the importance of lyricists. We can't lose that, you know,

2:49:58.240 --> 2:50:00.520
<v Speaker 2>because yes, because it is a law thing in it.

2:50:01.240 --> 2:50:05.880
<v Speaker 2>And I want them to really understand that. And hopefully,

2:50:06.040 --> 2:50:10.840
<v Speaker 2>you know, by hearing from the pioneers, hearing from some

2:50:10.879 --> 2:50:13.280
<v Speaker 2>of the younger generation, even hearing from some of the

2:50:13.320 --> 2:50:18.080
<v Speaker 2>battle rappers, I'm thinking, I'm hoping that it would be

2:50:18.120 --> 2:50:21.240
<v Speaker 2>something that can trigger something in the younger generation be like,

2:50:21.280 --> 2:50:24.280
<v Speaker 2>you know, nah, I want to, you know, have some bars.

2:50:24.360 --> 2:50:27.120
<v Speaker 2>I want to, you know, because I want, like I said,

2:50:27.200 --> 2:50:29.600
<v Speaker 2>I want to I want to see these young cats win.

2:50:29.920 --> 2:50:32.280
<v Speaker 2>I want to see them succeed. I want to see

2:50:32.320 --> 2:50:35.520
<v Speaker 2>them keep hip hop, you know going. You know, I'm

2:50:35.600 --> 2:50:38.720
<v Speaker 2>I'm I'm fifty four years old, my dude. You know,

2:50:39.959 --> 2:50:42.920
<v Speaker 2>I'm not gonna be here forever. You know. You know,

2:50:43.160 --> 2:50:44.840
<v Speaker 2>Rock I'm not gonna be here forever. G rap not

2:50:44.879 --> 2:50:49.320
<v Speaker 2>gonna be here forever. You know, Nas, you know, jay Z,

2:50:49.440 --> 2:50:50.120
<v Speaker 2>They're not you know.

2:50:50.640 --> 2:50:54.240
<v Speaker 5>Yeah, And what hip hop does best is reflect and

2:50:54.320 --> 2:50:57.040
<v Speaker 5>report what's going on. And how can it do that

2:50:57.080 --> 2:51:05.040
<v Speaker 5>if it has no lyrics? Right, if you can't articulate it. Yeah, yeah,

2:51:05.120 --> 2:51:07.520
<v Speaker 5>you're right, you're right, you're right.

2:51:09.720 --> 2:51:12.080
<v Speaker 2>You know. It's like, you know, there's so many dimensions

2:51:12.080 --> 2:51:14.480
<v Speaker 2>of hip hop and there's so many different things, like

2:51:14.520 --> 2:51:16.000
<v Speaker 2>some people just want to party.

2:51:15.959 --> 2:51:19.120
<v Speaker 4>Right, right, which is a part of it. It's a balance. Yeah,

2:51:19.720 --> 2:51:26.080
<v Speaker 4>But I mean, I just think that when you are lyrical,

2:51:27.200 --> 2:51:31.640
<v Speaker 4>it can help with your longevity. I just believe that

2:51:31.840 --> 2:51:35.920
<v Speaker 4>because there's so many artists that drop party songs and

2:51:35.920 --> 2:51:39.400
<v Speaker 4>then a year, lady, they're forgotten because a new party

2:51:39.440 --> 2:51:42.080
<v Speaker 4>song came out, because it's like all of that was

2:51:42.120 --> 2:51:46.160
<v Speaker 4>just part of a trend. But there's lyricists that said

2:51:46.240 --> 2:51:51.000
<v Speaker 4>something that's stuck to your soul, and these artists had

2:51:51.040 --> 2:51:56.480
<v Speaker 4>longevity because it's something that you said that they probably

2:51:56.560 --> 2:52:00.800
<v Speaker 4>repeat daily yearly, right.

2:52:00.800 --> 2:52:04.039
<v Speaker 5>And and the idea of a lot of us learned

2:52:04.120 --> 2:52:08.800
<v Speaker 5>vocabulary off of lyricists, off of MC's I was never

2:52:08.840 --> 2:52:13.920
<v Speaker 5>good in book studying, but lyrical artists made me want

2:52:13.959 --> 2:52:16.280
<v Speaker 5>to I don't know that word, what does that word mean?

2:52:16.320 --> 2:52:17.480
<v Speaker 3>I want to understand this rhyme.

2:52:17.600 --> 2:52:20.760
<v Speaker 2>That's how I graduated high school. We'll talk. That's how

2:52:20.800 --> 2:52:27.200
<v Speaker 2>I graduated high school looking up no no no. I

2:52:28.200 --> 2:52:34.320
<v Speaker 2>was failing in Social studies. And I was in great Math,

2:52:34.400 --> 2:52:38.280
<v Speaker 2>great and science, great English, my guidance counselor. He was pointing,

2:52:38.840 --> 2:52:41.120
<v Speaker 2>and I had and this is now, this is me,

2:52:41.200 --> 2:52:45.800
<v Speaker 2>my guidance counselor. My mother. We're talking, and I said,

2:52:45.800 --> 2:52:49.400
<v Speaker 2>why do we need eight credits in social studies? We

2:52:49.440 --> 2:52:54.080
<v Speaker 2>need seven in English, foreign maths, foreign science, but we

2:52:54.160 --> 2:52:58.920
<v Speaker 2>need eight and social studies why, I said, I'll tell

2:52:58.920 --> 2:53:07.600
<v Speaker 2>you why. Because social studies is that part in school

2:53:07.879 --> 2:53:12.720
<v Speaker 2>that teaches us all the great stuff that white people

2:53:12.760 --> 2:53:18.480
<v Speaker 2>did for us. That's what you learn in American History,

2:53:18.480 --> 2:53:21.360
<v Speaker 2>That's what you learn in Global studies. And that's why

2:53:21.360 --> 2:53:25.680
<v Speaker 2>it's important for us to have all these courses. But

2:53:25.800 --> 2:53:29.840
<v Speaker 2>after I've learned American history and global studies, how does

2:53:29.840 --> 2:53:31.120
<v Speaker 2>that help me in the future?

2:53:31.520 --> 2:53:33.480
<v Speaker 6>What job does that lay out for me?

2:53:33.959 --> 2:53:35.920
<v Speaker 2>What I'm learning in math can lay out a job

2:53:35.959 --> 2:53:38.120
<v Speaker 2>for me, What I'm learning in English can lay out

2:53:38.120 --> 2:53:39.920
<v Speaker 2>a job for me. What I'm learning in science can

2:53:39.959 --> 2:53:42.760
<v Speaker 2>lay out a job for me. What the hell am

2:53:42.760 --> 2:53:45.000
<v Speaker 2>I learning in social studies? That's going to lay out

2:53:45.000 --> 2:53:47.760
<v Speaker 2>a job for me? Not a goddamn thing unless I

2:53:47.800 --> 2:53:52.480
<v Speaker 2>want to be a teacher. You know, my mother did

2:53:52.520 --> 2:53:56.400
<v Speaker 2>this that was her, I want to slap the shit

2:53:56.480 --> 2:54:00.000
<v Speaker 2>out you, but you know, we in front of people's

2:54:00.000 --> 2:54:03.720
<v Speaker 2>so I'm not going to you know, And my guidance

2:54:03.760 --> 2:54:10.920
<v Speaker 2>counselor he said, I understand. And he looked out for

2:54:11.000 --> 2:54:14.240
<v Speaker 2>me because you know, I don't know. You know, back then,

2:54:14.280 --> 2:54:17.240
<v Speaker 2>you know, you get a credit for government or law,

2:54:17.800 --> 2:54:21.520
<v Speaker 2>not both. You had to cover credit for Black history

2:54:21.840 --> 2:54:26.840
<v Speaker 2>or Puerto Rican studies, not both. I got credits for

2:54:26.920 --> 2:54:29.879
<v Speaker 2>both because he was looking out for me, because he

2:54:29.879 --> 2:54:31.440
<v Speaker 2>felt that I was a good student. Pusce I said, ry,

2:54:31.480 --> 2:54:34.560
<v Speaker 2>I'm on the loud speaker in the morning, official period

2:54:34.720 --> 2:54:36.200
<v Speaker 2>or shit like that, you know. So he was looking

2:54:36.200 --> 2:54:40.120
<v Speaker 2>out for me, you know. But still I didn't have

2:54:40.240 --> 2:54:43.120
<v Speaker 2>enough credits to make that eight. So yeah, I was

2:54:43.200 --> 2:54:48.760
<v Speaker 2>close to failer. And then Mellie mel says on Beach

2:54:48.800 --> 2:54:56.120
<v Speaker 2>Street Breakdown, deca outreach, Hiroshima, Vietnam, Lennogram Ewujima, now Korea,

2:54:56.240 --> 2:55:00.080
<v Speaker 2>the Philippines, devastating depths by the killing machines. And I

2:55:00.240 --> 2:55:02.520
<v Speaker 2>was like, I'd never be a dope m c if

2:55:02.560 --> 2:55:04.240
<v Speaker 2>I don't know what the funk he talking about. And

2:55:04.320 --> 2:55:06.680
<v Speaker 2>I damn sure don't know right now. And I went

2:55:06.760 --> 2:55:11.240
<v Speaker 2>back to my guidance counsel. There I take American ship

2:55:11.360 --> 2:55:14.680
<v Speaker 2>that I pose. I took it, not because I wanted

2:55:14.760 --> 2:55:16.840
<v Speaker 2>to learn American history, not because I wanted to learn

2:55:16.879 --> 2:55:19.440
<v Speaker 2>global studies. But I felt like if I learned this ship,

2:55:19.440 --> 2:55:27.360
<v Speaker 2>I build a rhyme like Melloy mel Yeah, what's on?

2:55:27.600 --> 2:55:27.880
<v Speaker 9>What's on?

2:55:28.040 --> 2:55:30.760
<v Speaker 1>Daddy kinge Ryder? Like if for a promoter of books?

2:55:30.760 --> 2:55:31.240
<v Speaker 2>You what? What?

2:55:31.800 --> 2:55:32.600
<v Speaker 1>What is that?

2:55:32.840 --> 2:55:32.880
<v Speaker 2>You?

2:55:33.160 --> 2:55:36.240
<v Speaker 3>The essentials that that that that you need to do

2:55:36.400 --> 2:55:36.959
<v Speaker 3>this show.

2:55:38.120 --> 2:55:40.360
<v Speaker 2>Or the Judy Show, like the Rider. I didn't know

2:55:40.480 --> 2:55:44.080
<v Speaker 2>the Judy Show. I need a microphone. But after the show, yeah,

2:55:44.720 --> 2:55:47.520
<v Speaker 2>you know, you know, you know some sweet you know,

2:55:47.600 --> 2:55:50.039
<v Speaker 2>some nice grapes, you know, and.

2:55:51.640 --> 2:55:54.840
<v Speaker 3>Who do you prefer? Camus opus one?

2:55:54.840 --> 2:55:55.600
<v Speaker 6>You're gonna do this again?

2:55:56.080 --> 2:55:59.280
<v Speaker 2>Yeah? I like that we did this, you know, you

2:55:59.400 --> 2:56:03.960
<v Speaker 2>know me and you nah. Well, I mean, like I

2:56:04.280 --> 2:56:06.200
<v Speaker 2>explained to you before, I mean with Camus, you know,

2:56:06.680 --> 2:56:08.520
<v Speaker 2>it's the Yeah, if you can still find a twenty

2:56:08.640 --> 2:56:12.680
<v Speaker 2>nineteen Camus amazing, the twenty twenty, you know, but the

2:56:12.760 --> 2:56:14.439
<v Speaker 2>twenty nineteen amazing.

2:56:16.920 --> 2:56:21.200
<v Speaker 6>But right now I'm pretty much on CAD.

2:56:21.560 --> 2:56:27.760
<v Speaker 2>That's all Howell Mountain, like c A d K. It's

2:56:27.800 --> 2:56:32.080
<v Speaker 2>a Howell Mountain. It's like a younger version of plumb Jack.

2:56:32.640 --> 2:56:33.000
<v Speaker 3>Okay.

2:56:34.840 --> 2:56:36.240
<v Speaker 6>Yeah, so if you don't want to spend all.

2:56:36.200 --> 2:56:38.120
<v Speaker 2>That money in a plumb jack, like yeah, the cad

2:56:38.320 --> 2:56:42.400
<v Speaker 2>Cad I think it's like maybe like about about one

2:56:42.440 --> 2:56:45.119
<v Speaker 2>hundred and twenty dollars a bottle by n But that's

2:56:45.160 --> 2:56:48.160
<v Speaker 2>that's a that's a good cab, an amazing cab.

2:56:49.760 --> 2:56:52.880
<v Speaker 6>Or like a nice barolo. What barolo?

2:56:53.640 --> 2:56:57.760
<v Speaker 2>Italian? No Italian? No, no, no, we had one. Well

2:56:57.959 --> 2:57:01.160
<v Speaker 2>he's at the joint, the last one. The next bottle whel.

2:57:01.040 --> 2:57:03.160
<v Speaker 1>Okay, okay, okay, okay, because I got something that you

2:57:03.280 --> 2:57:04.200
<v Speaker 1>put me on your ship?

2:57:04.280 --> 2:57:06.600
<v Speaker 2>Yeah yeah, yeah you got Do you get the caymans on?

2:57:06.680 --> 2:57:08.520
<v Speaker 3>I got the Cayman I believe at the bottom of

2:57:08.640 --> 2:57:08.920
<v Speaker 3>that boy.

2:57:09.520 --> 2:57:14.960
<v Speaker 2>That boy you bought everything but the bottle order. The

2:57:15.000 --> 2:57:15.720
<v Speaker 2>bottle order.

2:57:15.840 --> 2:57:17.880
<v Speaker 3>Yeah yeah, that was a barolo.

2:57:18.080 --> 2:57:21.000
<v Speaker 6>Okay, yeah, but yeah, it's Italian grape.

2:57:21.000 --> 2:57:25.000
<v Speaker 2>But it's it's a nice medium bodied okay, red, but

2:57:25.160 --> 2:57:27.520
<v Speaker 2>I mean it's it's it's it's real smooth. Yeah.

2:57:27.959 --> 2:57:30.920
<v Speaker 1>So so if promoters they got to book you, it's

2:57:31.000 --> 2:57:32.440
<v Speaker 1>always it's always a red.

2:57:32.480 --> 2:57:33.440
<v Speaker 3>What else is on your rider?

2:57:33.600 --> 2:57:36.160
<v Speaker 2>That's like a little crazy, like no no, no, no,

2:57:36.400 --> 2:57:37.880
<v Speaker 2>I I don't got no white m and ms and

2:57:37.920 --> 2:57:38.720
<v Speaker 2>no crazy ship like.

2:57:38.920 --> 2:57:41.520
<v Speaker 1>No green and m and ms. Okay, you got to

2:57:41.520 --> 2:57:47.800
<v Speaker 1>stop that HNT.

2:57:46.640 --> 2:57:50.160
<v Speaker 3>Listen and yellow and yellow skittles, So.

2:57:50.160 --> 2:57:53.320
<v Speaker 1>You got you got nothing like uh like just just

2:57:53.520 --> 2:57:55.920
<v Speaker 1>just just the red skin off the apple. You don't

2:57:55.959 --> 2:57:56.560
<v Speaker 1>got nothing like that.

2:57:57.040 --> 2:57:59.720
<v Speaker 2>No one ain't nothing crazy on the ride, right.

2:58:00.800 --> 2:58:03.480
<v Speaker 7>Gone, body ain't got nothing to writer, He ain't got jolly.

2:58:10.560 --> 2:58:12.199
<v Speaker 7>Has Kane ever had a stylist?

2:58:13.360 --> 2:58:17.959
<v Speaker 2>Oh yeah, for a.

2:58:20.080 --> 2:58:21.720
<v Speaker 6>Brief moment, a brief moment.

2:58:21.879 --> 2:58:25.440
<v Speaker 2>It's like, you know, I'm wanting them dudes to like

2:58:25.560 --> 2:58:29.400
<v Speaker 2>going out the box. And you know sometimes you know stylists,

2:58:29.440 --> 2:58:32.560
<v Speaker 2>you know, they might want to tone you down. But

2:58:32.680 --> 2:58:38.080
<v Speaker 2>it's like it's there's certain controversies I like, I enjoy.

2:58:39.560 --> 2:58:42.720
<v Speaker 2>So it's like if I wear something that's a little

2:58:42.840 --> 2:58:45.480
<v Speaker 2>over the edge, there's a reason. There's a method to

2:58:45.520 --> 2:58:50.680
<v Speaker 2>my madness. It's like, I got this on. It looked

2:58:50.720 --> 2:59:04.360
<v Speaker 2>a little crazy, but it's like, wash your mouth. It

2:59:04.480 --> 2:59:07.720
<v Speaker 2>looks a little crazy. But the reason I'm wearing this

2:59:08.640 --> 2:59:14.560
<v Speaker 2>is so that the guys will clown it and the

2:59:14.720 --> 2:59:19.440
<v Speaker 2>women will me you get it.

2:59:21.200 --> 2:59:23.120
<v Speaker 6>So it's a method to the madness, you know what

2:59:23.160 --> 2:59:23.560
<v Speaker 6>I'm saying.

2:59:23.920 --> 2:59:29.760
<v Speaker 2>And it's like the women defending me, they see it,

2:59:31.320 --> 2:59:36.600
<v Speaker 2>they like hmm. But it's not until the guy clowns

2:59:36.680 --> 2:59:40.320
<v Speaker 2>me that they go public. Oh no, you didn't. You

2:59:40.400 --> 2:59:44.000
<v Speaker 2>ain't gonna look their goodness here, you don't know. See

2:59:44.040 --> 2:59:46.320
<v Speaker 2>that's when that's when they go public and they go

2:59:46.480 --> 2:59:48.880
<v Speaker 2>rentid you know what I'm saying, you know, like like

2:59:49.000 --> 2:59:52.680
<v Speaker 2>like like Beyonce's beehive saying that type of thing. But

2:59:53.000 --> 2:59:55.240
<v Speaker 2>it's like, you know, you got to get them there,

2:59:55.400 --> 2:59:57.200
<v Speaker 2>you know what I'm saying. So it's stuff that I

2:59:57.320 --> 2:59:59.039
<v Speaker 2>do on purpose, intentionally, you.

2:59:59.120 --> 3:00:01.640
<v Speaker 1>Know him a Donna book? Was that a stylist who

3:00:01.720 --> 3:00:02.480
<v Speaker 1>gave the speedos?

3:00:04.879 --> 3:00:05.760
<v Speaker 6>I can't stand you.

3:00:09.120 --> 3:00:09.760
<v Speaker 3>He wants.

3:00:14.120 --> 3:00:18.240
<v Speaker 2>No. I've been sitting there patiently waiting for normal bullshit.

3:00:18.760 --> 3:00:21.360
<v Speaker 6>I'm like, God, damn, we've been here for a long time.

3:00:22.120 --> 3:00:27.400
<v Speaker 2>None of his bullshit, you know, I've been waiting.

3:00:28.360 --> 3:00:33.199
<v Speaker 1>Oh my, I'm gonna be honest, man, i'ma be honest

3:00:34.160 --> 3:00:36.920
<v Speaker 1>and let me let me say this for you know,

3:00:37.280 --> 3:00:39.920
<v Speaker 1>all the young ins. And I know I've been fatiguing

3:00:39.920 --> 3:00:42.000
<v Speaker 1>to young people, you know, all night, but I want

3:00:42.040 --> 3:00:43.920
<v Speaker 1>to say something. You know, I'm honored to call you

3:00:44.120 --> 3:00:47.119
<v Speaker 1>my o G. I'm honored to you know, following your footsteps.

3:00:47.879 --> 3:00:50.880
<v Speaker 1>I'm honored to honor you. I'm honored to show you

3:00:51.040 --> 3:00:52.880
<v Speaker 1>how much you mean to the rap game, Show you

3:00:52.959 --> 3:00:54.720
<v Speaker 1>how much you mean to us, show you how much

3:00:54.760 --> 3:00:57.920
<v Speaker 1>you mean to the culture. This is a blessing, man,

3:00:58.000 --> 3:00:59.320
<v Speaker 1>to tell you to your face. You know what I'm

3:00:59.360 --> 3:01:02.039
<v Speaker 1>saying to face man, the man out of eye? Man,

3:01:02.440 --> 3:01:02.959
<v Speaker 1>what you mean?

3:01:03.120 --> 3:01:03.640
<v Speaker 2>You know what I mean?

3:01:03.760 --> 3:01:06.520
<v Speaker 1>And it means everything to us. Man, we all in

3:01:06.600 --> 3:01:09.160
<v Speaker 1>the group chat. Everyone here, we're all and if you

3:01:09.200 --> 3:01:11.440
<v Speaker 1>can see how we were all excited, like like we

3:01:11.600 --> 3:01:13.240
<v Speaker 1>all were all in a group chat. I'm like, I'm

3:01:13.320 --> 3:01:15.320
<v Speaker 1>seriously looking at my barber, like you think I can

3:01:15.360 --> 3:01:16.960
<v Speaker 1>get away with it? Like you know what I'm saying,

3:01:17.040 --> 3:01:18.640
<v Speaker 1>Like right now, you think I can get away with it,

3:01:18.920 --> 3:01:21.440
<v Speaker 1>I said myself. But see I know myself. I gonna

3:01:21.480 --> 3:01:23.880
<v Speaker 1>go back like that. I'm gonna have Cornell West on

3:01:24.000 --> 3:01:24.400
<v Speaker 1>my ears.

3:01:24.440 --> 3:01:24.960
<v Speaker 3>You know what I'm saying.

3:01:26.000 --> 3:01:28.480
<v Speaker 1>I'm gonna have motherfucker buck Weed did all that on

3:01:28.600 --> 3:01:31.320
<v Speaker 1>my joint, so already hurt my lesson. But I just

3:01:31.400 --> 3:01:33.800
<v Speaker 1>want you to know, man, you are really an icon.

3:01:33.879 --> 3:01:36.680
<v Speaker 1>You are really a legend. Something that Buster Rohm said,

3:01:37.000 --> 3:01:39.440
<v Speaker 1>you know what I mean when he won his BET Awards.

3:01:39.480 --> 3:01:41.920
<v Speaker 1>He said, our icons, our legends, gotta look the part.

3:01:41.959 --> 3:01:44.199
<v Speaker 1>And let me just tell you something. You always looked apart.

3:01:44.440 --> 3:01:47.080
<v Speaker 1>I've never seen you for I've always seen you smooth.

3:01:47.120 --> 3:01:49.240
<v Speaker 1>I've never seen you hate on nobody. I never seen

3:01:49.280 --> 3:01:51.360
<v Speaker 1>you talk bad about nobody. I always see you with

3:01:51.440 --> 3:01:54.360
<v Speaker 1>the greatest, most phenomenal energy, and I just want to

3:01:54.400 --> 3:01:55.000
<v Speaker 1>give it back to you.

3:01:55.080 --> 3:01:59.680
<v Speaker 3>Always, just the case the case.

3:01:59.760 --> 3:02:01.920
<v Speaker 1>If you don't know, I'll just sitting there follow you

3:02:02.000 --> 3:02:04.200
<v Speaker 1>on Instagram. I'm like, yo, you know, the show has

3:02:04.240 --> 3:02:05.880
<v Speaker 1>got bigger. And I said, man, I gotta get his

3:02:05.959 --> 3:02:08.000
<v Speaker 1>brother his flowers the proper way, not to say, read

3:02:08.000 --> 3:02:09.920
<v Speaker 1>and give you your flowers before the proper way. But

3:02:10.000 --> 3:02:12.039
<v Speaker 1>the show has gotten grew so much bigger, so I read,

3:02:12.120 --> 3:02:13.840
<v Speaker 1>We're gonna do it again. We're gonna do it again.

3:02:13.879 --> 3:02:16.240
<v Speaker 1>This is your platform. If you want to promote pink

3:02:16.320 --> 3:02:22.439
<v Speaker 1>toenails anytime. If you want to promote fucking coffee.

3:02:22.120 --> 3:02:25.320
<v Speaker 3>Cups, what is this ship? What is this coasters? If

3:02:25.320 --> 3:02:26.880
<v Speaker 3>you want to we don't give a fuck. This is

3:02:26.959 --> 3:02:27.560
<v Speaker 3>your platform.

3:02:27.640 --> 3:02:30.560
<v Speaker 1>You can come on here anytime you want motherfucker is everyone,

3:02:30.760 --> 3:02:33.200
<v Speaker 1>put your hands together, stand up if you can't for

3:02:33.360 --> 3:02:34.640
<v Speaker 1>motherfucker big day.

3:02:39.879 --> 3:02:40.039
<v Speaker 2>Man.

3:02:40.400 --> 3:02:41.720
<v Speaker 1>Thank you so much, my brother.

3:02:42.360 --> 3:02:46.160
<v Speaker 5>Drink Champs is a drink Champs LLC production in association

3:02:46.320 --> 3:02:50.680
<v Speaker 5>with Interval Presents. Hosts and executive producers n O r

3:02:50.720 --> 3:02:55.160
<v Speaker 5>E and dj e f N from Interval Presents executive

3:02:55.200 --> 3:02:59.440
<v Speaker 5>producers Alan Coy and Jake Kleinberg. Listen to Drink Champs

3:02:59.480 --> 3:03:03.760
<v Speaker 5>on Apple Podcast, Amazon Music, Spotify, or wherever you get

3:03:03.800 --> 3:03:07.440
<v Speaker 5>your podcasts. Thanks for joining us for another episode of

3:03:07.520 --> 3:03:10.240
<v Speaker 5>drink Champs, hosted by Yours Truly, dj e f N

3:03:10.480 --> 3:03:12.600
<v Speaker 5>and n O r E. Please make sure to follow

3:03:12.720 --> 3:03:15.240
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3:03:15.280 --> 3:03:20.080
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3:03:20.520 --> 3:03:23.880
<v Speaker 5>mine is at Who's Crazy on ig at dj e

3:03:24.080 --> 3:03:26.440
<v Speaker 5>f N on Twitter, and most importantly, stay up to

3:03:26.520 --> 3:03:29.800
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3:03:29.840 --> 3:03:31.320
<v Speaker 5>to drink Champs dot com