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Speaker 1: Questlove Supreme is a production of iHeartRadio.

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Speaker 2: This classic episode was produced by the team at Pandora.

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Speaker 3: This is Sugar Steven on this week's Quest Love Supreme.

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Speaker 1: Classic hip hop icon and R and B hit maker Jermaine.

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Speaker 3: Dupree tell us thirty years of industry tales from fresh

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Speaker 3: best days to career reviving remixes. Originally released August twenty second,

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Speaker 3: two thousand and eighteen.

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Speaker 4: Suprema Some Suprema roll call Supremo S Supremo. Ro called

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Speaker 4: Suprema Sun Sun Supremo, roll call Suprema s Sun Supremo. Roll.

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Speaker 1: My name is Questlove.

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Speaker 2: Yeah, spitting hot tracks, Yeah, interviewing the man.

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Speaker 5: Yeah, the world's loudest high hand long time.

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Speaker 4: Primo Supremo, roll called Suprema something Supremo, roll called.

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Speaker 1: My name is Sugar.

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Speaker 6: Yeah.

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Speaker 5: Money ain't a thing, Yeah, because I don't have much.

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Speaker 1: Yeah, sucks for me. Supreme Supremo. You're going against Suprema

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Speaker 1: something Supremo.

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Speaker 7: It shows up the hook, Yeah, like escape second LP. Yeah,

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Speaker 7: Boss Bill is my name? Yeah, O quls with JD.

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Speaker 8: Supremo, So Supremo, Ro Supremo Supremo roll.

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Speaker 6: Yeah, what the legend a D. Yeah, I've been down

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Speaker 6: with him, Yeah, because that was.

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Speaker 4: The roll Supremo Supremo roll call Suprema Son something Supremo roll.

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Speaker 5: Yeah, it's all about me.

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Speaker 9: Yeah, celebrating twenty five years in this crazy ass industry.

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Speaker 8: Yeah, h Suprema Subpremah Yeah sure, Son Sun Suppreva Subreeva

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Speaker 8: Son Sun Supreme.

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Speaker 1: Ladies and gentlemen, Welcome to another episode of Question on

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Speaker 1: the Supreme.

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Speaker 2: All right, I gotta get this out once in the open.

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Speaker 2: Why do you Why are your high hats so loud

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Speaker 2: on your record? That is you do you be the

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Speaker 2: only person that mentions, the.

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Speaker 5: Only person that ever asks why?

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Speaker 9: Right, and and I'm glad that you ask why because

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Speaker 9: I feel like I don't get the credit for high

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Speaker 9: hats being that loud on records. Now, and I'm glad

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Speaker 9: that you're saying that because I did that deliberately. That's

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Speaker 9: my thing to make you know, like when I first,

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Speaker 9: I'm gonna tell you where I got it from, right,

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Speaker 9: I got it from seven seven seven ninety three elevels.

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Speaker 6: You have to ask because your.

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Speaker 1: Okay, all right, right, wait are you? Are we about

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Speaker 1: to break this art right now? I'll let the credit ahead.

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Speaker 9: Ahead, I mean the way that I hats sound on

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Speaker 9: that record. That's the focus. When I was younger and

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Speaker 9: I wanted I was playing drums, that's all. I used

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Speaker 9: to try to play that beat, and my focus was

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Speaker 9: that high hat. So then, you know, for some reason,

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Speaker 9: when I started making beats on a drum machine, I

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Speaker 9: just wanted my beats to sound like that. So once

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Speaker 9: I started making one and people said something about the

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Speaker 9: high head, I was like, oh, okay, this is my thing.

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Speaker 9: So then I did it on You Make Me Wanted

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Speaker 9: with Usher record, and it was like, that's the first.

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Speaker 5: Time you've heard the.

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Speaker 1: Loud as his voice.

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Speaker 5: Yes, very loud, and that's how I wanted.

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Speaker 9: I wanted you to be a turn the record down

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Speaker 9: as low as you can possibly turn it down and

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Speaker 9: hear the vocals and.

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Speaker 1: The high hat though as well.

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Speaker 2: Now we have like techno, you know, technology that doesn't

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Speaker 2: we don't have to spin on records anymore, you know,

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Speaker 2: because we used tourvive and whatnot. But the thing is

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Speaker 2: is that, uh usually shuffles and high hats leave an

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Speaker 2: imprint on the wax.

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Speaker 1: Like if you look at Thriller.

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Speaker 2: The shuffle of Billy Jean leaves a sort of spiral

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Speaker 2: design inside the actual groove of the wax.

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Speaker 5: So you're very technical.

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Speaker 3: All of your Wait a second, you're staring at the

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Speaker 3: final of.

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Speaker 1: Come on, let me tell you something. This is something

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Speaker 1: I noticed when I was like three years old.

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Speaker 2: It looks like, yeah, the grooves of all the other

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Speaker 2: songs and thriller a look normal, but Billy Jean like,

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Speaker 2: that's when I noticed, like, oh, high end, high end

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Speaker 2: Fidelogy stuff. They leave an imprint on the wax, which

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Speaker 2: leads to any time I've spun anything produced by you,

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Speaker 2: especially money, ain't the thing. There's this whole what's what's

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Speaker 2: the game we used to get as kids where you

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Speaker 2: do like spy?

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Speaker 1: What was the spiral graph? It's not a game? But yeah,

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Speaker 1: is that still a thing today? Or is that like

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Speaker 1: did I just date myself? Sigh? Where you were?

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Speaker 5: I don't know what that is?

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Speaker 2: Come on, spiro graph, will you take us? They're like, okay, well,

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Speaker 2: this is a classic quest of Supreme where I didn't

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Speaker 2: even officially introduce our guests. Ladies and gentlemen, welcome to

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Speaker 2: another episode. I had to get the high hair. I'm

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Speaker 2: a drummer. I had to get the high hat question

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Speaker 2: out of the way. All right, So another episode of

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Speaker 2: Quest Love Supreme. Hello, Team Supreme. I assume that Fante

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Speaker 2: is fixing his countertop or his pool or whatever. Yeah, exactly.

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Speaker 2: I will say that enough has not been said about

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Speaker 2: our next guest, and I believe that he also agrees

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Speaker 2: with me that enough has not been said about him.

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Speaker 2: That's sort of like one of the dangerous things about

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Speaker 2: hip hop culture, or this disposable hip hop culture that

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Speaker 2: we have, where you know, we discover great resources and

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Speaker 2: we use them to the hilt, and then we kind

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Speaker 2: of are onto the next thing, and revisionism sets in

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Speaker 2: and usually the person with the biggest check gets to

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Speaker 2: rewrite history, and suddenly everyone has a floggy memory on

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Speaker 2: who pioneered what and and Whatnotuh. But I will say

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Speaker 2: that numbers don't lie. And for thirty five plus years, uh,

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Speaker 2: our guest today has been a figurehead and hip hop

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Speaker 2: in all the areas, be it as a producer, as

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Speaker 2: a songwriter, uh for some of the defining moments in

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Speaker 2: hip hop and R and B culture, or as a

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Speaker 2: label head, a manager, and as an artist in his

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Speaker 2: own right. I can even say a dancer. This man

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Speaker 2: is connected to more people that I care to announce.

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Speaker 2: If I announced them all, the show will be over.

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Speaker 2: Ladies and gentlemen, please welcome to Quest of Supreme, the

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Speaker 2: one and only it shouldaine pre who.

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Speaker 1: What an in?

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Speaker 9: I didn't use that intro my djama, I'm gonna use

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Speaker 9: that's what ladies and gentlemen.

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Speaker 1: So how's it going? Man? It's going all right? So

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Speaker 1: for our listeners, And I'm trying to pack every question

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Speaker 1: I can.

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Speaker 9: Uh.

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Speaker 2: First of all, I was shocked you were born in Asherville,

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Speaker 2: North Carolina.

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Speaker 1: Isn't that the hippie community?

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Speaker 9: I'm I'm not sure I was. I left there when

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Speaker 9: I was two, Okay, because I'm not sure.

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Speaker 2: Usually for the roots, usually Asheville, North Carolina is like

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Speaker 2: it's it's such a.

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Speaker 1: Hippie territory.

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Speaker 5: It's a mountain town.

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Speaker 2: So yes, like some of the things of like the boundaries,

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Speaker 2: but times a billion, Like there's always jam bands performing

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Speaker 2: there and you know we've done many a show there.

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Speaker 6: Because it sounds like jd ain't been back. You know,

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Speaker 6: I was.

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Speaker 5: I was put in Atlanta when I.

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Speaker 1: Was two, Okay, So what what major family moved to Atlanta?

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Speaker 9: Because Atlanta's the big city to Ashville, and you know,

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Speaker 9: North Carolina is like that's what they look to I

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Speaker 9: guess back then it is the place to go to

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Speaker 9: have like fun. Like it's almost like how people go

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Speaker 9: from La to Vegas and you know what I mean,

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Speaker 9: it's like that type of situation.

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Speaker 5: I think, I see, I think so.

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Speaker 2: Uh, as far as you got in the business early,

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Speaker 2: But what described what life was like in Atlanta? Because

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Speaker 2: usually I'll say that for me, my first my first

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Speaker 2: education on Atlanta, especially being how old I was, or

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Speaker 2: the the the unfortunate, uh, the Atlanta child murder situation

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Speaker 2: with Wayne Williams.

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Speaker 1: Who looks.

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Speaker 2: Boss Bill looking at me like, don't say nothing out

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Speaker 2: the line, but then he kind of looked like Walter Clyde.

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Speaker 2: Orange mccommodore's oh my god, wow wow, now that you

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Speaker 2: said he looked like Walter Clyde. Everyone's saying their head Walter,

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Speaker 2: I love you your gruman. Anyway, that was my introduction

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Speaker 2: to Atlanta. But what was your childhood like in Atlanta?

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Speaker 2: Like did they always have culture?

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Speaker 9: And yeah, I think you know, you know, skating for

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Speaker 9: kids was the culture of Atlanta. Like so when you

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Speaker 9: see like at that movie was basically what child on

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Speaker 9: my childhood was That was it for me to go

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Speaker 9: to skate rink. You get away from your parents, you

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Speaker 9: get to listen to music, you get to dance, you

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Speaker 9: get to skate, you get to talk to girls. Everything

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Speaker 9: happened at the skate rink. That was for young kids

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Speaker 9: anyway coming up. Basically that was it for me. And

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Speaker 9: then talent shows. Atlanta was full of talent shows. All

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Speaker 9: the schools had talent shows. And you know, I was

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Speaker 9: just doing that, hitting schools and doing talent shows and

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Speaker 9: going to skate rink.

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Speaker 5: It was not really much.

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Speaker 9: It wasn't really much of a music scene in Atlanta,

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Speaker 9: but it was a it was a scene for like

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Speaker 9: dancers and the culture, like I'm saying, like skating and

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Speaker 9: stuff like that. Musically, it wasn't really We had s

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Speaker 9: O S Band and we had Brick and that was

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Speaker 9: you know in Peebo Bryson and those were people was like,

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Speaker 9: you know, he was like Rick Ross and Atlanta back then,

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Speaker 9: like that was his that's Peobo's town. He had.

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Speaker 5: He had the penthouse downtown. You know, you used to

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Speaker 5: drive by my days.

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Speaker 9: Like that's that's Ale's house and she'd be like, man,

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Speaker 9: I'm gonna get me one of them shits one day

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Speaker 9: like he's just.

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Speaker 1: You know like that. So okay, Yeah, So was your

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Speaker 1: father always in the music industry or Yeah?

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Speaker 9: From from what I can remember, my dad was basically

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Speaker 9: like a roadie that turned into like a road manager

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Speaker 9: that turned into like a you know, a production manager

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Speaker 9: more than anything. Because my dad played drums, so he

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Speaker 9: was like more like a production guy for the drummers

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Speaker 9: of Brick and you know, so Os band, and then

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Speaker 9: he got into you know, morphed into more doing more

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Speaker 9: production for you know, doing more production for all of

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Speaker 9: these artists. And I used to just be there rehearsal,

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Speaker 9: watching and looking and then cameo and you know, it

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Speaker 9: started growing, but it was just those those were the

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Speaker 9: main artists in Atlanta.

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Speaker 6: How old were you at that point when you were

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Speaker 6: watching these bands?

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Speaker 5: Like nine.

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Speaker 1: That sounds about right? Yeah, like nine that sounds about right. Yeah.

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Speaker 2: Now, uh, we've discovered here on Quest Loves the pre

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Speaker 2: met all the name brand super producers have some sort

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Speaker 2: of DJ history before they went into production. So did

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Speaker 2: you have any DJ history prior to your Yeah?

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Speaker 5: I mean.

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Speaker 9: Well, when I went on the Fresh Vest at twelve,

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Speaker 9: Grandmaster D basically was showing me how to DJ. Like

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Speaker 9: I didn't know what to scratch, like scratch. He showed

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Speaker 9: me how to scratch. I used to just want to

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Speaker 9: always scratch. I used to go BEHD the turntables while

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Speaker 9: they was doing sound check and try to scratch and

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Speaker 9: he's like, yo, you know, don't don't don't touch my

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Speaker 9: touch my set. I'm gonna show you how to do it.

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Speaker 9: So I kind of, you know, I can say I

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Speaker 9: got personal lessons from Grandmaster D and jam Ass the

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Speaker 9: j of how to actually DJ and you know, actually

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Speaker 9: scratch and you know, go back and forth on the records.

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Speaker 9: Like that's what my introduction to DJing. So then I

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Speaker 9: left the tour and went home and I told my

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Speaker 9: parents that, you know, I want turntables for Christmas.

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Speaker 2: That's so weird because like coming up because run DMC uh, well,

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Speaker 2: because Jay actually scratched or run DMC records. I always

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Speaker 2: wonder why Larry Smith never let Grandmaster D physically scratch,

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Speaker 2: not until like the third record, when the open Sesame record.

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Speaker 2: Then I finally heard scratch and I was like, oh,

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Speaker 2: he can't cut. But everybody and their mother swore to

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Speaker 2: guy that like Grandmaster D was like stealing the show

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Speaker 2: at the fresh Vest, doing like all these tricks on

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Speaker 2: his head and so he was a legit bona fide DJ.

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Speaker 9: Okay, yeah, I mean he was, you know, all the

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Speaker 9: tricks and they'll pick him up and he scratched, you know,

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Speaker 9: he with his mouth on the cross fader and yeah,

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Speaker 9: he was doing it.

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Speaker 5: He was going so.

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Speaker 2: Being as though the fresh Fest was the first major

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Speaker 2: stadium tour for hip hop one, how did you get

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Speaker 2: on the fresh Fest to what was that shit?

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Speaker 9: Like? Well, I got on the fresh Fest because the

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Speaker 9: fresh Fest was created in Atlanta by a guy by

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Speaker 9: the name of Ricky Walker. Ricky Walker now create has

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Speaker 9: created Universe Soul Circus. Oh, the same guy. I created

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Speaker 9: that and then he went and did the circus thing now,

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Speaker 9: but he created the fresh Fest. And my father was

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Speaker 9: the production manager on the fresh Fest. And they just

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Speaker 9: needed to open act. You know, at that time, it

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Speaker 9: used to be like they need an opening act to

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Speaker 9: kill time or buy time or whatever it was. And

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Speaker 9: they just put anybody on, no in house music, playing

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Speaker 9: no iPods, yeah nothing, It wasn't nothing like that. They

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Speaker 9: needed somebody to you know, you know, I don't even

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Speaker 9: understand what that was. But they was buying time basically,

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Speaker 9: and you know, there was like we do y'all have

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Speaker 9: anybody to put on? And they suggested that I could

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Speaker 9: come out and dance, and they let me come out

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Speaker 9: and dance. And the show in Atlanta was the first

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Speaker 9: show of the fresh Fest and it worked well with

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Speaker 9: the time. So then it was like, well, can Jermaine

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Speaker 9: do this for the rest of the tour?

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Speaker 5: And I ain't know what that was. My mother ain't

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Speaker 5: know what it was. Nobody knew what it was. Won

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Speaker 5: no money involved. It was just like, what was your routine?

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Speaker 9: I had a dance routine where I came out to

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Speaker 9: its time and a couple of other records where I

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Speaker 9: just was just on stage freestyle and just dancing. And

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Speaker 9: I was little, so you know when you were a

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Speaker 9: little kid dancing the crowd goes crazy. So it was

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Speaker 9: like a it was kind of like the circus kind

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Speaker 9: of like you know what I mean, you just you

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Speaker 9: don't know what you're looking at. You it's watching and

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Speaker 9: it looks like I'm doing more than what I probably

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Speaker 9: was doing.

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Speaker 2: So how many acts work or well, I know it

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Speaker 2: was fat boys who Denie and run DM Seed who

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Speaker 2: like I'm sure there had to been.

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Speaker 9: GTFO was on the tour, Grandmaster Flash was on the tour.

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Speaker 9: Everybody was hot at that Arrow.

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Speaker 5: Was on the tour.

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Speaker 1: How long would each act get Probably.

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Speaker 9: Like fifteen minutes. I mean they never had that many records,

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Speaker 9: and and Run Run was really like, you know, this

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Speaker 9: is my ship, so you gotta you know, oh, so

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Speaker 9: ill better hurry out, you know. Run Reverend Run had

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Speaker 9: a real you know, he had that real thing about him.

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Speaker 9: And Curtis Blow was on the tour, so it was

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Speaker 9: Curtis Blow, Run, DMC, the Fat Boys, who Denie, Grandmaster Flash,

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Speaker 9: the Dynamic Breakers, and I think Old Zon and Turbo WHOA, yeah, yeah, See.

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Speaker 2: This is what I appreciate because I know as a youngster,

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Speaker 2: as a person that was young then you were definitely

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Speaker 2: in a fly on the wall situation.

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Speaker 1: Anyone else couldn't.

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Speaker 2: Like if I were whatever thirty plus years old at

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Speaker 2: the first, they'd be like, hey, get the fuck out

300
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Speaker 2: of it. But with you as a kid, I'm certain

301
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Speaker 2: that you allowed in spaces that.

302
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Speaker 9: I wasn't supposed to be in. But at the same

303
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Speaker 9: time they was trying to tell me to get the

304
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Speaker 9: fuck out of there. But it was like I was

305
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Speaker 9: just like, no, I you know, I'm here, I'm not

306
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Speaker 9: paying attention to y'all doing this, and I'm not you know,

307
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Speaker 9: I've seen everything.

308
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Speaker 2: Anyone from that era never has a recollection like DMC

309
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Speaker 2: might you know. I'll ask him a few things and he, man,

310
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Speaker 2: my memory is fivevey, I don't remember man like you know.

311
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Speaker 5: So I remember everything.

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Speaker 9: And I've been trying to do this movie about basically

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Speaker 9: about my life kind of like that. And I've been

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Speaker 9: having people tell me that it's hard to do a

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Speaker 9: movie for a kid showing what I want y'all to

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Speaker 9: see that I saw.

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Speaker 5: Go to Newtflix R rated and it's not.

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Speaker 6: And it's not like a series too, because that's a

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Speaker 6: long life.

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Speaker 9: That's that's I mean, I don't know how far to

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Speaker 9: get back, but I'm really more concerned about that because

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Speaker 9: what he's saying is that people, this is I know

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Speaker 9: the stuff. It's not even like history. It's like a

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Speaker 9: kid seeing what you don't understand. The kids saw like

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Speaker 9: I saw artists come to life, I saw artists doing drugs.

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Speaker 9: I saw I just saw everything that at twelve, you

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Speaker 9: don't really understand what you're seeing.

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Speaker 10: And at the time, since you're going you're touring and whatnot.

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Speaker 10: Is your dad your only chaperone because he's.

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Speaker 9: Working, not really chaperon. I'm out there basically by myself.

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Speaker 9: He's working, I'm running around all of these other guys

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Speaker 9: on my chaperones.

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Speaker 5: That's why. That's why, like for.

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Speaker 9: Really, that's why Houdini actually became like my brothers, and

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Speaker 9: you know, they became like the guys that was with

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Speaker 9: me all the time. Not that my father wasn't paying attention,

337
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Speaker 9: It was just that I saw that as a move

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Speaker 9: for me to start getting away from him and just

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Speaker 9: like hanging out more. And I wasn't like out late

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Speaker 9: at night and nothing like that. None of them, none

341
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Speaker 9: of the guys ever let me do anything like that.

342
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Speaker 9: It was just all about the tour and like when

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Speaker 9: the show was going on, I was everywhere at the show,

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Speaker 9: all over the place.

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Speaker 2: This is this is how nerdy I am because it

346
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Speaker 2: didn't even occur to me to ask about like, oh,

347
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Speaker 2: the relationship you saw my nerd ass is trying to

348
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Speaker 2: figure out, well, wait a minute, what's the back line situation?

349
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Speaker 1: So like what was sound check?

350
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Speaker 2: Like I know, monitors are ringing, like I'm trying to

351
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Speaker 2: figure out, like how does from a reduction standpoint, how

352
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Speaker 2: does the show run concurrently and smoothly without this DJ

353
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Speaker 2: being like who broke my mixer?

354
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Speaker 5: And now they all had different sets, so it was

355
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Speaker 5: like it was like.

356
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Speaker 9: Probably like five tables sitting in the back right, so

357
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Speaker 9: every time somebody come off, there'll move that table and

358
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Speaker 9: put that guy set up there, and nobody was nobody

359
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Speaker 9: was using the same turntables.

360
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Speaker 5: That definitely wasn't happening on that tour.

361
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Speaker 2: See, that error was scaring me because I know that

362
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Speaker 2: with dancers there's always skipping records.

363
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Speaker 9: And that's what made jam Master J to me one

364
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Speaker 9: of the best live DJ ever because he knew, he

365
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Speaker 9: knew how.

366
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Speaker 5: To you know, move in a land of where that

367
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Speaker 5: would never happen.

368
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Speaker 9: He was like a drummer on He was like you

369
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Speaker 9: on stage, like he could really just like do whatever

370
00:19:12,880 --> 00:19:15,320
Speaker 9: he wanted with those turntables and make them, you know,

371
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Speaker 9: play the way he wanted them to play.

372
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Speaker 10: So when they asked you, I'm sorry, I just want

373
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Speaker 10: when they asked you to do the record years later,

374
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Speaker 10: what was it down with the King Joint? Because that

375
00:19:24,280 --> 00:19:26,320
Speaker 10: was the that was the only time y'all worked together again.

376
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Speaker 10: The next Yeah, that must have been like a whole

377
00:19:29,680 --> 00:19:32,440
Speaker 10: full circle moment, since you know, going from a kid

378
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Speaker 10: and what you were saying, how you know, run with

379
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Speaker 10: such a boss on tour or whatever.

380
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Speaker 9: I mean, it was all of us a full circle.

381
00:19:37,520 --> 00:19:40,440
Speaker 9: I signed who didn't need so Like it was a

382
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Speaker 9: complete full circle. Like I was a kid looking up

383
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Speaker 9: to these guys and they was teaching me and telling

384
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Speaker 9: me things, and then I felt so you know, connected

385
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Speaker 9: to them that I wanted to sign them and give

386
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Speaker 9: them what I felt like I was given to the

387
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Speaker 9: rest of the world.

388
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Speaker 1: So when it was over, like the last day of

389
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Speaker 1: the fresh Vest, I don't even remember that. Well, well, okay,

390
00:20:02,600 --> 00:20:04,440
Speaker 1: were they all were? I know there were like two

391
00:20:04,520 --> 00:20:06,399
Speaker 1: or three Fresh fest Did you do it every year? Just?

392
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Speaker 5: Yeah, eighty forty five and eighty six?

393
00:20:08,880 --> 00:20:13,280
Speaker 2: Okay, So when the fresh Fest is officially over, like,

394
00:20:13,440 --> 00:20:16,639
Speaker 2: how do you return to normalcy? How do you go

395
00:20:16,760 --> 00:20:19,800
Speaker 2: back to Atlanta or whatever wherever your home base was,

396
00:20:19,840 --> 00:20:22,080
Speaker 2: assuming that you lived in Atlanta, Like, how do you

397
00:20:22,119 --> 00:20:23,160
Speaker 2: explain this to your friends?

398
00:20:23,240 --> 00:20:24,480
Speaker 1: How do you explain what you saw?

399
00:20:24,760 --> 00:20:26,919
Speaker 5: Like, well, that's that's what actually really happened.

400
00:20:27,000 --> 00:20:28,880
Speaker 9: Is like when I was on I went on tour

401
00:20:28,880 --> 00:20:31,920
Speaker 9: at twelve, right, and in Atlanta wasn't a city that

402
00:20:32,160 --> 00:20:35,119
Speaker 9: was used to performing artists. We didn't we don't have

403
00:20:35,200 --> 00:20:37,720
Speaker 9: a performing art school or nothing like that. When when

404
00:20:37,880 --> 00:20:39,879
Speaker 9: I was twelve, so I was in a regular school

405
00:20:40,480 --> 00:20:42,760
Speaker 9: and I had a tutor. But when I came back

406
00:20:42,800 --> 00:20:46,000
Speaker 9: from tour and I took my grades back to the school,

407
00:20:46,080 --> 00:20:48,840
Speaker 9: the school system told my tutor that they couldn't accept it,

408
00:20:49,200 --> 00:20:51,280
Speaker 9: like they just like, we don't that's not We're not

409
00:20:51,400 --> 00:20:53,440
Speaker 9: used to this. We're not going to accept all of

410
00:20:53,520 --> 00:20:55,280
Speaker 9: this work. So I'm like, wait a minute, I did

411
00:20:55,359 --> 00:20:56,959
Speaker 9: this work. You're not gonna really make it seem I'm

412
00:20:57,000 --> 00:20:59,320
Speaker 9: not gonna ready be left back. I was on the

413
00:20:59,359 --> 00:21:02,359
Speaker 9: bus doing work like I had a tutor, So right

414
00:21:02,440 --> 00:21:04,680
Speaker 9: then and there, I was like, man, fuck this, I'm

415
00:21:04,720 --> 00:21:06,760
Speaker 9: not I'm not I'm not doing this. So it was

416
00:21:06,840 --> 00:21:11,439
Speaker 9: like my life changed right there, at like fourteen fifteen

417
00:21:11,520 --> 00:21:14,000
Speaker 9: years old. My life just changed. Was like I became

418
00:21:14,119 --> 00:21:17,520
Speaker 9: doing home study and I didn't go to school anymore.

419
00:21:18,000 --> 00:21:20,840
Speaker 9: And then it was just like the drive to make

420
00:21:20,880 --> 00:21:23,440
Speaker 9: sure that this didn't turn into something completely bad.

421
00:21:23,560 --> 00:21:24,520
Speaker 1: But was it weird for you?

422
00:21:24,640 --> 00:21:27,960
Speaker 2: Because you know, on tour, I don't know if you

423
00:21:28,080 --> 00:21:30,280
Speaker 2: had anyone to relate to that was your age. And

424
00:21:30,440 --> 00:21:33,440
Speaker 2: then you're not an environment in a school environment where

425
00:21:33,520 --> 00:21:36,280
Speaker 2: you have stop hops or a prime or you know,

426
00:21:36,520 --> 00:21:37,600
Speaker 2: just like regular.

427
00:21:39,000 --> 00:21:45,880
Speaker 1: You know, sock hops causton. That's worse than this. What sop?

428
00:21:46,000 --> 00:21:46,639
Speaker 1: What's sop?

429
00:21:46,720 --> 00:21:47,080
Speaker 5: What is that?

430
00:21:47,320 --> 00:21:48,400
Speaker 1: That's the sophomore prime?

431
00:21:48,480 --> 00:21:49,040
Speaker 5: What's a sop?

432
00:21:49,160 --> 00:21:51,119
Speaker 1: Hop? Sp stop hops?

433
00:21:51,600 --> 00:21:52,000
Speaker 6: I think.

434
00:21:53,560 --> 00:21:55,040
Speaker 1: Were you going to leave me out here alone? I

435
00:21:55,040 --> 00:21:58,160
Speaker 1: don't know because I heard you say sophomore shop shop

436
00:21:58,240 --> 00:21:59,000
Speaker 1: hops are.

437
00:22:00,480 --> 00:22:03,560
Speaker 6: That's where John too, John, someone.

438
00:22:03,400 --> 00:22:04,840
Speaker 1: That went to school in the eighties like that.

439
00:22:05,440 --> 00:22:06,320
Speaker 6: It's a good reference.

440
00:22:06,359 --> 00:22:07,240
Speaker 5: Please explained it to me.

441
00:22:07,320 --> 00:22:10,080
Speaker 1: I thought you said so right? Where I get it? Jay?

442
00:22:10,800 --> 00:22:13,159
Speaker 5: You your I mean I was in two thousand, I

443
00:22:13,280 --> 00:22:14,119
Speaker 5: was twelve in the eighties.

444
00:22:14,119 --> 00:22:16,680
Speaker 1: You're still twelve. Now, I get it what it was

445
00:22:17,240 --> 00:22:18,479
Speaker 1: you're young? I get it right.

446
00:22:19,680 --> 00:22:24,679
Speaker 2: Are like the senior dance things? You're going to your

447
00:22:24,760 --> 00:22:26,680
Speaker 2: junior prom, then you go on your senior prom.

448
00:22:26,800 --> 00:22:27,960
Speaker 6: But it happened in the fifties.

449
00:22:28,800 --> 00:22:33,040
Speaker 1: No, that's sock sock you're thinking of Greece. S o P.

450
00:22:33,280 --> 00:22:37,640
Speaker 1: I have a cold. So someone all right, okay, I'm

451
00:22:37,680 --> 00:22:40,080
Speaker 1: the oldest person in the room. Thank you, Steve. I

452
00:22:40,119 --> 00:22:42,280
Speaker 1: don't know what it is, your firstbeeing, your Hulu hoops,

453
00:22:44,200 --> 00:22:47,800
Speaker 1: your nerve fall. All. Right, here's here's my point.

454
00:22:48,200 --> 00:22:52,000
Speaker 2: My point is that you know not I mean, I

455
00:22:52,040 --> 00:22:54,320
Speaker 2: don't know like what your relationships like with your cousins

456
00:22:54,400 --> 00:22:57,920
Speaker 2: or your like your your family, but just to not

457
00:22:59,040 --> 00:23:04,000
Speaker 2: to be isolated it from people your age, like, how

458
00:23:04,320 --> 00:23:06,680
Speaker 2: was it? Was it a lonely isolated experience where it's

459
00:23:06,760 --> 00:23:08,560
Speaker 2: just like hanging with these adults all the.

460
00:23:08,600 --> 00:23:11,359
Speaker 9: Time and not nah, because I looked at it like

461
00:23:11,520 --> 00:23:13,040
Speaker 9: this was the only way I was going to get

462
00:23:13,080 --> 00:23:15,520
Speaker 9: close to what I was in love with at the time,

463
00:23:15,640 --> 00:23:19,640
Speaker 9: and these guys was dancing all day to turn you said,

464
00:23:19,640 --> 00:23:21,680
Speaker 9: you want to know what soundcheck was like? Soundcheck was

465
00:23:21,760 --> 00:23:23,720
Speaker 9: like because we had two stages. We had a middle

466
00:23:23,760 --> 00:23:25,840
Speaker 9: stage and we had a big stage right the rappers

467
00:23:25,920 --> 00:23:27,920
Speaker 9: was on the main stage, and then the stage in

468
00:23:27,960 --> 00:23:30,640
Speaker 9: the middle was all the dancers. So in soundcheck, all

469
00:23:30,680 --> 00:23:34,080
Speaker 9: the dancers would be out there dancing together at all

470
00:23:34,160 --> 00:23:36,800
Speaker 9: at one time, like just everybody dancing. So it's like

471
00:23:37,480 --> 00:23:40,399
Speaker 9: I'm getting the opportunity to see moves and all of

472
00:23:40,440 --> 00:23:42,600
Speaker 9: this stuff, and I'm not watching videos. I'm actually watching

473
00:23:42,640 --> 00:23:44,359
Speaker 9: this and I'm learning so it was to me it

474
00:23:44,440 --> 00:23:47,960
Speaker 9: was like being at school, but the school that I

475
00:23:48,080 --> 00:23:48,719
Speaker 9: wanted to be at.

476
00:23:49,440 --> 00:23:53,840
Speaker 2: I first heard about you, like I before the internet,

477
00:23:54,040 --> 00:23:57,480
Speaker 2: right on magazine was like every every black teen is

478
00:23:57,600 --> 00:23:58,560
Speaker 2: like religion.

479
00:23:58,200 --> 00:23:58,760
Speaker 1: You know what that is?

480
00:23:58,880 --> 00:24:00,520
Speaker 5: J Yeah, yeah, okay, you better know.

481
00:24:00,600 --> 00:24:01,920
Speaker 1: I think that was his first article.

482
00:24:03,000 --> 00:24:04,520
Speaker 5: I was in there, shout out to Cynthia Horn and

483
00:24:04,600 --> 00:24:05,040
Speaker 5: she put.

484
00:24:04,920 --> 00:24:06,159
Speaker 1: Me in there. Yeah. I was going to say, d

485
00:24:06,280 --> 00:24:07,399
Speaker 1: do you remember being right?

486
00:24:07,680 --> 00:24:07,880
Speaker 5: Yeah?

487
00:24:09,359 --> 00:24:13,399
Speaker 2: So I think at the time was sometimes Leather your

488
00:24:13,480 --> 00:24:17,359
Speaker 2: first project or how did you get into production?

489
00:24:18,359 --> 00:24:19,320
Speaker 5: Well, let me sell you.

490
00:24:19,400 --> 00:24:23,679
Speaker 9: Sometimes Leather were girlfriends of Hudini, right, Okay, So they

491
00:24:23,800 --> 00:24:25,879
Speaker 9: was out on the tour doing with the girlfriends out

492
00:24:25,920 --> 00:24:28,520
Speaker 9: on the tour do basically, and I was on the

493
00:24:28,560 --> 00:24:30,200
Speaker 9: side of the stage when these girls came up and

494
00:24:30,240 --> 00:24:32,000
Speaker 9: I was like, you know, checking them out. I'm young,

495
00:24:32,080 --> 00:24:34,399
Speaker 9: so I'm checking the girls out and they was you know,

496
00:24:34,640 --> 00:24:37,840
Speaker 9: they was a guy's performing. So then we just got

497
00:24:37,880 --> 00:24:39,399
Speaker 9: to know each other because they was out there like

498
00:24:39,480 --> 00:24:40,879
Speaker 9: I was out there and it was like, you know,

499
00:24:41,119 --> 00:24:44,120
Speaker 9: I'm running around, they running around. So then they picked

500
00:24:44,119 --> 00:24:46,159
Speaker 9: me up, take me what we go to catering or

501
00:24:46,160 --> 00:24:48,040
Speaker 9: whatever it is. Was something that had something to do

502
00:24:48,119 --> 00:24:51,639
Speaker 9: with touring. So, long story short, I learned that these

503
00:24:51,720 --> 00:24:54,440
Speaker 9: girls were from Atlanta. So then it was like, oh shit,

504
00:24:54,960 --> 00:24:56,680
Speaker 9: yeah from Atlanta. They was like, yeah, so we going

505
00:24:56,720 --> 00:24:59,000
Speaker 9: back home. When you get back home, call us and

506
00:24:59,080 --> 00:25:01,000
Speaker 9: we'll come pick you up. We got car, take you

507
00:25:01,080 --> 00:25:02,879
Speaker 9: get something to eat. They was really super nice and this,

508
00:25:02,920 --> 00:25:05,199
Speaker 9: that and the third. So when I got back at the.

509
00:25:05,200 --> 00:25:07,159
Speaker 1: Time, because I don't even remember it sometimes like now,

510
00:25:07,240 --> 00:25:07,720
Speaker 1: so they were older.

511
00:25:07,760 --> 00:25:09,400
Speaker 5: Yeah that's not cool, but you don't remember.

512
00:25:09,840 --> 00:25:10,160
Speaker 1: I remember.

513
00:25:10,440 --> 00:25:16,520
Speaker 5: It's not good. I wasn't born then, Yo, you were

514
00:25:16,560 --> 00:25:20,080
Speaker 5: born when was on Yeah, that's when he was born.

515
00:25:20,080 --> 00:25:21,240
Speaker 5: When it came, when Rap City.

516
00:25:21,119 --> 00:25:23,919
Speaker 1: Came home whatever, all right.

517
00:25:23,960 --> 00:25:26,560
Speaker 9: So so yeah, so you know they lived in Atlanta,

518
00:25:26,640 --> 00:25:30,920
Speaker 9: and basically at this particular point time, I was so

519
00:25:31,119 --> 00:25:32,840
Speaker 9: deep into hip hop and I was paying attention to

520
00:25:32,920 --> 00:25:37,280
Speaker 9: everybody's movement. And Herbie Lovebug was moving. At this particular

521
00:25:37,359 --> 00:25:40,040
Speaker 9: point time, he had Salt Pepper. I think he had

522
00:25:40,160 --> 00:25:43,600
Speaker 9: just dropped Kid and Play and Kwame was you know,

523
00:25:43,720 --> 00:25:46,159
Speaker 9: he had what I thought I was, you know, what

524
00:25:46,280 --> 00:25:48,840
Speaker 9: I was looking at trying to figure out, yeah movement.

525
00:25:48,960 --> 00:25:51,920
Speaker 9: So the girls, they was, you know, they was into

526
00:25:51,960 --> 00:25:53,560
Speaker 9: Salt pepper, and some kind of way, I found out

527
00:25:53,560 --> 00:25:55,480
Speaker 9: that they wanted to be rappers or they was rapping

528
00:25:55,560 --> 00:25:58,119
Speaker 9: or whatever, and out of nowhere, I just said, well,

529
00:25:58,160 --> 00:26:00,359
Speaker 9: y'all should let me write y'all songs. I don't know

530
00:26:00,440 --> 00:26:02,520
Speaker 9: what I was thinking about, because I ain't have no

531
00:26:02,600 --> 00:26:05,720
Speaker 9: drum machines or nothing, but I just felt like I

532
00:26:05,800 --> 00:26:08,560
Speaker 9: could do it. And they was like, Okay, well, how

533
00:26:08,600 --> 00:26:10,480
Speaker 9: are you gonna do it? And I'm like, we'll figure

534
00:26:10,520 --> 00:26:14,680
Speaker 9: it out, right, So, and I'm guessing that I'm thinking

535
00:26:14,720 --> 00:26:16,359
Speaker 9: that when I said this to them, I didn't. I

536
00:26:16,400 --> 00:26:18,119
Speaker 9: didn't think they was gonna take me up on it.

537
00:26:18,560 --> 00:26:20,639
Speaker 9: They called my phone when I got back home, or

538
00:26:20,680 --> 00:26:22,120
Speaker 9: they called my house and they was like, we're gonna

539
00:26:22,160 --> 00:26:23,359
Speaker 9: come over your house. So they came up with my

540
00:26:23,400 --> 00:26:25,359
Speaker 9: house and they came. They got really familiar with my

541
00:26:25,480 --> 00:26:28,160
Speaker 9: mom and got you know, really friendly, and my mother

542
00:26:28,280 --> 00:26:30,280
Speaker 9: trusted them, and I start going out hanging out with them,

543
00:26:30,400 --> 00:26:32,160
Speaker 9: and it was all about just hanging out. And then

544
00:26:32,359 --> 00:26:35,040
Speaker 9: I was always talking about making music. So then I

545
00:26:35,119 --> 00:26:39,760
Speaker 9: figured out how to call the drummer from Brick Eddie Irons.

546
00:26:39,800 --> 00:26:41,399
Speaker 5: He was the drummer for Brick. I called him. He

547
00:26:41,440 --> 00:26:43,680
Speaker 5: had a studio called twenty five sixteen in Atlanta. So

548
00:26:43,800 --> 00:26:44,320
Speaker 5: I called him.

549
00:26:44,320 --> 00:26:46,159
Speaker 9: I'm like, yo, I want to make some records and

550
00:26:46,200 --> 00:26:47,840
Speaker 9: he was like, okay, what you want to do and

551
00:26:47,880 --> 00:26:52,040
Speaker 9: I'm and I'm and I'm bartering his services. Yeah, I'm

552
00:26:52,119 --> 00:26:58,200
Speaker 9: bartering his services, like yo. And at this point, come fifteen, Okay, Yeah,

553
00:26:58,320 --> 00:27:01,359
Speaker 9: that's the thing that's amazing me because there's for you

554
00:27:02,240 --> 00:27:05,680
Speaker 9: soject either technically yeah, well nah, well yeah I did

555
00:27:05,880 --> 00:27:09,280
Speaker 9: so so ultimately, like my first song, Shoddy wrote my

556
00:27:09,359 --> 00:27:12,200
Speaker 9: first song and this is yeah. MC shoddy wrote the

557
00:27:12,200 --> 00:27:15,160
Speaker 9: first song that I ever did, and that he taught

558
00:27:15,200 --> 00:27:18,000
Speaker 9: me how to write songs basically watching him write this

559
00:27:18,080 --> 00:27:20,960
Speaker 9: song for me. So when he wrote this song it's

560
00:27:20,960 --> 00:27:22,639
Speaker 9: called It's Me that I used to perform on the

561
00:27:22,680 --> 00:27:25,800
Speaker 9: Fresh Fest, it was a song that he wrote, but

562
00:27:25,920 --> 00:27:28,080
Speaker 9: he wasn't really saying everything that I wanted to say.

563
00:27:28,480 --> 00:27:30,080
Speaker 9: So I was in this position where I had this

564
00:27:30,160 --> 00:27:32,560
Speaker 9: song while I was saying these lyrics that he wrote,

565
00:27:32,600 --> 00:27:35,280
Speaker 9: but I wanted to say something else, and I wasn't

566
00:27:35,320 --> 00:27:37,560
Speaker 9: skilled enough to change the lyrics. While I was on stages,

567
00:27:37,600 --> 00:27:39,359
Speaker 9: I thought I was just gonna destroy the song. So

568
00:27:39,880 --> 00:27:42,080
Speaker 9: so I did the song the way I had learned

569
00:27:42,119 --> 00:27:44,480
Speaker 9: the song because I wasn't skilled enough to change it,

570
00:27:44,520 --> 00:27:46,000
Speaker 9: but I knew in my mind I wanted to change

571
00:27:46,040 --> 00:27:49,080
Speaker 9: the lyrics. So long story short, he got me into writing.

572
00:27:49,359 --> 00:27:51,880
Speaker 9: So from the Fresh Fest. I came off the Fresh

573
00:27:51,920 --> 00:27:57,399
Speaker 9: Fest in eighty six with a rapping and writing songs, right,

574
00:27:57,640 --> 00:28:00,800
Speaker 9: so and and I jumped the piece because I met

575
00:28:00,880 --> 00:28:01,560
Speaker 9: Chad Elliott?

576
00:28:01,600 --> 00:28:05,119
Speaker 5: Who was who was? He came in second place to

577
00:28:05,200 --> 00:28:08,440
Speaker 5: the Fat Boys in the Disco Fever dude.

578
00:28:08,480 --> 00:28:15,480
Speaker 11: Yeah, yeah, you remember crash Groove. Yeah, so he's real.

579
00:28:15,880 --> 00:28:21,080
Speaker 11: Oh my god, Yeah, where is Chad Elliott? He's here,

580
00:28:21,160 --> 00:28:21,840
Speaker 11: He's in New York.

581
00:28:22,840 --> 00:28:23,080
Speaker 1: Chad.

582
00:28:23,600 --> 00:28:26,719
Speaker 9: Chad actually is gonna induct me into the Songwriters Hall

583
00:28:26,720 --> 00:28:27,600
Speaker 9: of Fame Thursday.

584
00:28:28,760 --> 00:28:31,359
Speaker 5: Yes, so wait he has a oh some give you.

585
00:28:31,359 --> 00:28:32,440
Speaker 5: I'm gonna give you all this history.

586
00:28:32,520 --> 00:28:40,400
Speaker 9: So so you know Chad, Me and Chad because you

587
00:28:40,400 --> 00:28:42,240
Speaker 9: said nobody I hung out with. So I met Chad

588
00:28:42,360 --> 00:28:44,800
Speaker 9: later on in the Fresh Fest in like eighty five.

589
00:28:45,120 --> 00:28:48,600
Speaker 9: So eighty eighty three, eighty four, eighty five, eighty forty five,

590
00:28:48,640 --> 00:28:49,800
Speaker 9: and eighty six was the fresh Fest.

591
00:28:49,840 --> 00:28:51,760
Speaker 5: So in eighty five I met Chad.

592
00:28:52,240 --> 00:28:56,360
Speaker 9: We started. They put Charlie Stetler. You know Charles Stetler,

593
00:28:57,040 --> 00:28:59,560
Speaker 9: you know child steps Man. Yeah, okay, Charles Stetler was

594
00:28:59,600 --> 00:29:04,400
Speaker 9: the fat Boy, his manager, He managed Chad. He started

595
00:29:04,440 --> 00:29:08,400
Speaker 9: managing Chad after the Disco Fever contest. He came to

596
00:29:08,520 --> 00:29:10,760
Speaker 9: the tour and said, if the Fat Boys stay on

597
00:29:10,840 --> 00:29:12,680
Speaker 9: this tour, y'all gotta put Chad Elliott on this tour

598
00:29:12,760 --> 00:29:16,960
Speaker 9: because Jermaine's opening. So he made Chad the second opener

599
00:29:17,120 --> 00:29:19,320
Speaker 9: after me. So it was like, I go in, Chad go,

600
00:29:19,640 --> 00:29:21,680
Speaker 9: and then people start trying to pit us together and

601
00:29:21,760 --> 00:29:22,360
Speaker 9: it never worked.

602
00:29:22,360 --> 00:29:24,840
Speaker 5: We weren't you know, we didn't really care about it. Yeah,

603
00:29:24,880 --> 00:29:26,760
Speaker 5: well that didn't happen. It was just like kicking it.

604
00:29:26,840 --> 00:29:28,400
Speaker 9: And then it was like we should be a group.

605
00:29:28,720 --> 00:29:30,880
Speaker 9: So this was like the first version of Chris Cross actually,

606
00:29:30,920 --> 00:29:33,760
Speaker 9: if you think about it, one dark skinned, light skin kid.

607
00:29:34,000 --> 00:29:39,520
Speaker 9: So fast forward to that, Me and Chad really start

608
00:29:39,560 --> 00:29:40,880
Speaker 9: hanging out. So at the end of the tour, you

609
00:29:40,920 --> 00:29:42,360
Speaker 9: want to know what happened at the At the end

610
00:29:42,400 --> 00:29:45,160
Speaker 9: of the tour, I moved to Brooklyn with Chad Elliott,

611
00:29:46,000 --> 00:29:48,080
Speaker 9: so he lives he lives in Brooklyn. I came here

612
00:29:48,160 --> 00:29:51,040
Speaker 9: to Brooklyn and I lived almost a year with him

613
00:29:51,960 --> 00:29:55,600
Speaker 9: in Brooklyn, basically soaking up every bit of hip hop

614
00:29:55,720 --> 00:30:00,320
Speaker 9: and New York culture that I could actually right rebit

615
00:30:00,360 --> 00:30:00,920
Speaker 9: of it everything.

616
00:30:01,120 --> 00:30:03,840
Speaker 1: Were you in Brooklyn eighty six, eighty seven, eighty eight.

617
00:30:03,880 --> 00:30:09,280
Speaker 9: Yeah, right when everything happened, Everything's got you know, jay

618
00:30:09,360 --> 00:30:13,000
Speaker 9: Z's coming to life in Fort Green and Big Daddy

619
00:30:13,080 --> 00:30:17,440
Speaker 9: Knees recording demos in Fresh Gordon's house in Fort Green projects,

620
00:30:17,480 --> 00:30:19,760
Speaker 9: all of this stuff. I'm right down the street from

621
00:30:19,800 --> 00:30:22,240
Speaker 9: this and knowing that this is happening, right, So I'm

622
00:30:22,240 --> 00:30:23,280
Speaker 9: staying in in.

623
00:30:24,840 --> 00:30:25,640
Speaker 5: Brooklyn on No.

624
00:30:25,760 --> 00:30:29,640
Speaker 9: Stern, New York Street, Eastern Parkway just for anybody's listening to. Yeah,

625
00:30:29,680 --> 00:30:34,040
Speaker 9: who's staying over there? And I don't actually know that?

626
00:30:34,600 --> 00:30:36,520
Speaker 1: Yeah, but yeah, that's right after there's a certain night

627
00:30:36,600 --> 00:30:38,760
Speaker 1: club I whant they ask you about? But yeah, I

628
00:30:38,880 --> 00:30:42,120
Speaker 1: was about to say, cueue that up? Do you have

629
00:30:42,240 --> 00:30:43,280
Speaker 1: a Latin quarter story?

630
00:30:43,480 --> 00:30:45,200
Speaker 6: No, thank you Lord.

631
00:30:45,680 --> 00:30:46,560
Speaker 5: I couldn't get in there.

632
00:30:48,240 --> 00:30:48,840
Speaker 6: That was too young.

633
00:30:49,240 --> 00:30:54,840
Speaker 9: So so yeah, So Chad actually introduced me to break

634
00:30:54,920 --> 00:30:58,840
Speaker 9: beats and the sound of New York at that particular time,

635
00:30:59,440 --> 00:31:05,479
Speaker 9: and that's when my appetite for production and making records

636
00:31:05,520 --> 00:31:06,160
Speaker 9: came to life.

637
00:31:06,320 --> 00:31:07,160
Speaker 5: So what happened was.

638
00:31:07,240 --> 00:31:09,800
Speaker 9: I would take break beats and I would play the

639
00:31:09,840 --> 00:31:12,360
Speaker 9: breaks and I would start writing, and I knew.

640
00:31:12,160 --> 00:31:13,880
Speaker 5: That you had to, you know, catch the break and

641
00:31:14,160 --> 00:31:14,800
Speaker 5: play another one.

642
00:31:14,880 --> 00:31:16,680
Speaker 9: So we was we you know, we had a box

643
00:31:16,760 --> 00:31:19,920
Speaker 9: and we started pause taping and making these beats with

644
00:31:20,080 --> 00:31:24,000
Speaker 9: break beats. So that's basically how I started. So when

645
00:31:24,040 --> 00:31:26,040
Speaker 9: I got back to Atlanta, that's the part of the story.

646
00:31:26,120 --> 00:31:27,640
Speaker 9: That's when I made the call and I'm like, yo,

647
00:31:28,160 --> 00:31:28,520
Speaker 9: I want to.

648
00:31:28,520 --> 00:31:31,080
Speaker 1: Make some record culture to Atlanta.

649
00:31:31,680 --> 00:31:32,840
Speaker 5: Well, I don't think people heard it.

650
00:31:32,920 --> 00:31:35,080
Speaker 9: That's what made me become more of a producer because

651
00:31:35,120 --> 00:31:37,880
Speaker 9: I told this guy sample these beats.

652
00:31:37,920 --> 00:31:40,960
Speaker 5: I told him, I want this beat to be the song.

653
00:31:41,840 --> 00:31:43,800
Speaker 1: What was your weapon of choice back then? Like? What

654
00:31:44,200 --> 00:31:45,160
Speaker 1: machine did they?

655
00:31:45,280 --> 00:31:46,000
Speaker 5: I mean, I think they had.

656
00:31:46,080 --> 00:31:51,440
Speaker 9: He had a what was it, DM DMX That's what

657
00:31:51,560 --> 00:31:54,400
Speaker 9: he had, right, So you couldn't really sample. So then

658
00:31:54,440 --> 00:31:57,440
Speaker 9: I found these these white guys across on the other

659
00:31:57,520 --> 00:32:02,440
Speaker 9: side of town. They had an emulator. Emulator could sample,

660
00:32:03,040 --> 00:32:05,120
Speaker 9: so I'm like, shit, they could do it with this machine.

661
00:32:05,520 --> 00:32:07,240
Speaker 9: They didn't want to do it either. They didn't understand

662
00:32:07,240 --> 00:32:08,400
Speaker 9: what I was saying. It was like, you want us

663
00:32:08,440 --> 00:32:11,960
Speaker 9: to take people's music and I'm like, yes, take moral culture.

664
00:32:12,560 --> 00:32:13,720
Speaker 5: I'm like, yo, take the beat.

665
00:32:13,760 --> 00:32:15,200
Speaker 9: I want to wrap over this beat. So then they

666
00:32:15,280 --> 00:32:20,840
Speaker 9: try to recreate the breaks with drum sounds and I'm like, ew, like,

667
00:32:21,000 --> 00:32:23,400
Speaker 9: this is not what I'm talking about, right, So the

668
00:32:23,520 --> 00:32:27,080
Speaker 9: frustration of this made me become a producer. So then

669
00:32:27,160 --> 00:32:29,920
Speaker 9: I just started like, I'm gonna figure this out.

670
00:32:30,080 --> 00:32:34,480
Speaker 1: See this is weird. So you're the first person of

671
00:32:34,520 --> 00:32:37,080
Speaker 1: a note that I know that's not from New York.

672
00:32:38,040 --> 00:32:43,720
Speaker 2: That persisted until they found a satisfactory production technique that

673
00:32:43,800 --> 00:32:46,320
Speaker 2: they knew in their heart they felt with hip hop

674
00:32:46,520 --> 00:32:49,680
Speaker 2: because usually anyone else that I talked to from other territories,

675
00:32:50,440 --> 00:32:52,080
Speaker 2: it's just like, okay, well I'll just do it on

676
00:32:52,120 --> 00:32:55,480
Speaker 2: the drum machine, and you know, I hate it.

677
00:32:55,720 --> 00:32:56,200
Speaker 5: I hate it.

678
00:32:56,600 --> 00:32:58,480
Speaker 9: Like when I heard you, I was like, oh my god,

679
00:32:58,920 --> 00:33:02,360
Speaker 9: this is is he real? Like this guy understands what

680
00:33:02,400 --> 00:33:04,920
Speaker 9: I'm talking about. I'd be hating to hear drummers just

681
00:33:05,000 --> 00:33:06,400
Speaker 9: play beats and it don't sound.

682
00:33:06,280 --> 00:33:07,120
Speaker 1: Like like that.

683
00:33:07,280 --> 00:33:10,040
Speaker 5: I wanted to sound like, like, tune the snail a

684
00:33:10,080 --> 00:33:13,080
Speaker 5: little bit, make it do something right. So this was

685
00:33:13,120 --> 00:33:13,920
Speaker 5: what I was going through.

686
00:33:13,960 --> 00:33:15,600
Speaker 9: So the frustration that I was going through and not

687
00:33:15,760 --> 00:33:18,480
Speaker 9: hearing beats the way I wanted forced me to become

688
00:33:18,520 --> 00:33:20,920
Speaker 9: a producer and start like hitting the drum machines and

689
00:33:21,400 --> 00:33:23,880
Speaker 9: whatever whatever. So long story short, I got in there

690
00:33:23,880 --> 00:33:26,120
Speaker 9: and I started getting Eddy to, you know, let me

691
00:33:27,240 --> 00:33:29,160
Speaker 9: touch the drum machine and give him ideas about the

692
00:33:29,200 --> 00:33:32,280
Speaker 9: Silk Times Leather record. And I wrote a song called

693
00:33:33,320 --> 00:33:35,960
Speaker 9: the Woman in Me or something like that, and I think, no,

694
00:33:36,640 --> 00:33:38,960
Speaker 9: work it out, work it out by Silk Times leathern

695
00:33:39,000 --> 00:33:40,440
Speaker 9: we gotta deal with Warner Brothers.

696
00:33:40,680 --> 00:33:41,400
Speaker 5: They got signed.

697
00:33:41,760 --> 00:33:43,800
Speaker 1: Okay, yeah, they was pretty girls.

698
00:33:43,760 --> 00:33:45,320
Speaker 9: And you know, I think that's what they was going

699
00:33:45,360 --> 00:33:47,040
Speaker 9: for more than the music. They didn't really care about

700
00:33:47,040 --> 00:33:48,840
Speaker 9: the music. They didn't really care about me. But I

701
00:33:48,840 --> 00:33:50,360
Speaker 9: think they was into the girls and they thought they

702
00:33:50,400 --> 00:33:51,800
Speaker 9: could sell them based on how they look.

703
00:33:52,280 --> 00:33:56,000
Speaker 2: So at what point are the training wheels taking off?

704
00:33:56,200 --> 00:33:59,280
Speaker 2: And then you are like, okay, I can make these beats.

705
00:33:59,320 --> 00:34:02,200
Speaker 2: Now supposed to sample this and sample that?

706
00:34:02,760 --> 00:34:05,600
Speaker 9: Well, Silktimes Love I think they sold fifteen thousand copies.

707
00:34:05,880 --> 00:34:08,400
Speaker 9: So fifteen thousand copies to the writer of all the

708
00:34:08,520 --> 00:34:11,120
Speaker 9: music is like, you know, fifteen thousand dollars maybe or

709
00:34:11,160 --> 00:34:13,520
Speaker 9: something like. You know, So I took that money and

710
00:34:13,600 --> 00:34:16,160
Speaker 9: I went and put my drum machine on Layoway and

711
00:34:16,800 --> 00:34:18,759
Speaker 9: I got a five h five drum machine. I put

712
00:34:18,800 --> 00:34:21,160
Speaker 9: on Layoway right because I didn't really have all my money,

713
00:34:21,200 --> 00:34:23,160
Speaker 9: but I had enough to put the drum machine on Laiway.

714
00:34:23,200 --> 00:34:24,520
Speaker 9: When I got the back end of my money, I

715
00:34:24,520 --> 00:34:26,479
Speaker 9: went and got the drum machine. So then I start

716
00:34:26,560 --> 00:34:29,000
Speaker 9: making beats, but the beat still didn't sound like I

717
00:34:29,080 --> 00:34:31,160
Speaker 9: wanted them. So I was like, Okay, I'm just gonna

718
00:34:31,160 --> 00:34:32,560
Speaker 9: make this beat of how I wanted to be. When

719
00:34:32,600 --> 00:34:34,240
Speaker 9: I get to the studio, I'm gonna change the sounds.

720
00:34:34,239 --> 00:34:36,680
Speaker 9: I'm gonna have him change the sound. So I started

721
00:34:36,680 --> 00:34:38,960
Speaker 9: going to the studio and I was telling Eddie changed

722
00:34:38,960 --> 00:34:41,400
Speaker 9: the sound or the kick. I wanted to sound like this,

723
00:34:41,800 --> 00:34:43,719
Speaker 9: and I wanted to sound like this, and nobody was

724
00:34:43,760 --> 00:34:45,800
Speaker 9: getting what I was saying. It's like, okay, this is

725
00:34:46,160 --> 00:34:48,719
Speaker 9: just killing me. So then I got another check from

726
00:34:48,840 --> 00:34:52,399
Speaker 9: the Silk Times Leather album that allowed me to get

727
00:34:53,239 --> 00:34:56,840
Speaker 9: en Sonic EPs. Ah okay, right, So when I got

728
00:34:56,880 --> 00:34:59,319
Speaker 9: the n Sonic EPs, I thought I had walked into

729
00:34:59,360 --> 00:35:02,080
Speaker 9: heaven because I could sample and I could do everything

730
00:35:02,120 --> 00:35:03,480
Speaker 9: that I've been telling everybody else to do.

731
00:35:03,920 --> 00:35:05,880
Speaker 5: So I just stayed up night after night after night.

732
00:35:07,360 --> 00:35:09,680
Speaker 5: I stayed. I ain't read nothing.

733
00:35:09,880 --> 00:35:11,080
Speaker 1: I just read.

734
00:35:13,560 --> 00:35:14,160
Speaker 5: I don't read nothing.

735
00:35:14,200 --> 00:35:16,400
Speaker 9: I just started messing with it because I because I

736
00:35:16,480 --> 00:35:19,200
Speaker 9: already dreamed that. They told me at the store that

737
00:35:19,360 --> 00:35:21,600
Speaker 9: it would do what I wanted. So if I'm thinking,

738
00:35:21,600 --> 00:35:22,920
Speaker 9: if you tell me it's gonna do what I want,

739
00:35:22,920 --> 00:35:24,440
Speaker 9: then I'm gonna start trying to do what I want.

740
00:35:24,440 --> 00:35:26,400
Speaker 9: I seen the sample button. I'm trying to do what

741
00:35:26,440 --> 00:35:29,360
Speaker 9: I want. And I learned immediately that it didn't do

742
00:35:29,440 --> 00:35:32,239
Speaker 9: what I want. But you know that's the learning car thing.

743
00:35:32,320 --> 00:35:32,880
Speaker 5: Yeah, I caught on.

744
00:35:33,080 --> 00:35:36,040
Speaker 9: So with that, I just started making songs because the

745
00:35:36,120 --> 00:35:38,360
Speaker 9: EPs was easier, And I started making songs and just

746
00:35:38,440 --> 00:35:41,200
Speaker 9: doing my own little demos. And I met Left Eye

747
00:35:42,040 --> 00:35:46,440
Speaker 9: and then she started living with me, and she was.

748
00:35:46,600 --> 00:35:48,240
Speaker 1: So she moved from Philly to Atlanta.

749
00:35:48,360 --> 00:35:51,279
Speaker 9: Yeah, okay, So she moved from Philly to Atlanta, and

750
00:35:52,200 --> 00:35:54,239
Speaker 9: she hooked up with this guy named Ian Burke who

751
00:35:54,320 --> 00:35:56,440
Speaker 9: brought her to my house. Now I didn't have nothing

752
00:35:56,520 --> 00:35:58,560
Speaker 9: at this and I just had equipment that I had

753
00:35:58,640 --> 00:36:00,480
Speaker 9: just bought, and I was working, and he was like,

754
00:36:00,520 --> 00:36:02,759
Speaker 9: you should go over to Jad's house and y'all work.

755
00:36:02,880 --> 00:36:04,640
Speaker 9: So she came up to my house. We started working

756
00:36:04,880 --> 00:36:07,960
Speaker 9: and we was writing songs basically together. And then I

757
00:36:08,040 --> 00:36:11,520
Speaker 9: went to the mall with the DJ from Silk Tom's

758
00:36:11,600 --> 00:36:14,759
Speaker 9: Leather and I saw Criss Cross and they was in

759
00:36:14,840 --> 00:36:16,120
Speaker 9: the mall already just chilling.

760
00:36:16,440 --> 00:36:18,560
Speaker 5: So that's a real story, Okay.

761
00:36:19,440 --> 00:36:20,879
Speaker 1: All this time I thought, I was like, Oh, that's

762
00:36:20,920 --> 00:36:23,439
Speaker 1: marking a story like church.

763
00:36:23,920 --> 00:36:25,919
Speaker 5: One real story. I went to the mall.

764
00:36:26,320 --> 00:36:29,480
Speaker 9: I'm in the mall shopping and I'm looking in the

765
00:36:29,560 --> 00:36:32,160
Speaker 9: corner and it's these kids that people are actually paying

766
00:36:32,200 --> 00:36:33,960
Speaker 9: attention to. And I'm like, why are y'all paying so

767
00:36:34,080 --> 00:36:37,240
Speaker 9: much attention to these kids? And I'm thinking, like, okay,

768
00:36:37,280 --> 00:36:39,360
Speaker 9: maybe it's like one of these Nickelodeon groups. I don't know,

769
00:36:39,600 --> 00:36:41,840
Speaker 9: something like that. So I walk over to him. I'm like, yo,

770
00:36:41,920 --> 00:36:43,600
Speaker 9: what's up? They like, what's up? I'm saying, like, what

771
00:36:43,680 --> 00:36:45,520
Speaker 9: do y'all do? They're like, we don't do nothing. We

772
00:36:45,719 --> 00:36:48,880
Speaker 9: just kick it, Like y'all just kick it. I'm like,

773
00:36:48,960 --> 00:36:51,279
Speaker 9: why is people? Why the girls like all that y'all

774
00:36:51,280 --> 00:36:53,040
Speaker 9: and they like, that's cause that's what we do. We

775
00:36:53,120 --> 00:36:56,320
Speaker 9: got girls like that. What's happening? And it was like

776
00:36:56,840 --> 00:37:00,400
Speaker 9: eleven eleven eleven eleven, twelve years old, and I'm like,

777
00:37:00,560 --> 00:37:03,120
Speaker 9: they knew what swag was. They swag was. They was

778
00:37:03,320 --> 00:37:05,600
Speaker 9: the definition of swag to me at that time, I

779
00:37:05,640 --> 00:37:06,880
Speaker 9: didn't even have that type of swag.

780
00:37:06,920 --> 00:37:08,200
Speaker 5: I was just trying to be a producer.

781
00:37:08,600 --> 00:37:11,600
Speaker 9: These guys was in the mall flexing, talking to girls,

782
00:37:11,640 --> 00:37:14,160
Speaker 9: spending money, all kinds of things and getting sneakers. So

783
00:37:15,000 --> 00:37:18,120
Speaker 9: I was like, damn, where y'all get all this from?

784
00:37:18,239 --> 00:37:20,040
Speaker 9: All y'all a group. They're like, Nah, we don't rap,

785
00:37:20,080 --> 00:37:21,360
Speaker 9: we don't do none of that. We just come to

786
00:37:21,400 --> 00:37:21,680
Speaker 9: the mall.

787
00:37:21,760 --> 00:37:22,200
Speaker 5: We cool.

788
00:37:22,920 --> 00:37:27,040
Speaker 9: Everybody like us because we cool, and I'm like, okay.

789
00:37:27,600 --> 00:37:30,360
Speaker 9: Immediately I just stopped and my mom was like, s

790
00:37:31,800 --> 00:37:33,080
Speaker 9: if I write them a song.

791
00:37:33,520 --> 00:37:34,400
Speaker 5: This shit is gonna go.

792
00:37:35,040 --> 00:37:36,600
Speaker 1: Did they know who Jermaine Dupre was?

793
00:37:36,760 --> 00:37:36,800
Speaker 10: No?

794
00:37:37,360 --> 00:37:39,880
Speaker 9: They thought I was like a pervert or something. I

795
00:37:39,960 --> 00:37:42,040
Speaker 9: swear they thought they was like, why do you want

796
00:37:42,080 --> 00:37:43,560
Speaker 9: my number? Because I asked them for their number. And

797
00:37:43,680 --> 00:37:47,200
Speaker 9: then luckily one of the the mothers, one of their mothers,

798
00:37:47,239 --> 00:37:51,680
Speaker 9: walked up and she read Jet magazine. So in the

799
00:37:51,800 --> 00:37:54,080
Speaker 9: Jet magazine that had just come out, there was like

800
00:37:54,120 --> 00:37:57,480
Speaker 9: a little issue about article about female rappers and it

801
00:37:57,640 --> 00:38:00,760
Speaker 9: had Salt and Pepper and the girls grew girl groups

802
00:38:00,800 --> 00:38:03,440
Speaker 9: that are coming behind them, and Silktimes Love It happened

803
00:38:03,480 --> 00:38:05,360
Speaker 9: to be one of those groups. So she recognized the

804
00:38:05,480 --> 00:38:09,160
Speaker 9: DJ from being in the Jet magazine, so she was like,

805
00:38:09,400 --> 00:38:10,880
Speaker 9: I know her. I seen her in the Jets, So

806
00:38:10,960 --> 00:38:13,920
Speaker 9: they are somebody that saved me because Chris, and Chris

807
00:38:14,120 --> 00:38:16,239
Speaker 9: was like, nah, I'm not giving you my number like

808
00:38:16,280 --> 00:38:16,600
Speaker 9: you said.

809
00:38:17,440 --> 00:38:19,000
Speaker 5: It was or in Atlanta about the.

810
00:38:19,080 --> 00:38:22,600
Speaker 9: Missing, missing and murdered kids, and they was from that neighborhood,

811
00:38:22,719 --> 00:38:26,600
Speaker 9: so you know, it was a stranger danger, you know

812
00:38:26,600 --> 00:38:29,359
Speaker 9: of a situation. So I'm telling them like, y'all want

813
00:38:29,400 --> 00:38:30,920
Speaker 9: you to come over to my house and kick it,

814
00:38:30,960 --> 00:38:33,200
Speaker 9: and they were still like come over to your house

815
00:38:33,239 --> 00:38:33,640
Speaker 9: and kick it?

816
00:38:33,680 --> 00:38:34,600
Speaker 5: What is what are we doing?

817
00:38:34,760 --> 00:38:34,800
Speaker 2: Like?

818
00:38:34,920 --> 00:38:37,600
Speaker 9: Cause they weren't into music, so they didn't even understand

819
00:38:37,600 --> 00:38:40,000
Speaker 9: what I was trying to get them to do. So

820
00:38:40,560 --> 00:38:42,319
Speaker 9: you know, that passed and I would like go get

821
00:38:42,360 --> 00:38:44,200
Speaker 9: them from school and just try to hang out with them,

822
00:38:44,200 --> 00:38:47,200
Speaker 9: and I become their friend more than just talk about music.

823
00:38:47,280 --> 00:38:49,960
Speaker 9: So I did that and then I started noticing that

824
00:38:50,040 --> 00:38:52,920
Speaker 9: they was in the back seat rapping to music that

825
00:38:53,000 --> 00:38:55,320
Speaker 9: I was playing and they was rapping all the lyrics

826
00:38:55,360 --> 00:38:57,040
Speaker 9: and really doing that shit in the car like that.

827
00:38:59,000 --> 00:39:02,560
Speaker 9: Ice Cube America's Most Wanted the whole album.

828
00:39:02,600 --> 00:39:05,080
Speaker 1: Wow, I heard pays some mother fuck.

829
00:39:05,480 --> 00:39:06,839
Speaker 5: They was going crazy in my car.

830
00:39:07,040 --> 00:39:08,280
Speaker 1: Let's word for me, Tomath.

831
00:39:08,360 --> 00:39:12,080
Speaker 2: The kids actually gravitating towards it that I actually like

832
00:39:12,120 --> 00:39:15,200
Speaker 2: because usually, like the generation with the Divide, kids are

833
00:39:15,200 --> 00:39:16,880
Speaker 2: always liking the ship that I don't like.

834
00:39:16,920 --> 00:39:17,440
Speaker 1: You know what I'm saying.

835
00:39:17,440 --> 00:39:19,320
Speaker 7: I was about the same age as as Chris Carson

836
00:39:19,480 --> 00:39:21,800
Speaker 7: came out hold On and like America's Most Wanted, like

837
00:39:21,880 --> 00:39:23,600
Speaker 7: ice Cube was my shit around and avoidable.

838
00:39:23,680 --> 00:39:27,440
Speaker 9: Yeah, that's that's what they was like ice Cube fanatics,

839
00:39:27,560 --> 00:39:29,080
Speaker 9: but it's all they wanted to hear was ice Cube.

840
00:39:29,800 --> 00:39:32,319
Speaker 9: So we play a whole ice Cube tape from their

841
00:39:32,360 --> 00:39:34,479
Speaker 9: house to my house, and they was rapping all the lyrics.

842
00:39:34,520 --> 00:39:36,840
Speaker 9: So I was thinking, like, okay, so if they like

843
00:39:36,960 --> 00:39:38,759
Speaker 9: this like this and they rapping every word and they

844
00:39:38,880 --> 00:39:41,120
Speaker 9: doing all the inflections, they sound just like he sound

845
00:39:41,120 --> 00:39:43,200
Speaker 9: when he moves his voice. I said, if I figure

846
00:39:43,200 --> 00:39:44,360
Speaker 9: I how to do that and write a song for

847
00:39:44,400 --> 00:39:47,040
Speaker 9: them that they like, they possibly could do the same

848
00:39:47,120 --> 00:39:49,200
Speaker 9: thing for me. So then I just went in the

849
00:39:49,239 --> 00:39:50,640
Speaker 9: house and I told them, so, I'm gonna write a

850
00:39:50,640 --> 00:39:52,520
Speaker 9: song for y'all and if y'all like it, I need

851
00:39:52,560 --> 00:39:53,960
Speaker 9: you all to rap it, just like y'all doing this

852
00:39:54,040 --> 00:39:57,960
Speaker 9: ice cube shit. And they was like, okay, whatever. So

853
00:39:58,360 --> 00:40:02,200
Speaker 9: I did this song where I sampled Michael Jackson and

854
00:40:02,239 --> 00:40:04,319
Speaker 9: Paul McCartney called the Girl's Mind, and I was trying

855
00:40:04,360 --> 00:40:06,920
Speaker 9: to make them fight about the girl is Mine. And

856
00:40:07,160 --> 00:40:09,240
Speaker 9: this was the song that I wrote and I sampled

857
00:40:09,239 --> 00:40:11,279
Speaker 9: Paul McCartney Michael Jackson, and I put Left Eye on

858
00:40:11,360 --> 00:40:12,560
Speaker 9: the record because she was the girl.

859
00:40:12,680 --> 00:40:27,759
Speaker 5: Girl listen, listen never she's the girl.

860
00:40:28,080 --> 00:40:30,160
Speaker 9: So it was like my idea, like the girl is mine,

861
00:40:30,760 --> 00:40:33,600
Speaker 9: he's Paul McCartney, he's Michael Jackson, and she's the girl.

862
00:40:33,800 --> 00:40:35,080
Speaker 5: This was my whole little scheme.

863
00:40:35,200 --> 00:40:37,360
Speaker 1: Okay, even though you won't let the public ever hear this.

864
00:40:38,600 --> 00:40:40,400
Speaker 1: Do you know where that tape is?

865
00:40:40,480 --> 00:40:42,359
Speaker 5: I mean, it's a tape. Yeah, I know, it's a tape.

866
00:40:42,480 --> 00:40:48,800
Speaker 9: Okay, So you know that was the beginning. I'm starting

867
00:40:48,800 --> 00:40:52,399
Speaker 9: to make these songs. And then I realized that they

868
00:40:52,480 --> 00:40:56,560
Speaker 9: weren't Paul McCartney and Michael Jackson. They were little ice

869
00:40:56,680 --> 00:41:00,279
Speaker 9: cubes like they want. They were from the south west

870
00:41:00,320 --> 00:41:03,480
Speaker 9: side of Atlanta, which people call the Watots, that's where

871
00:41:03,520 --> 00:41:08,000
Speaker 9: they're from. And they would come home from school and

872
00:41:08,080 --> 00:41:10,600
Speaker 9: tell me stories about how Jamay, you don't even know.

873
00:41:10,640 --> 00:41:12,520
Speaker 9: It's little kids in my school. It's eleven years old.

874
00:41:12,520 --> 00:41:14,279
Speaker 9: They selling all a dope. They got all the dope,

875
00:41:14,320 --> 00:41:16,759
Speaker 9: and they had like socks where they wear shorts and

876
00:41:16,800 --> 00:41:18,600
Speaker 9: they have like multiple socks and they put all the

877
00:41:18,680 --> 00:41:20,320
Speaker 9: work inside the socks and they go to school. So

878
00:41:20,360 --> 00:41:21,719
Speaker 9: they used to give me all this game and I

879
00:41:21,760 --> 00:41:23,840
Speaker 9: ain't know about because I didn't finish school like that

880
00:41:23,920 --> 00:41:26,200
Speaker 9: and I ain't go with these kids. So I used

881
00:41:26,239 --> 00:41:28,040
Speaker 9: to just listen to them and be amazed, like damn,

882
00:41:28,120 --> 00:41:30,000
Speaker 9: this is crazy, and I'm like, who knows about this?

883
00:41:30,600 --> 00:41:34,080
Speaker 9: So then I just start thinking about them wrapping ice

884
00:41:34,160 --> 00:41:36,680
Speaker 9: cube and the stories they was telling me, and I'm like,

885
00:41:36,840 --> 00:41:40,160
Speaker 9: little boys in the hood, this is what y'all are.

886
00:41:40,320 --> 00:41:41,640
Speaker 5: Y'all are little boys in the hood.

887
00:41:41,640 --> 00:41:43,319
Speaker 9: It's boys in the hood with y'all are little boys

888
00:41:43,360 --> 00:41:44,880
Speaker 9: in the hood, and y'all see the crazy shit that

889
00:41:44,920 --> 00:41:47,480
Speaker 9: everybody else sees, but don't nobody actually believe it. So

890
00:41:47,600 --> 00:41:49,359
Speaker 9: that was my goal to write a song called Little

891
00:41:49,360 --> 00:41:51,360
Speaker 9: Boys in the Hood. I wrote this song, and I

892
00:41:51,480 --> 00:41:55,480
Speaker 9: sent the song to Jodah Butcher and Pilly. And when

893
00:41:55,480 --> 00:41:57,080
Speaker 9: I sent the song to Jodah Butcher, he hit me

894
00:41:57,200 --> 00:41:59,560
Speaker 9: right back like I love it, let's sign them. And

895
00:41:59,680 --> 00:42:02,439
Speaker 9: I was like, what, oh shit, we got a deal.

896
00:42:02,800 --> 00:42:04,960
Speaker 9: Just like that, he was ready to go. So then

897
00:42:05,160 --> 00:42:08,439
Speaker 9: he brought us the rough house for basically it wasn't

898
00:42:08,480 --> 00:42:12,880
Speaker 9: real deal. It was you know, development deal. So it

899
00:42:13,000 --> 00:42:15,759
Speaker 9: was a five song development deal. I didn't have five songs.

900
00:42:15,800 --> 00:42:19,520
Speaker 9: I had four songs, and he was like, well, we

901
00:42:19,640 --> 00:42:21,759
Speaker 9: need five songs. So on the night or the day

902
00:42:21,840 --> 00:42:25,880
Speaker 9: before we was going to Philly, I wrote jump.

903
00:42:28,520 --> 00:42:30,200
Speaker 1: Classics always written.

904
00:42:31,840 --> 00:42:34,400
Speaker 5: I wrote this song. I wrote this song in thirty minutes.

905
00:42:35,400 --> 00:42:36,399
Speaker 1: Yo, everything song?

906
00:42:36,480 --> 00:42:37,359
Speaker 6: Where did it start from?

907
00:42:37,560 --> 00:42:37,600
Speaker 11: What?

908
00:42:37,840 --> 00:42:38,279
Speaker 6: Jump start?

909
00:42:38,360 --> 00:42:38,400
Speaker 9: Like?

910
00:42:38,440 --> 00:42:39,719
Speaker 6: What was the first thought in your mind?

911
00:42:40,480 --> 00:42:40,840
Speaker 5: Kids?

912
00:42:41,640 --> 00:42:45,879
Speaker 9: Something something something kitty, something kitty. So I went after

913
00:42:45,960 --> 00:42:48,160
Speaker 9: Michael Jackson like he was a kid. This was they

914
00:42:48,280 --> 00:42:50,080
Speaker 9: was they was kids. So he was a kid artist,

915
00:42:50,800 --> 00:42:53,800
Speaker 9: sample something Michael Jackson. So I started playing with the

916
00:42:53,840 --> 00:42:56,279
Speaker 9: turntables and I heard this ABC and I was like,

917
00:42:57,920 --> 00:42:59,520
Speaker 9: I shouldn't let it play all the way out of

918
00:42:59,560 --> 00:43:02,040
Speaker 9: shitch it and just catch something. And I don't know

919
00:43:02,160 --> 00:43:03,640
Speaker 9: what made me do that, and I just caught the

920
00:43:03,719 --> 00:43:06,320
Speaker 9: first part boom boom boom, and I left it and

921
00:43:06,440 --> 00:43:08,839
Speaker 9: I was like, this ship sounds crazy. I went back

922
00:43:08,880 --> 00:43:11,840
Speaker 9: and I did it again. Boom boom stopped it and

923
00:43:11,920 --> 00:43:12,960
Speaker 9: I'm like, I'm not letting the.

924
00:43:12,960 --> 00:43:14,600
Speaker 5: Rest of it play. I'm gonna just keep doing like that.

925
00:43:14,760 --> 00:43:24,360
Speaker 1: Wait mother trying to wait to do not say do

926
00:43:24,560 --> 00:43:28,399
Speaker 1: not say it like we all know that's I want

927
00:43:28,440 --> 00:43:28,960
Speaker 1: you back, And.

928
00:43:29,320 --> 00:43:30,920
Speaker 5: I mean I said the wrong song. My bad.

929
00:43:31,120 --> 00:43:37,239
Speaker 1: I got to say, come on, dog, you know that

930
00:43:38,640 --> 00:43:39,360
Speaker 1: I do now.

931
00:43:43,520 --> 00:43:46,879
Speaker 5: I want you, I said a b C. I said

932
00:43:46,920 --> 00:43:49,400
Speaker 5: ABC because I was she still.

933
00:43:49,200 --> 00:43:50,239
Speaker 1: Didn't know that I want you.

934
00:43:53,640 --> 00:43:56,839
Speaker 2: Here's the ship that's killing me. The ship that's killing

935
00:43:56,880 --> 00:44:00,120
Speaker 2: me was the whole genius of that song is the

936
00:44:00,200 --> 00:44:03,400
Speaker 2: fact that you managed to find a way to make

937
00:44:03,440 --> 00:44:08,719
Speaker 2: funky worm oh sh match perfectly in key. I mean, look,

938
00:44:09,040 --> 00:44:10,880
Speaker 2: I love the bomb Squad to death, but we know

939
00:44:10,960 --> 00:44:13,319
Speaker 2: the calling card was just throw it on the wall

940
00:44:13,360 --> 00:44:16,520
Speaker 2: and see what works. They were not atonal and you

941
00:44:16,600 --> 00:44:20,680
Speaker 2: know radical. So when I first heard that ship, I

942
00:44:20,760 --> 00:44:22,480
Speaker 2: was like, yo, there's some genius ship, Like how do

943
00:44:22,600 --> 00:44:24,759
Speaker 2: he know that these ships are going to seem to

944
00:44:24,920 --> 00:44:27,560
Speaker 2: be in the same bpms and in the same key.

945
00:44:28,080 --> 00:44:32,080
Speaker 2: So I'm thinking this whole time you scientific experience. But

946
00:44:32,480 --> 00:44:35,879
Speaker 2: as with every producer that comes on the show, their

947
00:44:36,000 --> 00:44:39,080
Speaker 2: their PEACI resistance is always like some afterthought, like ten

948
00:44:39,120 --> 00:44:41,120
Speaker 2: minutes ship, like I got, well, no, what the.

949
00:44:41,160 --> 00:44:44,640
Speaker 5: Funky worm part. I played with it for a minute

950
00:44:44,880 --> 00:44:46,640
Speaker 5: to get it to sound like that, or you bend

951
00:44:46,680 --> 00:44:47,920
Speaker 5: it down to yeah, yeah, yeah, I was.

952
00:44:50,239 --> 00:44:52,759
Speaker 9: That was that was like, oh, let's go, because you know,

953
00:44:52,880 --> 00:44:54,040
Speaker 9: like I said, you got to think about it. I

954
00:44:54,160 --> 00:44:56,879
Speaker 9: just explained to you exactly who Chris Crust was. Chris

955
00:44:56,960 --> 00:45:00,200
Speaker 9: Cruss was two kids from the Hood that I was

956
00:45:00,280 --> 00:45:03,840
Speaker 9: in love with, the West Coast Rappers basically ice Cube

957
00:45:03,840 --> 00:45:06,759
Speaker 9: at that point in time, right, So the Funky Worm

958
00:45:06,960 --> 00:45:09,200
Speaker 9: was me grabbing what I thought was the West Coast

959
00:45:09,280 --> 00:45:12,920
Speaker 9: for them so that they would like it. The sample

960
00:45:13,080 --> 00:45:15,760
Speaker 9: was me trying to find something that was like Kitty

961
00:45:15,800 --> 00:45:18,400
Speaker 9: because Michael Jackson was a kid in this era. So

962
00:45:18,480 --> 00:45:20,160
Speaker 9: I was just trying to put all these elements into

963
00:45:20,239 --> 00:45:22,840
Speaker 9: this one song out of every song. I mean, we

964
00:45:22,880 --> 00:45:24,439
Speaker 9: already had to deal with little boys in the Hood,

965
00:45:24,480 --> 00:45:26,160
Speaker 9: but I was just like, it could be better than this,

966
00:45:26,640 --> 00:45:30,080
Speaker 9: and it could be better than this, and I just

967
00:45:30,160 --> 00:45:32,480
Speaker 9: started and I started thinking about every element of hip

968
00:45:32,520 --> 00:45:34,080
Speaker 9: hop that I could give these kids, because I knew

969
00:45:34,080 --> 00:45:35,960
Speaker 9: that they could rap at this point, like if they

970
00:45:36,040 --> 00:45:38,239
Speaker 9: was really rapping what I was doing, they I mean,

971
00:45:38,800 --> 00:45:41,000
Speaker 9: for whatever reason I said they could rap, they was rapping.

972
00:45:41,320 --> 00:45:44,080
Speaker 9: Whatever I sent them, they would do it. So I

973
00:45:44,239 --> 00:45:49,680
Speaker 9: was like, shit, let's diss ABC and let's just let's

974
00:45:49,760 --> 00:45:50,680
Speaker 9: just go all the way here.

975
00:45:53,520 --> 00:45:55,239
Speaker 10: Can I just asked, this might be a crazy question,

976
00:45:55,280 --> 00:45:57,120
Speaker 10: But now that the bail is up and Chris I

977
00:45:57,200 --> 00:45:59,319
Speaker 10: know now that Chris Cross didn't write their lyrics leave

978
00:45:59,360 --> 00:46:04,279
Speaker 10: me alone? Is that that was a surprise me A

979
00:46:04,280 --> 00:46:05,719
Speaker 10: little bit just not a little bit of a surprise.

980
00:46:05,719 --> 00:46:07,480
Speaker 10: I thought more of a collaboration. But does that mean

981
00:46:07,520 --> 00:46:09,200
Speaker 10: the same thing for another bad creation in that way?

982
00:46:09,280 --> 00:46:11,280
Speaker 10: Like I used to to assume that, like Michael Bimins

983
00:46:11,320 --> 00:46:12,000
Speaker 10: did the same thing.

984
00:46:15,440 --> 00:46:17,120
Speaker 1: You were. I get it.

985
00:46:17,239 --> 00:46:17,600
Speaker 2: I get it.

986
00:46:18,280 --> 00:46:20,719
Speaker 10: The first like child rappers or bow Wow, the first

987
00:46:20,920 --> 00:46:23,120
Speaker 10: kid rapper to really start writing.

988
00:46:23,200 --> 00:46:24,840
Speaker 5: Then you know.

989
00:46:24,960 --> 00:46:25,920
Speaker 1: JD wrote everything.

990
00:46:26,160 --> 00:46:28,719
Speaker 6: No, he didn't know bow Wow wrote some stuff? Right,

991
00:46:29,280 --> 00:46:29,520
Speaker 6: come on?

992
00:46:30,760 --> 00:46:32,840
Speaker 2: Can I get to the science of him as a producer?

993
00:46:32,920 --> 00:46:37,480
Speaker 2: I'm sorry, question, but listen, wait, act, but I'm just

994
00:46:37,560 --> 00:46:44,680
Speaker 2: saying that in terms of of of who taught you,

995
00:46:45,160 --> 00:46:47,440
Speaker 2: because this is the thing. You're the first producer that

996
00:46:47,520 --> 00:46:52,040
Speaker 2: I've spoken to since the show that it is putting

997
00:46:52,400 --> 00:46:57,640
Speaker 2: marketing savvy also in his production thoughts, because even me

998
00:46:57,760 --> 00:47:00,920
Speaker 2: as a producer, I'm certain that there's some you know,

999
00:47:01,040 --> 00:47:02,960
Speaker 2: like the equivalent of when you lose your glasses and

1000
00:47:03,000 --> 00:47:06,160
Speaker 2: they're on your forehead. Now I'm thinking like, damn, what

1001
00:47:06,400 --> 00:47:10,240
Speaker 2: hopper shit should the Roots have done to really grab

1002
00:47:11,320 --> 00:47:14,040
Speaker 2: fans of like live music that we didn't do? Because

1003
00:47:14,360 --> 00:47:17,319
Speaker 2: never once in my history did I think of, Oh,

1004
00:47:17,840 --> 00:47:19,160
Speaker 2: what's what's the marketing thing?

1005
00:47:19,640 --> 00:47:22,080
Speaker 1: We need? A new earthworod and fire. Why don't you guys?

1006
00:47:22,200 --> 00:47:25,320
Speaker 2: You know, I'm I've never heard a producer talk like

1007
00:47:25,480 --> 00:47:27,800
Speaker 2: a manager. So what I really want to know is

1008
00:47:29,160 --> 00:47:33,279
Speaker 2: where did you get your manager marketing savvy from?

1009
00:47:33,320 --> 00:47:35,839
Speaker 5: Because that from the doors being closed? Right.

1010
00:47:35,960 --> 00:47:38,200
Speaker 9: So, when I was here in New York and I

1011
00:47:38,320 --> 00:47:41,239
Speaker 9: had Silk Times Leather, I knew Red Alert and Chuck

1012
00:47:41,320 --> 00:47:43,000
Speaker 9: Chill Out from being on the Fresh Fest and I

1013
00:47:43,080 --> 00:47:44,920
Speaker 9: knew them as a kid. And then when I started

1014
00:47:44,920 --> 00:47:46,600
Speaker 9: making records, I'm thinking like, oh, I'm gonna just run

1015
00:47:46,719 --> 00:47:47,920
Speaker 9: up on here and they gonna play my records.

1016
00:47:47,960 --> 00:47:48,960
Speaker 5: It's cool. I know these guys.

1017
00:47:49,000 --> 00:47:51,640
Speaker 9: So I went up to you know, to radio shows,

1018
00:47:51,680 --> 00:47:53,840
Speaker 9: and Red was like, this shit is wack, like this

1019
00:47:53,960 --> 00:47:56,000
Speaker 9: ain't this, ain't no, this ain't a ork Jed.

1020
00:47:55,960 --> 00:47:58,120
Speaker 1: And I'm like, and they told you at the time,

1021
00:47:58,160 --> 00:47:59,120
Speaker 1: you're like fifteen.

1022
00:47:59,480 --> 00:47:59,880
Speaker 5: They told me.

1023
00:48:01,320 --> 00:48:04,040
Speaker 9: And they also was like, Atlanta's not you know, it's

1024
00:48:04,040 --> 00:48:06,439
Speaker 9: a country y'all niggas country and blah blah blah blah.

1025
00:48:06,480 --> 00:48:10,320
Speaker 9: So I started building this mindset that it was gonna

1026
00:48:10,320 --> 00:48:12,880
Speaker 9: be hard for me to make music anyway or to

1027
00:48:12,960 --> 00:48:15,360
Speaker 9: put my music out because people weren't gonna listen to it.

1028
00:48:15,440 --> 00:48:17,359
Speaker 9: That's what I just started thinking. So I started thinking

1029
00:48:17,400 --> 00:48:20,800
Speaker 9: about everything that I could possibly do to get people

1030
00:48:20,880 --> 00:48:25,200
Speaker 9: to pay attention to my artists besides the music as

1031
00:48:25,239 --> 00:48:27,400
Speaker 9: well as the music. So and then left I was

1032
00:48:27,440 --> 00:48:30,240
Speaker 9: big on helping me do that because she was starting

1033
00:48:30,280 --> 00:48:33,000
Speaker 9: to put this condom over her left eye and just

1034
00:48:33,120 --> 00:48:35,719
Speaker 9: thinking of crazy shit. So I was cutting my eyebrows off,

1035
00:48:35,760 --> 00:48:39,759
Speaker 9: and I was doing all you know, haircuts and ear

1036
00:48:39,840 --> 00:48:41,759
Speaker 9: rings and nose and we was doing everything that we

1037
00:48:41,800 --> 00:48:44,160
Speaker 9: could possibly do to make people pay attention to us.

1038
00:48:44,480 --> 00:48:44,640
Speaker 1: Right.

1039
00:48:44,719 --> 00:48:46,840
Speaker 9: So then it was like, we need something else. We

1040
00:48:46,960 --> 00:48:48,960
Speaker 9: got the song I got jumped, We need something else.

1041
00:48:49,320 --> 00:48:51,799
Speaker 9: When I did a jump. When we did jump, they closed,

1042
00:48:51,800 --> 00:48:53,800
Speaker 9: weren't even on back was when we did jump, they

1043
00:48:53,800 --> 00:48:55,360
Speaker 9: didn't have braids. Let me say this, they didn't have

1044
00:48:55,440 --> 00:48:57,680
Speaker 9: braids on the first on the jump cover. They don't

1045
00:48:57,719 --> 00:49:00,200
Speaker 9: have braids. If you look up, they got fla they

1046
00:49:00,239 --> 00:49:02,440
Speaker 9: got flat tops, right, they didn't have braids. So then

1047
00:49:02,480 --> 00:49:05,000
Speaker 9: it was like, we gotta take this another level. We

1048
00:49:05,040 --> 00:49:06,880
Speaker 9: gotta take it to another level. We're gonna go to

1049
00:49:07,000 --> 00:49:09,640
Speaker 9: the mall. You're gonna put your jump on backwards, and

1050
00:49:09,680 --> 00:49:12,200
Speaker 9: we're gonna see how this works. And they was like

1051
00:49:12,280 --> 00:49:14,360
Speaker 9: why and I'm like, just listen to me. Put the

1052
00:49:14,480 --> 00:49:16,360
Speaker 9: jump on backwards. He had to jump on already. I

1053
00:49:16,440 --> 00:49:17,399
Speaker 9: just said, flip the shit around.

1054
00:49:17,520 --> 00:49:18,239
Speaker 5: Let's go to the mall.

1055
00:49:18,880 --> 00:49:20,520
Speaker 9: He put his jump on backwards and we went to

1056
00:49:20,600 --> 00:49:23,520
Speaker 9: Linux Square and it looked like he had a sign

1057
00:49:23,600 --> 00:49:26,279
Speaker 9: on his chest that said come towards me. People was

1058
00:49:26,360 --> 00:49:28,279
Speaker 9: walking up to this kid, and I was like and

1059
00:49:28,400 --> 00:49:31,600
Speaker 9: I just sat back, like, oh, this is it. It's

1060
00:49:31,719 --> 00:49:33,000
Speaker 9: over It's over with.

1061
00:49:33,239 --> 00:49:33,719
Speaker 1: This is over with.

1062
00:49:33,800 --> 00:49:36,000
Speaker 9: Because once these people hear this song and they see

1063
00:49:36,040 --> 00:49:38,879
Speaker 9: that they dressed like this were gone And I don't

1064
00:49:38,920 --> 00:49:40,759
Speaker 9: know what was the attraction with the backward James.

1065
00:49:40,800 --> 00:49:41,600
Speaker 5: It just happened like that.

1066
00:49:41,760 --> 00:49:43,400
Speaker 6: You don't know what made you go turn it around

1067
00:49:43,560 --> 00:49:44,480
Speaker 6: or do something I do.

1068
00:49:45,400 --> 00:49:48,160
Speaker 2: No, I mean, he's the only person I knew that

1069
00:49:48,600 --> 00:49:51,879
Speaker 2: spoke of a marketing angle and shit that I never

1070
00:49:52,000 --> 00:49:53,560
Speaker 2: even once bothered to think about.

1071
00:49:53,719 --> 00:49:55,080
Speaker 5: Yeah, we was trying to do things.

1072
00:49:55,160 --> 00:49:57,160
Speaker 9: We was in the house making tied our shirts and

1073
00:49:57,239 --> 00:49:59,880
Speaker 9: tied our jeans and just trying to you know, because

1074
00:50:00,120 --> 00:50:01,320
Speaker 9: you ain't got shit, you try.

1075
00:50:01,239 --> 00:50:02,920
Speaker 5: To make something right. So that's what it was.

1076
00:50:03,040 --> 00:50:04,839
Speaker 9: We didn't have nothing, so it was like, what can

1077
00:50:04,920 --> 00:50:07,880
Speaker 9: you do to make that sweatshirt look better than what

1078
00:50:08,000 --> 00:50:08,520
Speaker 9: it does?

1079
00:50:08,680 --> 00:50:10,800
Speaker 5: Right now? Cut the sleeves off. You know, we just

1080
00:50:10,880 --> 00:50:11,719
Speaker 5: try anything right.

1081
00:50:11,800 --> 00:50:14,319
Speaker 1: So it's just to try to get attention and put

1082
00:50:14,360 --> 00:50:15,440
Speaker 1: the word quest love over it.

1083
00:50:15,520 --> 00:50:15,680
Speaker 4: And that.

1084
00:50:19,840 --> 00:50:23,040
Speaker 9: This jumper was already one hundred sizes too big. It

1085
00:50:23,120 --> 00:50:25,080
Speaker 9: was like a Jibo jumper where you could get in

1086
00:50:25,200 --> 00:50:27,879
Speaker 9: there with him, right, So it's just like just flip

1087
00:50:28,000 --> 00:50:31,160
Speaker 9: it around, just flipping around. So he flipped it around

1088
00:50:31,160 --> 00:50:32,920
Speaker 9: and it you know, people were like bugging out, like

1089
00:50:32,960 --> 00:50:33,920
Speaker 9: where did you buy this at?

1090
00:50:33,960 --> 00:50:35,480
Speaker 5: And I'm like, it's the same shit you got on.

1091
00:50:35,640 --> 00:50:38,160
Speaker 2: But were they fearless enough to be like any crazy shit,

1092
00:50:38,239 --> 00:50:41,200
Speaker 2: I'll do it, because I would have.

1093
00:50:41,200 --> 00:50:41,480
Speaker 1: Been like.

1094
00:50:43,360 --> 00:50:46,160
Speaker 5: They they started doing talent shows.

1095
00:50:46,160 --> 00:50:48,600
Speaker 9: I started taking them to do talent shows and performing

1096
00:50:48,719 --> 00:50:51,560
Speaker 9: songs before we had jumped. So they started getting the

1097
00:50:51,640 --> 00:50:54,239
Speaker 9: bug to be artists. And they started seeing how more

1098
00:50:54,280 --> 00:50:56,399
Speaker 9: people liked him than what was liking them in the mall.

1099
00:50:56,920 --> 00:50:59,640
Speaker 9: So once you get that going, then you start trying

1100
00:50:59,680 --> 00:51:01,480
Speaker 9: to make sure that people recognize you.

1101
00:51:01,840 --> 00:51:04,320
Speaker 2: So how did you feel about when another bad creation

1102
00:51:04,640 --> 00:51:08,600
Speaker 2: was starting to garner steam and you know, in your

1103
00:51:08,640 --> 00:51:10,120
Speaker 2: head you're like, Okay, this is good for us, like

1104
00:51:10,200 --> 00:51:12,520
Speaker 2: we have someone to compare them to, And no.

1105
00:51:12,680 --> 00:51:14,920
Speaker 9: Nah, I wasn't really paying too much attention to that.

1106
00:51:15,000 --> 00:51:17,719
Speaker 9: It's time because another bad creation is from College Park.

1107
00:51:17,800 --> 00:51:21,759
Speaker 9: We all from College Park, right, say all of my

1108
00:51:22,000 --> 00:51:25,319
Speaker 9: like me and Dallas Austin is like this, that's my dude,

1109
00:51:25,480 --> 00:51:28,000
Speaker 9: Like so we all they was all at my house,

1110
00:51:28,120 --> 00:51:28,600
Speaker 9: Like when.

1111
00:51:28,480 --> 00:51:31,040
Speaker 5: He making ABC, I was at the studio with him.

1112
00:51:31,080 --> 00:51:32,839
Speaker 5: He was doing this, like we all cool.

1113
00:51:33,000 --> 00:51:36,200
Speaker 1: They feel a certain way with inside out that.

1114
00:51:36,400 --> 00:51:39,280
Speaker 9: I mean, you know, at one point it was like listen,

1115
00:51:40,120 --> 00:51:42,680
Speaker 9: JD got a little boy group. We got a little

1116
00:51:42,680 --> 00:51:45,600
Speaker 9: boy group. It's a competitiveness going on. So I started

1117
00:51:45,680 --> 00:51:48,920
Speaker 9: feeling that this competitiveness of people talking. So I was like,

1118
00:51:49,000 --> 00:51:52,080
Speaker 9: you know what, y'all gonna be real rappers. And if

1119
00:51:52,120 --> 00:51:54,000
Speaker 9: you're gonna be a real rapper, we're gonna We're gonna

1120
00:51:54,040 --> 00:51:55,400
Speaker 9: make sure that people know that they want to be

1121
00:51:55,440 --> 00:51:57,200
Speaker 9: an R and B group and y'all over real rappers.

1122
00:51:57,239 --> 00:51:59,360
Speaker 9: And that's the only way we could make people understand

1123
00:51:59,440 --> 00:52:01,520
Speaker 9: that was to say something about them.

1124
00:52:01,640 --> 00:52:03,560
Speaker 10: So at this point, how are you splitting up your

1125
00:52:03,640 --> 00:52:05,719
Speaker 10: brain because you said that you and Left Eye or

1126
00:52:06,520 --> 00:52:08,600
Speaker 10: y'all are friends. She just got to the condom in

1127
00:52:08,640 --> 00:52:11,839
Speaker 10: the eye and where is the where's the TLC bus?

1128
00:52:13,760 --> 00:52:14,319
Speaker 5: No, no listen.

1129
00:52:14,400 --> 00:52:17,280
Speaker 9: So at the same time that I'm making Chriss cross,

1130
00:52:18,480 --> 00:52:22,880
Speaker 9: Ian introduces Left Eye to t Bos. So then they

1131
00:52:22,960 --> 00:52:25,160
Speaker 9: become a group in my house called second Nature and

1132
00:52:25,200 --> 00:52:31,160
Speaker 9: they become my group. And the way t Bos sings

1133
00:52:32,239 --> 00:52:35,680
Speaker 9: is did Jermaine do pre style of singing? Like the

1134
00:52:35,760 --> 00:52:40,399
Speaker 9: way she sounds? The way reason why she sounds that's

1135
00:52:40,480 --> 00:52:43,359
Speaker 9: me because you can hear me, that's me doing that. Now,

1136
00:52:43,480 --> 00:52:45,920
Speaker 9: that's how she sounds because I demoed the songs and

1137
00:52:46,000 --> 00:52:48,759
Speaker 9: I told her she should sing like me and for

1138
00:52:48,880 --> 00:52:51,000
Speaker 9: the rest of her life. I mean, it became the

1139
00:52:51,760 --> 00:52:53,520
Speaker 9: It just became the cool thing for her. So the

1140
00:52:53,600 --> 00:52:55,680
Speaker 9: first song that I did for her was this song

1141
00:52:55,760 --> 00:52:57,160
Speaker 9: called I Got It Going On and it was like,

1142
00:52:57,280 --> 00:53:02,319
Speaker 9: oh God, it going and that's the tone that she took.

1143
00:53:03,000 --> 00:53:06,280
Speaker 9: And Dallas heard that and started making these TLC records

1144
00:53:06,680 --> 00:53:08,880
Speaker 9: and they used that tone for the rest of her

1145
00:53:09,160 --> 00:53:09,640
Speaker 9: their career.

1146
00:53:09,880 --> 00:53:11,840
Speaker 1: But why didn't you.

1147
00:53:13,520 --> 00:53:14,000
Speaker 5: Sign them?

1148
00:53:14,920 --> 00:53:17,880
Speaker 9: Because the boys got signed first, right, So I was

1149
00:53:18,000 --> 00:53:21,480
Speaker 9: more connected to Chriss Cross and more into their project, right,

1150
00:53:21,640 --> 00:53:23,239
Speaker 9: and then left. I called me one day and she

1151
00:53:23,360 --> 00:53:25,080
Speaker 9: was like, Yo, we just had this meeting with Pebbles.

1152
00:53:25,880 --> 00:53:28,920
Speaker 9: If y'all watch the VH one movie, she makes this

1153
00:53:29,040 --> 00:53:31,080
Speaker 9: phone call and she calls somebody, but they don't say

1154
00:53:31,080 --> 00:53:34,239
Speaker 9: it's me. She's calling me, and she's calling me to

1155
00:53:34,320 --> 00:53:37,239
Speaker 9: see if I'm cool with them having the meeting, right,

1156
00:53:37,400 --> 00:53:38,800
Speaker 9: And I said, yeah.

1157
00:53:38,640 --> 00:53:39,879
Speaker 5: Go ahead having me. I'm cool.

1158
00:53:40,320 --> 00:53:42,840
Speaker 9: At that point, I wasn't thinking about having all of

1159
00:53:42,880 --> 00:53:45,200
Speaker 9: the artists under my unbrother. I was thinking about them

1160
00:53:45,280 --> 00:53:47,000
Speaker 9: getting signed so I could get some more money to

1161
00:53:47,120 --> 00:53:49,040
Speaker 9: make records. So I was like, shit, if they gonna sign,

1162
00:53:49,080 --> 00:53:51,000
Speaker 9: you just make sure I produce it when I get

1163
00:53:51,040 --> 00:53:53,960
Speaker 9: some money. So I encouraged them to get signed to

1164
00:53:54,040 --> 00:53:57,480
Speaker 9: the face and you know that was my group walking

1165
00:53:57,520 --> 00:53:57,960
Speaker 9: out the door.

1166
00:53:58,120 --> 00:54:00,200
Speaker 5: But they all started at my house.

1167
00:54:05,640 --> 00:54:11,080
Speaker 1: With UH. I believe.

1168
00:54:13,719 --> 00:54:21,840
Speaker 2: I believe my internship at UH at Roughhouse was the

1169
00:54:21,920 --> 00:54:26,080
Speaker 2: first day that you guys went to Europe to open

1170
00:54:26,200 --> 00:54:29,040
Speaker 2: up for Michael Jackson. Because I know, I know that

1171
00:54:29,120 --> 00:54:31,440
Speaker 2: Chris Cross opened up for Michael Jackson on the Dangerous Tour.

1172
00:54:31,520 --> 00:54:36,120
Speaker 2: Then yes, so what was were you a part of

1173
00:54:36,160 --> 00:54:36,840
Speaker 2: their setup it?

1174
00:54:38,239 --> 00:54:39,279
Speaker 1: What was that ship like?

1175
00:54:39,480 --> 00:54:43,920
Speaker 2: And how could like where the audience is as familiar

1176
00:54:44,080 --> 00:54:46,960
Speaker 2: with you guys there as it was in the States.

1177
00:54:47,040 --> 00:54:50,839
Speaker 9: Totally jump was crazy, Oh it did. Being on tour

1178
00:54:50,920 --> 00:54:56,040
Speaker 9: Michael Jackson was just like nothing that you could ever imagine,

1179
00:54:56,200 --> 00:54:58,520
Speaker 9: you know what I mean. It's like the way this

1180
00:54:58,680 --> 00:55:02,400
Speaker 9: guy came into his show. Just just the whole setup

1181
00:55:02,440 --> 00:55:04,400
Speaker 9: of the whole ship, like save f instance, this was

1182
00:55:04,480 --> 00:55:08,000
Speaker 9: like the cafeteria area when you're eating right, and you

1183
00:55:08,080 --> 00:55:10,360
Speaker 9: know how cafeterias are when you're in tour, it's the

1184
00:55:10,480 --> 00:55:12,640
Speaker 9: open or it's a place that you go into. Well,

1185
00:55:12,719 --> 00:55:14,920
Speaker 9: on his tour, it was always an open space. They

1186
00:55:14,960 --> 00:55:16,560
Speaker 9: did it in the open space. They didn't do it

1187
00:55:16,640 --> 00:55:20,120
Speaker 9: inside the thing because he wanted everybody to see when

1188
00:55:20,160 --> 00:55:22,799
Speaker 9: he was coming in, and how they draped us off

1189
00:55:23,040 --> 00:55:24,560
Speaker 9: so we wouldn't see him where he went.

1190
00:55:25,040 --> 00:55:28,040
Speaker 5: It was like like they would like, he's coming.

1191
00:55:28,200 --> 00:55:37,000
Speaker 9: So you're sitting there knowing that he's going, and he's

1192
00:55:37,040 --> 00:55:38,879
Speaker 9: walking by, but you could see him on the way

1193
00:55:38,920 --> 00:55:40,600
Speaker 9: in because he had a police following him.

1194
00:55:40,640 --> 00:55:41,799
Speaker 5: He would do this was real ship.

1195
00:55:42,200 --> 00:55:44,480
Speaker 9: He would come in and then he'll cross and then

1196
00:55:44,520 --> 00:55:47,640
Speaker 9: he would and he would you know, he had He

1197
00:55:47,680 --> 00:55:50,080
Speaker 9: would tell the managers, you know, tell Chris, I'm in

1198
00:55:50,160 --> 00:55:52,040
Speaker 9: the you know, I'm in my dressing room, come hog,

1199
00:55:52,160 --> 00:55:54,799
Speaker 9: let me whatever before they whatever. So he never let

1200
00:55:54,880 --> 00:55:56,440
Speaker 9: me go because it was just like, you know, not

1201
00:55:56,560 --> 00:55:59,000
Speaker 9: too many people go in the dress room. So christ

1202
00:55:59,040 --> 00:56:00,759
Speaker 9: Nam there go back there kicking with them, and they'll

1203
00:56:00,800 --> 00:56:02,799
Speaker 9: come back and they be like, yo, he fucking with us,

1204
00:56:02,880 --> 00:56:04,880
Speaker 9: Like he really be like he know who we are?

1205
00:56:04,960 --> 00:56:05,680
Speaker 5: Da da da da dah.

1206
00:56:05,680 --> 00:56:07,480
Speaker 9: Because that's why I was always trying to figure out

1207
00:56:07,920 --> 00:56:11,720
Speaker 9: if Sony made the move, because everybody was on Sony

1208
00:56:11,800 --> 00:56:13,879
Speaker 9: to put crisscross on there, and he was really more

1209
00:56:14,040 --> 00:56:16,719
Speaker 9: like really focused on Crisscross being on his tour, and

1210
00:56:16,800 --> 00:56:17,879
Speaker 9: he liked the fact that they.

1211
00:56:17,880 --> 00:56:22,000
Speaker 5: Was young and they had that energy to give before

1212
00:56:22,040 --> 00:56:22,759
Speaker 5: his show came on.

1213
00:56:23,600 --> 00:56:26,960
Speaker 2: Was it was it easy to teach them, like, uh,

1214
00:56:28,520 --> 00:56:32,319
Speaker 2: things that you don't learn. Uh you know, I mean

1215
00:56:32,520 --> 00:56:36,520
Speaker 2: they're they're in stadiums, in soccer stadiums. I know he's

1216
00:56:36,520 --> 00:56:38,440
Speaker 2: playing like eighty five thousand people, Like, how do you

1217
00:56:38,560 --> 00:56:43,160
Speaker 2: teach them how to project to eighty five thousand.

1218
00:56:42,880 --> 00:56:44,920
Speaker 5: People's That's what I tell people all the time.

1219
00:56:44,920 --> 00:56:46,640
Speaker 9: You know, I got this TV show, The Rap Game, Well,

1220
00:56:46,640 --> 00:56:49,239
Speaker 9: I teach these kids and I try to tell these

1221
00:56:49,320 --> 00:56:51,920
Speaker 9: kids all the time, like everybody think they can rap,

1222
00:56:52,080 --> 00:56:54,560
Speaker 9: and everybody think they got the swag, but they ain't

1223
00:56:54,600 --> 00:56:58,160
Speaker 9: really got that shit like what I've seen Crisscross, Like

1224
00:56:58,239 --> 00:57:00,279
Speaker 9: I said, when I met them, they had a whack

1225
00:57:00,400 --> 00:57:02,480
Speaker 9: that I had never seen in eleven and.

1226
00:57:02,480 --> 00:57:03,200
Speaker 5: Twelve year olds.

1227
00:57:03,239 --> 00:57:07,160
Speaker 9: So they was instantly easy to grab on to what

1228
00:57:07,280 --> 00:57:09,400
Speaker 9: they were supposed to do to continue to have that

1229
00:57:09,560 --> 00:57:12,839
Speaker 9: swag that they thought they had before. So when their

1230
00:57:12,880 --> 00:57:15,399
Speaker 9: record blew up, they was doing shows every day. Chris

1231
00:57:15,520 --> 00:57:19,600
Speaker 9: Cross was like the first rap group to do K

1232
00:57:19,760 --> 00:57:22,160
Speaker 9: and O Summer Jam. Then catch a helicopter to do

1233
00:57:22,360 --> 00:57:25,160
Speaker 9: Power one oh six in the same day, and then

1234
00:57:25,200 --> 00:57:26,640
Speaker 9: get on a plane and come back to New York

1235
00:57:26,680 --> 00:57:27,840
Speaker 9: and do something the next day.

1236
00:57:27,920 --> 00:57:29,960
Speaker 5: Like that's how they was. They were performing because of

1237
00:57:30,000 --> 00:57:30,400
Speaker 5: that song.

1238
00:57:30,520 --> 00:57:33,080
Speaker 9: So they got the practice in and they got enough

1239
00:57:33,120 --> 00:57:35,120
Speaker 9: practicing to know that when we get out here, we're

1240
00:57:35,120 --> 00:57:36,840
Speaker 9: gonna go into a stadiums.

1241
00:57:37,040 --> 00:57:39,440
Speaker 5: They their mentality was we gonna kill this, and they

1242
00:57:39,600 --> 00:57:40,280
Speaker 5: just was into it.

1243
00:57:41,440 --> 00:57:45,320
Speaker 2: Was it overwhelming for them, Like it's to start at

1244
00:57:45,360 --> 00:57:48,600
Speaker 2: that level, Like how do you how do you come

1245
00:57:48,680 --> 00:57:52,640
Speaker 2: down from that level when you're you know, one of them.

1246
00:57:52,840 --> 00:57:54,760
Speaker 2: I'm certain that you didn't have any idea that this

1247
00:57:55,000 --> 00:57:57,600
Speaker 2: I just want to sound like seven eight million units.

1248
00:57:57,680 --> 00:57:59,439
Speaker 5: Yeah, you don't know what to do. You're just going

1249
00:57:59,480 --> 00:58:00,920
Speaker 5: with the flow, you know.

1250
00:58:01,160 --> 00:58:03,080
Speaker 9: It's like I said, it's like a it was a

1251
00:58:04,160 --> 00:58:06,360
Speaker 9: thing that wasn't even supposed to happen, and I've learned

1252
00:58:06,360 --> 00:58:07,760
Speaker 9: that these kids could rap and they did it and

1253
00:58:07,880 --> 00:58:09,720
Speaker 9: it just turned into that and you just like sitting

1254
00:58:09,760 --> 00:58:11,240
Speaker 9: back watching like this is crazy.

1255
00:58:11,320 --> 00:58:12,960
Speaker 1: And it wasn't hard to keep them focused at all

1256
00:58:13,000 --> 00:58:14,440
Speaker 1: on nah.

1257
00:58:14,720 --> 00:58:16,880
Speaker 9: I mean, because like I said, once again, once they

1258
00:58:17,040 --> 00:58:19,440
Speaker 9: realized that they was rappers, and people was looking at

1259
00:58:19,480 --> 00:58:21,560
Speaker 9: them like this. They were so into it.

1260
00:58:21,640 --> 00:58:23,960
Speaker 5: I wouldn't. I didn't have any problem they was so

1261
00:58:24,280 --> 00:58:25,800
Speaker 5: their appetite was worse than mine.

1262
00:58:26,520 --> 00:58:28,920
Speaker 1: So it was through them that you got to develop

1263
00:58:29,040 --> 00:58:30,400
Speaker 1: your label.

1264
00:58:30,720 --> 00:58:33,040
Speaker 9: Yeah, so Chris crossed SOA eight million, and then Sony

1265
00:58:33,080 --> 00:58:35,960
Speaker 9: wanted to do more business with me, right, and they

1266
00:58:36,080 --> 00:58:37,880
Speaker 9: wanted me to have my own label, and they wanted

1267
00:58:37,880 --> 00:58:39,640
Speaker 9: to see what I could bring. They didn't know they

1268
00:58:39,880 --> 00:58:41,600
Speaker 9: I was nineteen years old, by the way. They didn't

1269
00:58:41,600 --> 00:58:42,160
Speaker 9: know what I could do.

1270
00:58:42,360 --> 00:58:45,000
Speaker 2: So what did you see an Escape that told you, Okay,

1271
00:58:45,320 --> 00:58:47,320
Speaker 2: you guys are next. I see how I can well.

1272
00:58:47,440 --> 00:58:49,880
Speaker 9: Escape came to my house. The same guy I who

1273
00:58:49,920 --> 00:58:52,320
Speaker 9: brought Left out of my house. He brought Escape to

1274
00:58:52,360 --> 00:58:54,520
Speaker 9: my house to sing for my birthday. And there was

1275
00:58:54,600 --> 00:58:56,800
Speaker 9: this girl group from College Park that was out there

1276
00:58:56,880 --> 00:58:59,280
Speaker 9: doing things and they came and they sung Happy Birthday

1277
00:58:59,320 --> 00:59:02,520
Speaker 9: to me, and I was just like, y'all sound different

1278
00:59:02,560 --> 00:59:05,280
Speaker 9: than regular happy birthday than I'm usually here. I'm just

1279
00:59:05,560 --> 00:59:09,360
Speaker 9: I'm liking this happy birthday, right, So I'm like, when

1280
00:59:09,400 --> 00:59:11,360
Speaker 9: I get my label, I'm gonna sign y'all. And they

1281
00:59:11,480 --> 00:59:13,440
Speaker 9: was like, yeah, okay, what if I ain't have social death.

1282
00:59:13,520 --> 00:59:14,880
Speaker 9: I just told them I was gonna do it, same

1283
00:59:14,880 --> 00:59:16,520
Speaker 9: thing I did with Sometimes, Like I just said, I'm

1284
00:59:16,520 --> 00:59:18,400
Speaker 9: gonna do it. I ain't have no label yet, but

1285
00:59:18,480 --> 00:59:19,800
Speaker 9: I knew I was gonna get one because we was

1286
00:59:19,840 --> 00:59:25,240
Speaker 9: selling too many records. So they came and like, I

1287
00:59:25,320 --> 00:59:27,120
Speaker 9: got my deal, and I'll call in. I say, y'all

1288
00:59:27,160 --> 00:59:31,160
Speaker 9: want to sign these girls? And at that point, I

1289
00:59:31,240 --> 00:59:34,160
Speaker 9: knew that I had to define myself as a producer,

1290
00:59:34,160 --> 00:59:36,320
Speaker 9: because that's what I wanted people to pay attention to me.

1291
00:59:36,400 --> 00:59:39,920
Speaker 9: As as a producer, you have to show people that

1292
00:59:40,320 --> 00:59:42,680
Speaker 9: you have the skill to do more than what people

1293
00:59:42,760 --> 00:59:44,800
Speaker 9: thought you could do as you know, just rap music

1294
00:59:44,920 --> 00:59:45,200
Speaker 9: or whatever.

1295
00:59:45,280 --> 00:59:46,400
Speaker 5: This that and the third. And I had all of

1296
00:59:46,400 --> 00:59:46,960
Speaker 5: this other.

1297
00:59:48,360 --> 00:59:51,360
Speaker 9: Musical talent inside my body that I hadn't let out

1298
00:59:51,400 --> 00:59:55,080
Speaker 9: on the Crisscrush record. And I signed Escape and I

1299
00:59:55,160 --> 00:59:57,439
Speaker 9: started writing their songs. And the first song I wrote

1300
00:59:57,480 --> 00:59:59,120
Speaker 9: for them was just kicking It and I, you know,

1301
00:59:59,800 --> 01:00:03,000
Speaker 9: and and I made Candy sing just like I made

1302
01:00:03,080 --> 01:00:05,480
Speaker 9: Tea Boss sing that's why She's low in that song,

1303
01:00:06,680 --> 01:00:08,880
Speaker 9: and you know, it was the same. I had already

1304
01:00:08,920 --> 01:00:10,680
Speaker 9: been setting myself up for this type of stuff, so

1305
01:00:10,720 --> 01:00:13,320
Speaker 9: I just was sending whoever came in through the same

1306
01:00:13,440 --> 01:00:15,160
Speaker 9: process that I had already started earlier.

1307
01:00:15,800 --> 01:00:19,040
Speaker 2: Now, I mean around ninety three, ninety four, ninety five.

1308
01:00:19,400 --> 01:00:22,880
Speaker 2: I mean we're getting into what I feel like the

1309
01:00:24,080 --> 01:00:27,960
Speaker 2: true the business element of hip hop, where now bad

1310
01:00:28,040 --> 01:00:32,680
Speaker 2: boys developing, bad boys developing, Death Row's developing. But then

1311
01:00:32,760 --> 01:00:36,880
Speaker 2: there's also like kind of we're entering the danger zone,

1312
01:00:36,920 --> 01:00:39,400
Speaker 2: like it's not well. I mean, you've been around since

1313
01:00:39,440 --> 01:00:41,520
Speaker 2: you was twelve, so I'm sure you saw some dark

1314
01:00:41,560 --> 01:00:41,920
Speaker 2: shit that.

1315
01:00:43,440 --> 01:00:45,840
Speaker 1: You know, yeah, twelve years shouldn't be seeing.

1316
01:00:46,000 --> 01:00:49,040
Speaker 5: But I mean I've seen people get stabbed after midnight

1317
01:00:49,960 --> 01:00:50,400
Speaker 5: in Philly.

1318
01:00:51,840 --> 01:00:55,240
Speaker 1: Jesus Christ the spaghetti Factory.

1319
01:00:57,440 --> 01:00:58,280
Speaker 6: I wasn't born yet.

1320
01:01:00,160 --> 01:01:05,160
Speaker 1: It was on Spring Garden Spring Gardens who anyway, but it's.

1321
01:01:07,440 --> 01:01:11,160
Speaker 2: At least at that time in ninety four, I considered, okay,

1322
01:01:11,400 --> 01:01:14,680
Speaker 2: now the business mecca to be New York, which is

1323
01:01:14,720 --> 01:01:18,360
Speaker 2: Puffy La, which is sug and Atlanta which is you

1324
01:01:18,880 --> 01:01:23,479
Speaker 2: and Okay, I'll throw in uh Houston, which, of course

1325
01:01:23,480 --> 01:01:24,880
Speaker 2: because I fear for my life.

1326
01:01:25,040 --> 01:01:25,520
Speaker 1: Jay. Friends.

1327
01:01:27,560 --> 01:01:31,320
Speaker 2: So now that you're you're empire, how do you deal

1328
01:01:31,360 --> 01:01:34,720
Speaker 2: with the not the muscle aspect, but now you're playing

1329
01:01:34,760 --> 01:01:37,160
Speaker 2: with the big dogs, and you see what's going on

1330
01:01:37,400 --> 01:01:39,800
Speaker 2: rivalry wise and all that stuff. You've kind of been

1331
01:01:39,880 --> 01:01:43,040
Speaker 2: Switzerland with all this stuff. As far as Neutral been

1332
01:01:43,080 --> 01:01:44,320
Speaker 2: cool with New York Cats, he's.

1333
01:01:44,160 --> 01:01:44,840
Speaker 1: Been cool with LA.

1334
01:01:46,560 --> 01:01:50,520
Speaker 2: How hard was it to maneuver, you know, through what

1335
01:01:50,920 --> 01:01:53,640
Speaker 2: was developing and hip hop at the time in ninety

1336
01:01:53,640 --> 01:01:54,240
Speaker 2: three ninety four.

1337
01:01:54,280 --> 01:01:56,520
Speaker 9: Well, it wasn't for me because I felt like, you know,

1338
01:01:57,440 --> 01:01:59,280
Speaker 9: I started out on the fresh face. So I started

1339
01:01:59,280 --> 01:02:02,080
Speaker 9: out with everybody being my friend. So that was my mentality.

1340
01:02:02,200 --> 01:02:04,439
Speaker 9: So like when Puff started doing parties here in New York,

1341
01:02:04,760 --> 01:02:06,960
Speaker 9: I heard about him. I come to New York and

1342
01:02:07,720 --> 01:02:09,320
Speaker 9: come to Puff parties and see what it was. I

1343
01:02:09,400 --> 01:02:11,440
Speaker 9: wanted to be around all my competition to see what

1344
01:02:11,480 --> 01:02:13,080
Speaker 9: they was doing. So I came to New York. I

1345
01:02:13,200 --> 01:02:15,520
Speaker 9: became Puff's friend. We called it hang it Out. I

1346
01:02:15,640 --> 01:02:17,840
Speaker 9: go to his party's party kick and see how he's

1347
01:02:17,880 --> 01:02:19,600
Speaker 9: throwing parties. And I go back to Atlanta. I throw

1348
01:02:19,640 --> 01:02:20,640
Speaker 9: my parties right.

1349
01:02:21,000 --> 01:02:21,560
Speaker 1: And then.

1350
01:02:23,720 --> 01:02:26,640
Speaker 9: Once I would come back to Atlanta and throw my parties,

1351
01:02:27,400 --> 01:02:29,520
Speaker 9: I would say, like, Yo, I met these guys. I

1352
01:02:29,640 --> 01:02:31,680
Speaker 9: need to call them down to Atlanta and come, you know,

1353
01:02:31,800 --> 01:02:33,880
Speaker 9: come party with what I'm doing, right, And they and

1354
01:02:33,960 --> 01:02:38,200
Speaker 9: they I think my non interest in what they was

1355
01:02:38,320 --> 01:02:41,600
Speaker 9: doing was interesting to them. Like I wasn't interested in

1356
01:02:41,760 --> 01:02:44,439
Speaker 9: what whatever they was, Whatever they was doing, that was cool.

1357
01:02:44,440 --> 01:02:45,960
Speaker 9: I was still trying to do what I was doing,

1358
01:02:46,200 --> 01:02:49,040
Speaker 9: you know what I'm saying. So, like when all the

1359
01:02:49,200 --> 01:02:51,320
Speaker 9: artists or record labels was doing rap, I went and

1360
01:02:51,400 --> 01:02:53,560
Speaker 9: did R and B album, so they wouldn't really they

1361
01:02:53,600 --> 01:02:54,360
Speaker 9: couldn't follow.

1362
01:02:55,000 --> 01:02:57,120
Speaker 5: I didn't have no pattern that everybody was going on.

1363
01:02:57,200 --> 01:02:59,640
Speaker 5: I was going through. Like when I did Escape, nobody

1364
01:02:59,680 --> 01:03:01,920
Speaker 5: else was making R and B. You know R and

1365
01:03:02,000 --> 01:03:02,400
Speaker 5: B groups.

1366
01:03:02,400 --> 01:03:04,959
Speaker 9: Everybody wanted the rat right, So then when I would

1367
01:03:05,120 --> 01:03:07,960
Speaker 9: did the Brat, nobody wouldn't fucking with female rappers. They

1368
01:03:08,080 --> 01:03:09,880
Speaker 9: was all trying to do guys, and it was like

1369
01:03:09,960 --> 01:03:12,240
Speaker 9: so I just kept seeing this like, oh, I'm a

1370
01:03:12,360 --> 01:03:14,160
Speaker 9: maneuver like this, I'm gonna do something differ, I'm gonna

1371
01:03:14,160 --> 01:03:17,640
Speaker 9: do something different. So long story short, I just I

1372
01:03:17,960 --> 01:03:19,760
Speaker 9: saw that as my place. I saw these guys just

1373
01:03:19,800 --> 01:03:22,000
Speaker 9: trying to fight for the same space, and I'm like, shit,

1374
01:03:22,040 --> 01:03:23,920
Speaker 9: I'm cool, I'm getting my money, I'm doing I'm doing

1375
01:03:23,920 --> 01:03:26,080
Speaker 9: in my own space, and I'm gonna just be cool

1376
01:03:26,080 --> 01:03:30,520
Speaker 9: with them. I didn't even know like how serious this

1377
01:03:30,800 --> 01:03:34,360
Speaker 9: East Coast West coast thing was getting. So I invited

1378
01:03:34,760 --> 01:03:37,960
Speaker 9: both Puff and Shug to my birthday party in Atlanta

1379
01:03:39,960 --> 01:03:43,680
Speaker 9: and not thinking about anything, like, you know, just come.

1380
01:03:43,760 --> 01:03:44,920
Speaker 9: I want you all to be there. I want to

1381
01:03:44,960 --> 01:03:48,040
Speaker 9: have that flavor in Atlanta and at my birthday party,

1382
01:03:51,280 --> 01:03:56,680
Speaker 9: I don't know, somewhere around before well, this is when

1383
01:03:56,720 --> 01:03:57,240
Speaker 9: it hit the fan.

1384
01:03:57,560 --> 01:03:59,919
Speaker 5: I remember, this is this is when it hit fans.

1385
01:04:00,000 --> 01:04:03,959
Speaker 1: Wait a minute, that was your birthday in the movie,

1386
01:04:04,000 --> 01:04:05,040
Speaker 1: but they never said it was.

1387
01:04:05,880 --> 01:04:07,960
Speaker 5: It was my birthday party when the ship hit the fan.

1388
01:04:08,720 --> 01:04:09,320
Speaker 1: I didn't even know.

1389
01:04:10,040 --> 01:04:12,800
Speaker 9: Yeah, and I didn't I didn't realize that that was

1390
01:04:12,840 --> 01:04:15,960
Speaker 9: what was happening. But they both were brought to Atlanta

1391
01:04:16,000 --> 01:04:18,920
Speaker 9: by me, and they came to Atlanta and you know,

1392
01:04:19,920 --> 01:04:21,880
Speaker 9: they were eyeing each other throughout the party and it

1393
01:04:22,000 --> 01:04:24,680
Speaker 9: was like a thing. But I'm thinking, you know, that's

1394
01:04:24,680 --> 01:04:26,640
Speaker 9: how hip hop is. And then it got to it

1395
01:04:26,760 --> 01:04:28,920
Speaker 9: after my after my party, went to an after party,

1396
01:04:29,480 --> 01:04:33,400
Speaker 9: and you know, words was said and somebody got killed.

1397
01:04:35,800 --> 01:04:42,920
Speaker 1: Y'all. I didn't even know. Okay, that's course. Now I'm

1398
01:04:42,960 --> 01:04:46,080
Speaker 1: like trying to figure out where, like where does the

1399
01:04:46,200 --> 01:04:51,120
Speaker 1: B side fit into this okay, so so so there's

1400
01:04:51,120 --> 01:04:51,800
Speaker 1: so many stories.

1401
01:04:51,800 --> 01:04:55,040
Speaker 9: But all right, So, when like I said, me and

1402
01:04:55,120 --> 01:04:57,960
Speaker 9: Puff was cool throughout this whole period of making music,

1403
01:04:58,040 --> 01:05:01,520
Speaker 9: and at this time, Functified came out, and it was

1404
01:05:01,640 --> 01:05:05,040
Speaker 9: three hot records that came out. One was super Hot,

1405
01:05:05,120 --> 01:05:07,760
Speaker 9: which was Flavoring in Your Ear, the second one was

1406
01:05:07,840 --> 01:05:10,240
Speaker 9: Functified with Me and the Brat, and then the third

1407
01:05:10,360 --> 01:05:12,600
Speaker 9: was Juicy Fall of Hip Hop. People that it wasn't

1408
01:05:12,640 --> 01:05:17,439
Speaker 9: a successful record like Functified and Plaving Year, so Big

1409
01:05:17,640 --> 01:05:21,560
Speaker 9: was all. Big was so frustrated with the fact that

1410
01:05:21,680 --> 01:05:26,160
Speaker 9: we was having success and Flavor Year was killing him

1411
01:05:26,200 --> 01:05:28,280
Speaker 9: and he was coming on stage and people weren't really

1412
01:05:28,440 --> 01:05:32,280
Speaker 9: like understanding who they was looking at. So then Big thought,

1413
01:05:34,160 --> 01:05:35,840
Speaker 9: I'm gonna get cool with JD and I'm gonna get

1414
01:05:35,920 --> 01:05:38,840
Speaker 9: him to make me a beat. So every day we

1415
01:05:38,920 --> 01:05:40,720
Speaker 9: went on this tour, we went on a chintlest circuit

1416
01:05:40,720 --> 01:05:43,000
Speaker 9: tour where it was just these three artists to Brad,

1417
01:05:43,080 --> 01:05:45,640
Speaker 9: crag Back and Biggie and we went all around the

1418
01:05:45,720 --> 01:05:49,240
Speaker 9: little chitting thirds and did all these shows. So in

1419
01:05:49,360 --> 01:05:51,760
Speaker 9: that time period, me and Biggie became really cool, and

1420
01:05:51,840 --> 01:05:54,000
Speaker 9: he talked to me all the time about how did,

1421
01:05:54,240 --> 01:05:55,360
Speaker 9: like how did you get honeyed?

1422
01:05:55,800 --> 01:05:56,960
Speaker 5: How you get honey popping?

1423
01:05:57,080 --> 01:05:57,240
Speaker 6: Like that?

1424
01:05:57,480 --> 01:05:59,920
Speaker 9: Like why people don't like my record? Like he used

1425
01:05:59,920 --> 01:06:02,040
Speaker 9: to asked me all kind of crazy questions, like because

1426
01:06:02,360 --> 01:06:05,520
Speaker 9: he was under the impression that nobody like she was nobody,

1427
01:06:05,840 --> 01:06:08,240
Speaker 9: like because we was in the South, but what this

1428
01:06:08,400 --> 01:06:10,160
Speaker 9: is not New York, this is the South. We was

1429
01:06:10,240 --> 01:06:14,440
Speaker 9: in Florida, we was doing in Atlanta. Juicy wasn't nothing serious,

1430
01:06:14,680 --> 01:06:16,880
Speaker 9: nothing but the numbers.

1431
01:06:16,960 --> 01:06:19,640
Speaker 1: So that was all New York. That's all Northeast, all Northeast.

1432
01:06:21,440 --> 01:06:24,080
Speaker 2: That's crazy because even culturally, I would think that when

1433
01:06:24,160 --> 01:06:29,520
Speaker 2: the smoke clears mm hmm, Juicy sort of inched everybody

1434
01:06:29,600 --> 01:06:32,320
Speaker 2: freestyle over yeah, out of your ear.

1435
01:06:32,440 --> 01:06:34,800
Speaker 1: But I feel like Juicy is more iconic.

1436
01:06:35,160 --> 01:06:37,120
Speaker 5: It is, but it was like it took forever.

1437
01:06:37,480 --> 01:06:38,240
Speaker 1: You had to die too.

1438
01:06:38,720 --> 01:06:40,560
Speaker 5: No, No, it wasn't that. It was it just had

1439
01:06:40,600 --> 01:06:41,840
Speaker 5: to be worked. It was just, you know, it was

1440
01:06:41,880 --> 01:06:43,640
Speaker 5: the beginning of working your rap records.

1441
01:06:44,120 --> 01:06:44,560
Speaker 1: Hard sell.

1442
01:06:44,760 --> 01:06:46,880
Speaker 9: It was a hard sell work. The Juicy record was

1443
01:06:46,920 --> 01:06:50,440
Speaker 9: a hard sell for for for the other areas, like

1444
01:06:50,840 --> 01:06:53,720
Speaker 9: the South, you know what I mean. It's almost like yeah,

1445
01:06:53,800 --> 01:06:57,080
Speaker 9: so you know, Biggie was like, yo, you know, make

1446
01:06:57,160 --> 01:06:59,040
Speaker 9: me a record, do something for me, man, let me

1447
01:06:59,120 --> 01:07:01,160
Speaker 9: do something, do something. So he asked me so many

1448
01:07:01,280 --> 01:07:05,560
Speaker 9: times that once they released Big Papa, he wanted me

1449
01:07:05,640 --> 01:07:09,760
Speaker 9: to do the Big Papa. So he told Puff JD's

1450
01:07:09,800 --> 01:07:11,640
Speaker 9: doing the remix of Big Papa. Because he didn't believe

1451
01:07:11,640 --> 01:07:13,080
Speaker 9: in the success of Big Paper. He didn't think it

1452
01:07:13,120 --> 01:07:14,840
Speaker 9: was gonna work. He thought they was gonna have to

1453
01:07:14,880 --> 01:07:16,200
Speaker 9: put out the JD version.

1454
01:07:16,120 --> 01:07:18,640
Speaker 1: In Indiana where I grew up. That's the version. That's

1455
01:07:18,680 --> 01:07:25,360
Speaker 1: the version we heard on the radio all the time. Damn, goddamn.

1456
01:07:27,720 --> 01:07:28,040
Speaker 1: All right.

1457
01:07:28,160 --> 01:07:33,440
Speaker 9: So when Biggie, when Biggie came to do well what

1458
01:07:33,920 --> 01:07:35,920
Speaker 9: So Biggie said, Yo, I want to do a real remix.

1459
01:07:36,000 --> 01:07:38,080
Speaker 9: I want you to redo the beat. I don't want

1460
01:07:38,080 --> 01:07:40,040
Speaker 9: to rap over this, I want you to take Let's

1461
01:07:40,080 --> 01:07:41,840
Speaker 9: do a real remix. So he wanted to actually make

1462
01:07:41,840 --> 01:07:43,600
Speaker 9: a new song. In his mind, he was like, Yo,

1463
01:07:43,640 --> 01:07:44,920
Speaker 9: I'm gonna go to Atlanta. I'm gonna make a new

1464
01:07:44,960 --> 01:07:48,080
Speaker 9: record and it's gonna relaunch my career. So he came

1465
01:07:48,160 --> 01:07:51,200
Speaker 9: to Atlanta. I said, we're gonna re vocal Big I

1466
01:07:51,240 --> 01:07:53,360
Speaker 9: mean Big Papa. I'm gonna give you a beat and

1467
01:07:53,400 --> 01:07:56,080
Speaker 9: you could do the rap over. So I made the

1468
01:07:56,160 --> 01:08:00,320
Speaker 9: beat and he rapped the song over when he finished rapping,

1469
01:08:00,320 --> 01:08:02,160
Speaker 9: because he rapped the song so fast and he was

1470
01:08:02,240 --> 01:08:04,400
Speaker 9: done so quick. When he finished, He's like, let's make

1471
01:08:04,400 --> 01:08:06,920
Speaker 9: another song. And he was like, where honey at? And

1472
01:08:06,920 --> 01:08:08,720
Speaker 9: I'm like, who you talking about it? He was like, Brat,

1473
01:08:09,560 --> 01:08:14,080
Speaker 9: what's she hit her over here? Brad Brat actually lived

1474
01:08:14,160 --> 01:08:16,960
Speaker 9: upstairs in my mother's house, so she was upstairs and

1475
01:08:17,040 --> 01:08:18,560
Speaker 9: he ain't no, So I was like, she upstairs, I

1476
01:08:18,680 --> 01:08:21,040
Speaker 9: tell her come now, So he came downstairs. He was like, Yo,

1477
01:08:21,080 --> 01:08:23,240
Speaker 9: I want to do so on honeyman make a record

1478
01:08:23,240 --> 01:08:25,000
Speaker 9: and do some on honey. I'm like, all right, let's

1479
01:08:25,040 --> 01:08:28,800
Speaker 9: do it. So I wouldn't. I was just like I

1480
01:08:28,960 --> 01:08:31,000
Speaker 9: know what he want. I was just trying to think of,

1481
01:08:31,160 --> 01:08:35,080
Speaker 9: like what would be a jump fast record for Biggie

1482
01:08:35,320 --> 01:08:38,200
Speaker 9: if I could give him that record, and I wanted

1483
01:08:38,240 --> 01:08:38,960
Speaker 9: to give him a loop.

1484
01:08:39,000 --> 01:08:39,400
Speaker 5: I wouldn't.

1485
01:08:39,439 --> 01:08:41,160
Speaker 9: I wasn't trying to just make a beat. I was like,

1486
01:08:41,160 --> 01:08:43,360
Speaker 9: we're gonna sample something. You know, we're gonna figure it out.

1487
01:08:44,160 --> 01:08:46,400
Speaker 9: And I put up the outstanding beat the loop, and

1488
01:08:46,640 --> 01:08:49,479
Speaker 9: I was like, rap over this, and you know this

1489
01:08:49,680 --> 01:08:52,880
Speaker 9: guy's look incredible. He made that beat sound like it

1490
01:08:52,920 --> 01:08:54,479
Speaker 9: had a bass line on it before I even put

1491
01:08:54,520 --> 01:08:56,720
Speaker 9: the bassline on there. So then I was just like,

1492
01:08:57,040 --> 01:08:58,640
Speaker 9: he was like, brat, you're gonna come in after me.

1493
01:08:58,760 --> 01:09:02,000
Speaker 9: So he started making the song and I'm trying to

1494
01:09:02,080 --> 01:09:03,960
Speaker 9: make the beat at the same time while he's rapping,

1495
01:09:04,040 --> 01:09:06,000
Speaker 9: and this song just happened. That's why we don't have

1496
01:09:06,080 --> 01:09:07,680
Speaker 9: no titles called the B side. It was just like,

1497
01:09:08,320 --> 01:09:09,240
Speaker 9: what's the name of this song?

1498
01:09:09,280 --> 01:09:11,720
Speaker 5: Went fuck? That just rap and it was like that's

1499
01:09:11,760 --> 01:09:12,759
Speaker 5: how the song came about.

1500
01:09:13,280 --> 01:09:18,880
Speaker 2: So man, all right, so I okay, I'm skipping a

1501
01:09:18,920 --> 01:09:21,800
Speaker 2: little bit because I know we got limited time. But

1502
01:09:23,960 --> 01:09:27,400
Speaker 2: even though I mean, you're you're associated with many artists,

1503
01:09:27,439 --> 01:09:31,080
Speaker 2: I always feel like your crowning achievement as a producer

1504
01:09:32,320 --> 01:09:33,439
Speaker 2: was working with Usher.

1505
01:09:35,280 --> 01:09:35,880
Speaker 1: Yeah, And.

1506
01:09:37,360 --> 01:09:43,000
Speaker 2: First of all, how does that happen? Because you you spearheading,

1507
01:09:43,240 --> 01:09:48,160
Speaker 2: like how do you take the little kid who did

1508
01:09:48,320 --> 01:09:51,320
Speaker 2: just call me a mac? And how did you how

1509
01:09:51,400 --> 01:09:55,720
Speaker 2: did you take him and fully develop him into the

1510
01:09:55,920 --> 01:09:58,479
Speaker 2: artist as far as like choosing his songs and like

1511
01:09:58,640 --> 01:09:59,760
Speaker 2: what was it that?

1512
01:10:01,960 --> 01:10:04,599
Speaker 9: It's basically the same situation that I had already been through,

1513
01:10:04,920 --> 01:10:09,800
Speaker 9: right I started Usher, Usher came to me when Chris

1514
01:10:09,920 --> 01:10:12,479
Speaker 9: Crust was popping and he asked me to sign him.

1515
01:10:13,000 --> 01:10:14,840
Speaker 9: I told him no because I was tired of dealing

1516
01:10:14,880 --> 01:10:17,240
Speaker 9: with parents at this particular point point Whence Chris Cruss

1517
01:10:17,280 --> 01:10:20,120
Speaker 9: was getting big and they parents was like arguing and fighting.

1518
01:10:20,160 --> 01:10:21,640
Speaker 9: It was all a parents and I'm like, I'm not

1519
01:10:21,720 --> 01:10:23,040
Speaker 9: dealing with this shit no more. I don't want no

1520
01:10:23,120 --> 01:10:25,840
Speaker 9: kid rappers, I mean kid artists. So I passed on

1521
01:10:25,920 --> 01:10:29,200
Speaker 9: signing Usher, and then Face signed Usher, right, So then

1522
01:10:29,560 --> 01:10:32,320
Speaker 9: that called me a mac album didn't really really work,

1523
01:10:32,760 --> 01:10:36,599
Speaker 9: but everybody felt like Jamaine could revive your career if

1524
01:10:36,640 --> 01:10:42,519
Speaker 9: you go to a remix. So they brought me, what's

1525
01:10:42,560 --> 01:10:44,439
Speaker 9: the song think of You?

1526
01:10:44,840 --> 01:10:44,960
Speaker 1: Right?

1527
01:10:45,200 --> 01:10:46,840
Speaker 9: So they brought me think of You and they said, Jamae,

1528
01:10:46,960 --> 01:10:48,840
Speaker 9: please do a remix to think of You. So I

1529
01:10:48,920 --> 01:10:50,960
Speaker 9: did a remix to think of You. And in the

1530
01:10:51,000 --> 01:10:52,920
Speaker 9: midst of that, I felt like the song needed a

1531
01:10:52,960 --> 01:10:55,840
Speaker 9: bridge cause I was just trying to figure out some

1532
01:10:55,960 --> 01:10:57,960
Speaker 9: way to make my remix feel different than the record.

1533
01:10:58,000 --> 01:10:59,400
Speaker 9: So I added a bridge to the song and I

1534
01:10:59,439 --> 01:11:01,040
Speaker 9: told Usher he had to come in and sing the

1535
01:11:01,080 --> 01:11:03,760
Speaker 9: bridge over. So when he came in, he sung the

1536
01:11:03,800 --> 01:11:05,559
Speaker 9: bridge that I had written for him and he sung

1537
01:11:05,600 --> 01:11:07,240
Speaker 9: it just like I had him, like I did it.

1538
01:11:07,360 --> 01:11:10,120
Speaker 9: And then they heard his vocals and they was like,

1539
01:11:10,160 --> 01:11:12,640
Speaker 9: oh shit, what did you do to him? And I'm like,

1540
01:11:12,760 --> 01:11:14,680
Speaker 9: I just told him to sing the bridge? And they

1541
01:11:14,800 --> 01:11:16,800
Speaker 9: was like, well, would you work on his next album?

1542
01:11:16,960 --> 01:11:18,720
Speaker 9: Like just take him and do whatever the hell you

1543
01:11:18,800 --> 01:11:21,719
Speaker 9: want to do with him, And I'm like that sounds crazy,

1544
01:11:22,080 --> 01:11:24,400
Speaker 9: but okay, and I ain't know what to do, you know,

1545
01:11:24,439 --> 01:11:26,080
Speaker 9: I mean, I didn't know. They just put it in

1546
01:11:26,160 --> 01:11:27,960
Speaker 9: my hands and I felt and I found out that

1547
01:11:28,640 --> 01:11:30,840
Speaker 9: if it didn't work with me, Usher would have probably

1548
01:11:30,840 --> 01:11:33,960
Speaker 9: got dropped, right, So yeah, So, I mean, you know,

1549
01:11:34,280 --> 01:11:36,040
Speaker 9: Usher came to my house and he became like a

1550
01:11:36,120 --> 01:11:39,160
Speaker 9: social death artist. He basically stayed in my house every

1551
01:11:39,280 --> 01:11:41,320
Speaker 9: night and we just talked and worked and talked and

1552
01:11:41,400 --> 01:11:43,479
Speaker 9: worked and talked and worked until we got to my way.

1553
01:11:43,600 --> 01:11:46,719
Speaker 2: Well, what's the process of you getting these songs album?

1554
01:11:46,880 --> 01:11:49,000
Speaker 2: Because I mean, these aren't like average songs, these are

1555
01:11:49,040 --> 01:11:51,040
Speaker 2: like staples you make me wonder and all that stuff like.

1556
01:11:51,160 --> 01:11:52,000
Speaker 1: How did you.

1557
01:11:53,880 --> 01:11:56,080
Speaker 2: What's your process of getting to know the artists and

1558
01:11:56,120 --> 01:11:57,559
Speaker 2: what type of songs the right song?

1559
01:11:57,680 --> 01:11:58,400
Speaker 1: And hoot it?

1560
01:11:58,600 --> 01:11:59,960
Speaker 9: I mean, well, I went through a bunch of record

1561
01:12:00,120 --> 01:12:06,400
Speaker 9: I've started making songs that I thought were like I

1562
01:12:06,479 --> 01:12:08,280
Speaker 9: don't even know what you could call the first songs,

1563
01:12:08,320 --> 01:12:09,880
Speaker 9: but I know that he said, y'all, I don't want

1564
01:12:09,920 --> 01:12:12,439
Speaker 9: to be like that. I want to be like Bobby Brown.

1565
01:12:12,600 --> 01:12:14,640
Speaker 9: I want Bobby Brown to fear me. So then I

1566
01:12:14,760 --> 01:12:16,280
Speaker 9: started looking at my prerogative.

1567
01:12:16,880 --> 01:12:17,120
Speaker 1: Check.

1568
01:12:17,520 --> 01:12:20,920
Speaker 9: So I started looking at my prerogative and I'm like, okay, well,

1569
01:12:21,520 --> 01:12:22,679
Speaker 9: I'm thinking like, I can't.

1570
01:12:22,520 --> 01:12:24,800
Speaker 5: Make no harder record than my prerogative.

1571
01:12:24,800 --> 01:12:27,200
Speaker 9: This shit is crazy, and Teddy Rowley's my idol, so

1572
01:12:27,240 --> 01:12:29,559
Speaker 9: I'm not. I'm like, he, I can't make a better

1573
01:12:29,640 --> 01:12:31,920
Speaker 9: record than my prerogative. So I was just trying to

1574
01:12:32,000 --> 01:12:34,439
Speaker 9: make records that I felt like would go to bat

1575
01:12:34,479 --> 01:12:37,479
Speaker 9: with these songs at least, right. So I made Nice

1576
01:12:37,479 --> 01:12:40,040
Speaker 9: and Slow and I played it for La and he

1577
01:12:40,080 --> 01:12:43,080
Speaker 9: didn't like that song, and I'm like, how do you

1578
01:12:43,120 --> 01:12:45,240
Speaker 9: don't like this song? And I'm like, nobody's doing this,

1579
01:12:45,400 --> 01:12:48,800
Speaker 9: nobody's doing you hear how Usher's singing seven on the

1580
01:12:49,720 --> 01:12:51,120
Speaker 9: top top dudes in the streets.

1581
01:12:51,120 --> 01:12:52,680
Speaker 5: I'm saying, who you know talking like this?

1582
01:12:53,200 --> 01:12:55,920
Speaker 9: As an R and B artist, they wonn't getting none

1583
01:12:55,920 --> 01:12:58,080
Speaker 9: of that shit, so that song was like put to

1584
01:12:58,160 --> 01:13:04,280
Speaker 9: the side. So then Usher was like, man, this I

1585
01:13:04,439 --> 01:13:06,720
Speaker 9: need something like prerogative. This is my I want this

1586
01:13:06,760 --> 01:13:12,000
Speaker 9: ship my way and I was like, oh, my way, okay,

1587
01:13:13,000 --> 01:13:14,960
Speaker 9: let's do that. Let's do it your way, and we

1588
01:13:15,120 --> 01:13:17,120
Speaker 9: started making my way and then we got to my way.

1589
01:13:17,840 --> 01:13:19,479
Speaker 9: My way was probably gonna be the first single. I

1590
01:13:19,520 --> 01:13:21,719
Speaker 9: didn't have You Make Me Want him, and my Way's

1591
01:13:21,720 --> 01:13:24,439
Speaker 9: probably gonna be the first single. And I wrote him

1592
01:13:24,439 --> 01:13:24,720
Speaker 9: a rap.

1593
01:13:24,800 --> 01:13:26,439
Speaker 5: He was rapping it. It just felt like it was

1594
01:13:26,560 --> 01:13:30,400
Speaker 5: like the new sounds for Usher, but I still wasn't convinced.

1595
01:13:30,920 --> 01:13:33,160
Speaker 9: I wasn't sold yet. I was like, uh, d ain't

1596
01:13:33,240 --> 01:13:35,040
Speaker 9: like nice and slow and I was on the nice

1597
01:13:35,040 --> 01:13:36,760
Speaker 9: and slow shit. I was trying to get that off

1598
01:13:36,960 --> 01:13:41,400
Speaker 9: like the singing rap type singing right, and they weren't

1599
01:13:41,439 --> 01:13:45,000
Speaker 9: really soul on it. So LA was like, we're gonna

1600
01:13:45,000 --> 01:13:48,760
Speaker 9: put out My Way as the first single. And when

1601
01:13:48,800 --> 01:13:50,560
Speaker 9: he told me that, I left the office and I

1602
01:13:50,640 --> 01:13:52,840
Speaker 9: went home and I started making you make Me Want him?

1603
01:13:52,880 --> 01:13:55,479
Speaker 9: And I was like, I just felt like he didn't

1604
01:13:55,520 --> 01:13:57,680
Speaker 9: have that one yet. I was didn't he didn't have

1605
01:13:57,800 --> 01:13:59,400
Speaker 9: that one, So I started making you make Me want

1606
01:13:59,439 --> 01:14:01,400
Speaker 9: and I wrote the first verse and I had to

1607
01:14:01,479 --> 01:14:03,880
Speaker 9: hook and I played it for USh and he was like, man,

1608
01:14:04,320 --> 01:14:06,960
Speaker 9: I ain't really what I'm talking about, because he wanted

1609
01:14:07,000 --> 01:14:10,160
Speaker 9: tomorrow way. He wanted the prerogative, you know, he wanted that.

1610
01:14:11,080 --> 01:14:13,280
Speaker 9: So I was like, I say, you tripp him. So

1611
01:14:13,400 --> 01:14:15,040
Speaker 9: I left and I took this song back to the

1612
01:14:15,120 --> 01:14:16,519
Speaker 9: Face and I played the song for l A and

1613
01:14:16,600 --> 01:14:18,760
Speaker 9: he was like, yo, go finish that song right now.

1614
01:14:18,840 --> 01:14:19,080
Speaker 5: That's it.

1615
01:14:19,880 --> 01:14:21,519
Speaker 9: So I went back to the studio and I finished

1616
01:14:21,720 --> 01:14:23,240
Speaker 9: you know you make me want to and I got

1617
01:14:23,360 --> 01:14:25,280
Speaker 9: Usher on the song and he sung the song like

1618
01:14:25,360 --> 01:14:27,599
Speaker 9: he loved it, and the rest is history.

1619
01:14:28,160 --> 01:14:33,080
Speaker 1: How often do you have to browbeat your artist when

1620
01:14:33,120 --> 01:14:33,920
Speaker 1: it comes to vocals?

1621
01:14:34,760 --> 01:14:35,120
Speaker 5: Bribe?

1622
01:14:35,760 --> 01:14:36,960
Speaker 1: No, browbeat. I'm sorry.

1623
01:14:37,000 --> 01:14:39,960
Speaker 2: I've made it known on the show that the one

1624
01:14:40,040 --> 01:14:43,599
Speaker 2: process of production I hate the most is vocal takes.

1625
01:14:44,320 --> 01:14:46,400
Speaker 2: I hate that shit. So usually I have someone else

1626
01:14:47,160 --> 01:14:49,960
Speaker 2: because I don't have a good chemistry. Yeah, I don't

1627
01:14:50,000 --> 01:14:50,559
Speaker 2: have the patience.

1628
01:14:51,760 --> 01:14:52,559
Speaker 1: So how do you.

1629
01:14:54,640 --> 01:14:56,800
Speaker 2: Especially at the time, I mean, I mean, pro tools

1630
01:14:56,880 --> 01:15:00,639
Speaker 2: was the thing here and there, but you weren't mid nineties,

1631
01:15:00,680 --> 01:15:01,599
Speaker 2: early mid nineties.

1632
01:15:01,680 --> 01:15:04,479
Speaker 1: You work, yeah, literally working this well.

1633
01:15:04,520 --> 01:15:05,360
Speaker 5: See, my thing is this.

1634
01:15:06,200 --> 01:15:10,120
Speaker 9: You know, if you can really sing and you understand

1635
01:15:10,600 --> 01:15:14,800
Speaker 9: music and you listen to my demo, then automatically it's

1636
01:15:14,800 --> 01:15:17,280
Speaker 9: gonna sound better than what I'm listening to anyway, or

1637
01:15:17,320 --> 01:15:18,400
Speaker 9: what I'm thinking anyway.

1638
01:15:18,600 --> 01:15:20,040
Speaker 5: Right, So that's how I make my records.

1639
01:15:20,080 --> 01:15:22,320
Speaker 9: I'm like, listen to me first, and do exactly what

1640
01:15:22,400 --> 01:15:24,160
Speaker 9: I'm doing, but do it the way you would do

1641
01:15:24,200 --> 01:15:25,920
Speaker 9: it in your real singing voice. So most of the

1642
01:15:25,960 --> 01:15:27,800
Speaker 9: time when they do that, that shit starts starting to

1643
01:15:27,840 --> 01:15:29,639
Speaker 9: sound way better than what I'm thinking.

1644
01:15:29,800 --> 01:15:32,920
Speaker 1: So for every for every hit that you have that

1645
01:15:33,040 --> 01:15:33,439
Speaker 1: I wrote.

1646
01:15:40,439 --> 01:15:42,880
Speaker 9: So I mean, I did this last like two weeks ago,

1647
01:15:43,360 --> 01:15:46,560
Speaker 9: three weeks ago at the ASCAP convention in LA and

1648
01:15:46,640 --> 01:15:49,040
Speaker 9: it was like going start play go under the Hood

1649
01:15:49,120 --> 01:15:54,000
Speaker 9: of Confessions, and I gave them basically a snap look

1650
01:15:54,120 --> 01:15:56,000
Speaker 9: at how I wrote that song and how the song

1651
01:15:56,120 --> 01:15:59,200
Speaker 9: came about and let them, you know, listen to me

1652
01:15:59,400 --> 01:16:00,680
Speaker 9: actually sing a song like that.

1653
01:16:02,640 --> 01:16:04,519
Speaker 1: That's interesting. I would know. I would love to hear that.

1654
01:16:05,640 --> 01:16:08,600
Speaker 7: No, not just because it's interesting, Like I was the

1655
01:16:08,640 --> 01:16:10,320
Speaker 7: type of kid that took all my toys apart because

1656
01:16:10,320 --> 01:16:12,120
Speaker 7: I wanted to see how they worked. So like to

1657
01:16:12,200 --> 01:16:14,080
Speaker 7: be able to hear a demo, your demo of a

1658
01:16:14,160 --> 01:16:15,840
Speaker 7: song like nice and Slow or something like that, but

1659
01:16:16,080 --> 01:16:18,479
Speaker 7: just is fascinating to me. It's bad, but you know,

1660
01:16:20,160 --> 01:16:22,040
Speaker 7: but it's still but if I heard it, I could

1661
01:16:22,080 --> 01:16:25,240
Speaker 7: still hear how from that to the version that we do.

1662
01:16:26,360 --> 01:16:28,640
Speaker 9: And that's why when you introduce when you sound get

1663
01:16:28,680 --> 01:16:31,400
Speaker 9: the credit. I feel like people don't really understand that

1664
01:16:31,640 --> 01:16:34,599
Speaker 9: those Usher records is why Trey songs sound the way

1665
01:16:34,640 --> 01:16:37,560
Speaker 9: he sounded and the way Chris Brown started singing the

1666
01:16:37,560 --> 01:16:38,160
Speaker 9: way he sings.

1667
01:16:38,240 --> 01:16:40,800
Speaker 5: This is these records created that sund Yeah, it was.

1668
01:16:40,800 --> 01:16:44,080
Speaker 1: Definitely the template for it. I know that. Also, Mariah

1669
01:16:45,200 --> 01:16:49,080
Speaker 1: came to you at a crucial point in her career.

1670
01:16:51,880 --> 01:16:52,639
Speaker 1: Not a crucial point.

1671
01:16:53,080 --> 01:16:54,960
Speaker 5: I did always be my baby, That's what I'm talking about.

1672
01:16:55,040 --> 01:16:55,679
Speaker 5: That wasn't crucial.

1673
01:16:55,760 --> 01:17:00,920
Speaker 2: She was the thing was you gotta understand though, always

1674
01:17:00,960 --> 01:17:04,479
Speaker 2: be my baby in Fantasy Remix. That was a very

1675
01:17:04,680 --> 01:17:07,160
Speaker 2: radical term for her, at least from the tutelage that

1676
01:17:07,280 --> 01:17:10,800
Speaker 2: she was under with Tommy Mintolan with making sure that

1677
01:17:10,920 --> 01:17:14,160
Speaker 2: I mean okay, like dude, dream Lover had the break

1678
01:17:14,200 --> 01:17:16,559
Speaker 2: being and all that stuff. It was cute, but it's

1679
01:17:16,560 --> 01:17:19,479
Speaker 2: still like it was in major key like it wouldn't

1680
01:17:19,479 --> 01:17:22,800
Speaker 2: start no riot at no mall in America, but at

1681
01:17:22,880 --> 01:17:25,360
Speaker 2: least with nineteen ninety five, with her insistent like yo,

1682
01:17:25,439 --> 01:17:28,280
Speaker 2: I'm trying to make some shit that like I would

1683
01:17:28,320 --> 01:17:31,840
Speaker 2: listen to in the club, like her going to Wu

1684
01:17:31,920 --> 01:17:36,479
Speaker 2: Tang and Puffy and going to you. It's like that

1685
01:17:36,920 --> 01:17:40,640
Speaker 2: was in my eyes radical, which you know, getting the

1686
01:17:40,680 --> 01:17:44,320
Speaker 2: record and being a connoisseur of credits, I'm like, oh,

1687
01:17:45,160 --> 01:17:46,640
Speaker 2: they're loosening the reins on her.

1688
01:17:46,880 --> 01:17:51,880
Speaker 1: They're letting her work with us. Yeah, and that's what it.

1689
01:17:52,120 --> 01:17:55,800
Speaker 2: So first of all, in working with her, was it

1690
01:17:55,880 --> 01:17:58,960
Speaker 2: a thing of like you getting extrustions like don't go

1691
01:17:59,080 --> 01:18:01,360
Speaker 2: to hardcore, don't you know we already have one moot tak,

1692
01:18:01,400 --> 01:18:03,240
Speaker 2: so only just try to give her no.

1693
01:18:03,360 --> 01:18:07,400
Speaker 9: We had this conversation last night. I'm I'm the musical

1694
01:18:07,479 --> 01:18:10,040
Speaker 9: person when it comes to Mariah Carey, she's the rapper.

1695
01:18:10,720 --> 01:18:13,799
Speaker 9: It completely a flip when we go in the studio.

1696
01:18:13,880 --> 01:18:15,760
Speaker 9: We had the same conversation last night.

1697
01:18:15,840 --> 01:18:18,280
Speaker 1: Oh, so you're the conservative one and she's the one that's.

1698
01:18:18,080 --> 01:18:21,280
Speaker 9: Yeah, because I'm like, I'm trying to protect who she

1699
01:18:21,560 --> 01:18:24,960
Speaker 9: is at all times because I feel like I feel like,

1700
01:18:25,160 --> 01:18:28,960
Speaker 9: you know, she has an image that you can you know,

1701
01:18:29,120 --> 01:18:31,679
Speaker 9: if you can keep it in this space, just don't.

1702
01:18:31,760 --> 01:18:33,680
Speaker 9: You ain't got to go overboard. You could just keep

1703
01:18:33,720 --> 01:18:35,360
Speaker 9: it in this space and put like you just said,

1704
01:18:35,600 --> 01:18:37,880
Speaker 9: she had a loop, but it wouldn't get people killed.

1705
01:18:37,920 --> 01:18:40,360
Speaker 9: It was still what we liked, but it was not crazy.

1706
01:18:40,920 --> 01:18:44,160
Speaker 9: And I'm always like, let's make records like that, like

1707
01:18:44,320 --> 01:18:48,000
Speaker 9: let's continue the seventeen million, twenty million spot. I'm cool,

1708
01:18:48,040 --> 01:18:50,400
Speaker 9: what's wrong with it? Was never broken? Let's let's do

1709
01:18:50,520 --> 01:18:53,240
Speaker 9: it or you on the Grunde came out and like

1710
01:18:53,439 --> 01:18:55,360
Speaker 9: that's basically what she wants to do. So it's like

1711
01:18:56,479 --> 01:18:59,960
Speaker 9: Mariah's a rapper. The first day I worked with Mariah

1712
01:19:00,040 --> 01:19:01,640
Speaker 9: where I came to the student, she brought cream and

1713
01:19:01,720 --> 01:19:02,840
Speaker 9: she said I wanted to sing over this.

1714
01:19:03,400 --> 01:19:03,960
Speaker 5: And when she was.

1715
01:19:05,560 --> 01:19:07,600
Speaker 1: And I said, so, how were you like back a

1716
01:19:07,640 --> 01:19:07,920
Speaker 1: little bit?

1717
01:19:08,200 --> 01:19:11,800
Speaker 9: And I'm like what And I and Tomy Mattle was

1718
01:19:11,840 --> 01:19:13,960
Speaker 9: standing there when she did this, and I'm thinking, like

1719
01:19:14,080 --> 01:19:16,960
Speaker 9: you said, I'm like, I'm not fucking with this cream ship.

1720
01:19:17,120 --> 01:19:20,240
Speaker 5: That's not going to happen. I'm not doing this. Was

1721
01:19:20,760 --> 01:19:23,400
Speaker 5: it the fear of you didn't want to be the

1722
01:19:23,479 --> 01:19:25,600
Speaker 5: guy that the career? Yeah, I.

1723
01:19:27,160 --> 01:19:30,320
Speaker 1: Knew because that would have been a great idea.

1724
01:19:31,280 --> 01:19:32,439
Speaker 5: At the time when she asked me to do.

1725
01:19:32,479 --> 01:19:34,439
Speaker 1: It would have made amazing, but you didn't want to

1726
01:19:34,479 --> 01:19:35,400
Speaker 1: be a guy holding the.

1727
01:19:36,920 --> 01:19:38,840
Speaker 9: And I and like, like I said, I'm I have

1728
01:19:38,960 --> 01:19:42,439
Speaker 9: a super super musical side of me. Right when I

1729
01:19:42,560 --> 01:19:44,600
Speaker 9: start doing R and B records, I turned into a

1730
01:19:44,960 --> 01:19:47,600
Speaker 9: very musical person that wants to hear a lot of

1731
01:19:47,640 --> 01:19:50,200
Speaker 9: different chords and different things and the way the song

1732
01:19:50,320 --> 01:19:50,920
Speaker 9: is supposed to go.

1733
01:19:51,120 --> 01:19:55,479
Speaker 5: So and I had just did you know usher? So

1734
01:19:55,800 --> 01:19:58,080
Speaker 5: it was it was R and B time for me, right,

1735
01:19:58,160 --> 01:19:59,960
Speaker 5: So I was like, I need.

1736
01:20:00,040 --> 01:20:02,800
Speaker 9: Something that fits into what I just did with so

1737
01:20:02,880 --> 01:20:06,280
Speaker 9: I'm having success here, Let's do something that has this field.

1738
01:20:06,360 --> 01:20:12,200
Speaker 9: So then Manuel started playing the boom and I'm like,

1739
01:20:12,479 --> 01:20:14,360
Speaker 9: see if we put some eight o weight on that ship,

1740
01:20:14,400 --> 01:20:16,240
Speaker 9: it's oh we that's all. I believe in eight o

1741
01:20:16,280 --> 01:20:17,040
Speaker 9: weight on anything.

1742
01:20:17,120 --> 01:20:17,560
Speaker 1: And that's it.

1743
01:20:22,240 --> 01:20:24,800
Speaker 2: It's about this period. Okay, Now I'm using a fantine term.

1744
01:20:24,920 --> 01:20:29,240
Speaker 2: What's the division of labor as far as uh, who

1745
01:20:29,560 --> 01:20:32,840
Speaker 2: is in your team, your production team? As far as Okay,

1746
01:20:32,880 --> 01:20:35,920
Speaker 2: it's nineteen ninety seven and I'm riah carry I want

1747
01:20:35,920 --> 01:20:38,880
Speaker 2: to get it. Make sure that you know I'm rya

1748
01:20:38,960 --> 01:20:41,160
Speaker 2: carry Okay, I work with my car. I'm like, yo,

1749
01:20:41,280 --> 01:20:44,760
Speaker 2: produce a record? What is team dupre like, what's going on?

1750
01:20:45,439 --> 01:20:49,640
Speaker 1: Songwriting? So what's the songwriting session? Like?

1751
01:20:51,400 --> 01:20:53,880
Speaker 5: He's like, do you have something or is it like

1752
01:20:54,040 --> 01:20:54,320
Speaker 5: you work?

1753
01:20:55,040 --> 01:20:56,920
Speaker 9: Yeah, he's you just work right off the you know,

1754
01:20:57,000 --> 01:20:59,519
Speaker 9: right off the cop he's he's an extra keyboard player,

1755
01:20:59,600 --> 01:21:04,519
Speaker 9: guitar player, you know, he plays instruments. And I play

1756
01:21:04,600 --> 01:21:06,360
Speaker 9: what I play, and then I make the beats and

1757
01:21:06,439 --> 01:21:08,880
Speaker 9: I have the ideas basically, and I write, I write

1758
01:21:08,880 --> 01:21:10,800
Speaker 9: the lyrics. Basically it will have it, you know if

1759
01:21:10,920 --> 01:21:12,439
Speaker 9: with Usher, that's how it was. It was me and

1760
01:21:12,560 --> 01:21:14,840
Speaker 9: him and we basically did the song that whole album

1761
01:21:14,960 --> 01:21:17,760
Speaker 9: like that, and we went Tim Mariah was me and

1762
01:21:17,960 --> 01:21:20,120
Speaker 9: Emay when we made always be my baby.

1763
01:21:20,000 --> 01:21:22,880
Speaker 1: The engineer or or mix your own records as well.

1764
01:21:23,120 --> 01:21:25,920
Speaker 5: Nah, yeah, I mean I do it, you know, I

1765
01:21:26,000 --> 01:21:27,960
Speaker 5: do my rough before it goes. But I don't yeah,

1766
01:21:28,000 --> 01:21:28,519
Speaker 5: don't touch that.

1767
01:21:29,080 --> 01:21:31,599
Speaker 10: Amir mentioned nineteen ninety seven, and I always I feel

1768
01:21:31,640 --> 01:21:35,040
Speaker 10: like with Atlanta something happened between like ninety six and

1769
01:21:35,320 --> 01:21:38,280
Speaker 10: I don't know ninety nine where of course, starting with you,

1770
01:21:38,400 --> 01:21:41,479
Speaker 10: the music industry just built faster than any other industry

1771
01:21:41,520 --> 01:21:42,559
Speaker 10: in most major cities.

1772
01:21:43,520 --> 01:21:46,519
Speaker 1: Can you kind of or Jack the Rapper, Well, all.

1773
01:21:46,720 --> 01:21:48,479
Speaker 6: I mean you got to consider all those things, like

1774
01:21:48,600 --> 01:21:49,439
Speaker 6: conferences were coming.

1775
01:21:49,880 --> 01:21:52,120
Speaker 10: You did have Freaknick, but like it just was a

1776
01:21:52,200 --> 01:21:54,800
Speaker 10: crazy like five years in Atlanta, and I don't know

1777
01:21:54,840 --> 01:21:57,639
Speaker 10: if everybody understands and how it broke down and whatnot.

1778
01:21:57,760 --> 01:21:59,519
Speaker 9: I mean, well, like you said, it was Freaknick. It

1779
01:21:59,600 --> 01:22:02,640
Speaker 9: was things weren't happening in other major cities that that

1780
01:22:02,840 --> 01:22:06,000
Speaker 9: people were like looking like in post Olympics.

1781
01:22:06,240 --> 01:22:06,920
Speaker 1: So what point?

1782
01:22:07,080 --> 01:22:11,200
Speaker 2: What point was Atlanta seeing as you know, because I

1783
01:22:11,320 --> 01:22:15,120
Speaker 2: know that Northeast Northeastern people are very cocky and whatever,

1784
01:22:15,280 --> 01:22:18,760
Speaker 2: like you country five, Suddenly Atlanta's the ship.

1785
01:22:19,120 --> 01:22:21,280
Speaker 1: Like when do you feel that Atlanta like.

1786
01:22:22,920 --> 01:22:26,240
Speaker 9: Arrived, Like when when I was when I was having

1787
01:22:26,320 --> 01:22:31,200
Speaker 9: parties and everybody started coming. When when when if JERMAINI

1788
01:22:31,240 --> 01:22:33,600
Speaker 9: pre have a party, everybody was going to Atlanta for

1789
01:22:33,720 --> 01:22:36,200
Speaker 9: the party. Freak Nick was the start of this, But

1790
01:22:36,320 --> 01:22:38,599
Speaker 9: then I started, you know, I did this. How can

1791
01:22:38,680 --> 01:22:40,759
Speaker 9: I live weekend where.

1792
01:22:41,000 --> 01:22:43,519
Speaker 1: Your version of the n W a pool party? No?

1793
01:22:43,720 --> 01:22:45,800
Speaker 5: No, no, no, no, no, matter of fact, it wasn't.

1794
01:22:45,920 --> 01:22:47,880
Speaker 9: It was My thing was called can I live right,

1795
01:22:48,080 --> 01:22:50,040
Speaker 9: because I had just did I had just did the

1796
01:22:50,120 --> 01:22:53,640
Speaker 9: Money Anything record. And what what was interesting, what I

1797
01:22:53,720 --> 01:22:57,000
Speaker 9: was getting back was that people felt like in the South,

1798
01:22:57,160 --> 01:23:00,720
Speaker 9: I introduced them to jay Z right because people in

1799
01:23:00,760 --> 01:23:03,720
Speaker 9: the South weren't listening to Reasonable Hell, you know, that

1800
01:23:03,880 --> 01:23:06,400
Speaker 9: wasn't their album. They weren't into that, none of those

1801
01:23:06,439 --> 01:23:08,800
Speaker 9: records in Atlanta, none of that was happening. So people

1802
01:23:08,920 --> 01:23:11,120
Speaker 9: was like they felt like I was introducing them to

1803
01:23:11,160 --> 01:23:13,479
Speaker 9: them and and Jay and everybody was coming to Atlanta,

1804
01:23:14,280 --> 01:23:15,200
Speaker 9: you know, taking this love.

1805
01:23:15,320 --> 01:23:19,360
Speaker 1: Yeah, people come to you to besides.

1806
01:23:19,720 --> 01:23:21,519
Speaker 9: Yeah, So that's what happened, so people, I think people

1807
01:23:21,560 --> 01:23:24,800
Speaker 9: started paying attention to this, like this momentum. You know,

1808
01:23:24,920 --> 01:23:27,479
Speaker 9: Mace came to Atlanta for my birthday party to get signed.

1809
01:23:27,880 --> 01:23:29,680
Speaker 9: Nelly came to Atlanta to try to get me to

1810
01:23:29,720 --> 01:23:31,599
Speaker 9: sign him. At my birthday party, I had this crazy

1811
01:23:31,640 --> 01:23:34,920
Speaker 9: birthday party at the High Museum on P Street, and

1812
01:23:35,080 --> 01:23:36,640
Speaker 9: I had all of.

1813
01:23:36,640 --> 01:23:37,320
Speaker 5: Those guys there.

1814
01:23:37,320 --> 01:23:40,679
Speaker 9: I had new Audition there, I had Maya, Elton John,

1815
01:23:42,320 --> 01:23:45,120
Speaker 9: everybody was you know, whoever was somebody was trying to

1816
01:23:45,120 --> 01:23:47,000
Speaker 9: be at Jamaine the pre party and people were like,

1817
01:23:47,080 --> 01:23:51,160
Speaker 9: I remember like yesterday that even the paper. It said,

1818
01:23:51,720 --> 01:23:54,439
Speaker 9: what does Jamaine Dupree have just making everybody wanted like

1819
01:23:54,479 --> 01:23:56,120
Speaker 9: Elton John, what do you have a reason to be

1820
01:23:56,240 --> 01:23:58,880
Speaker 9: around BBD and Maya and Jermaine Deprie.

1821
01:23:58,960 --> 01:24:00,519
Speaker 5: What's the purpose? What's what's internection?

1822
01:24:00,600 --> 01:24:01,799
Speaker 1: I'm trying to imagine that conversation.

1823
01:24:02,320 --> 01:24:07,160
Speaker 5: Now, Well, you know Elton John like for real, like

1824
01:24:07,240 --> 01:24:08,080
Speaker 5: he loves black.

1825
01:24:08,000 --> 01:24:09,840
Speaker 1: Music, but still it's just an odd parent.

1826
01:24:09,920 --> 01:24:11,519
Speaker 9: Yeah. Well, I mean he wanted me to know he

1827
01:24:11,640 --> 01:24:14,280
Speaker 9: was cool and he came to party. But I think

1828
01:24:14,320 --> 01:24:15,800
Speaker 9: that's what it was, what you're talking about. It was

1829
01:24:15,880 --> 01:24:18,400
Speaker 9: just like people saw that happening, and it was it

1830
01:24:18,520 --> 01:24:20,599
Speaker 9: was just like like I said, I wasn't paying attention

1831
01:24:20,720 --> 01:24:23,720
Speaker 9: to everybody else. Whatever people was doing in New York,

1832
01:24:23,760 --> 01:24:25,800
Speaker 9: that's what they was doing in New York. I. I

1833
01:24:26,000 --> 01:24:30,040
Speaker 9: was determined to make Atlanta stand out just like New

1834
01:24:30,120 --> 01:24:31,000
Speaker 9: York in LA Like.

1835
01:24:31,160 --> 01:24:33,360
Speaker 10: See, then there was a point when Atlanta started taking

1836
01:24:33,439 --> 01:24:35,600
Speaker 10: in this and pushing his chest out with pride to

1837
01:24:35,720 --> 01:24:38,360
Speaker 10: the point where like it wasn't so much the Northeast

1838
01:24:38,400 --> 01:24:41,000
Speaker 10: record would get played first. Now Atlanta is supporting each

1839
01:24:41,040 --> 01:24:42,880
Speaker 10: other on the radio, and it's records that you would

1840
01:24:42,920 --> 01:24:45,640
Speaker 10: never hear other places. Yeah, yeah, yeah, And I just

1841
01:24:45,720 --> 01:24:48,280
Speaker 10: think that people don't really understand that about Atlanta in

1842
01:24:48,360 --> 01:24:50,120
Speaker 10: that way, Like I always say that about like somebody

1843
01:24:50,120 --> 01:24:52,920
Speaker 10: like Rashida, Like Rashida is a star in Atlanta because

1844
01:24:52,960 --> 01:24:55,880
Speaker 10: of Atlanta and Atlanta Radio and everybody embracing her.

1845
01:24:56,000 --> 01:24:58,080
Speaker 5: When she was seeing Yeah, I mean it was you know,

1846
01:24:58,200 --> 01:24:59,880
Speaker 5: it was a it was a it.

1847
01:25:00,000 --> 01:25:02,839
Speaker 9: It was a tug of war type of mentality because

1848
01:25:03,040 --> 01:25:05,840
Speaker 9: people weren't really receptive of things that was coming from

1849
01:25:05,880 --> 01:25:10,200
Speaker 9: Atlanta like that, almost to the point where Jermaine Duprex

1850
01:25:10,280 --> 01:25:12,080
Speaker 9: was getting the success. So a lot of people in

1851
01:25:12,160 --> 01:25:15,040
Speaker 9: Atlanta was mad at me because I was getting success

1852
01:25:15,160 --> 01:25:17,840
Speaker 9: that a lot of them weren't getting at the same time.

1853
01:25:18,320 --> 01:25:20,519
Speaker 9: So it was like they didn't understand why my records

1854
01:25:20,600 --> 01:25:23,200
Speaker 9: was working. So then they that I've heard people say

1855
01:25:23,240 --> 01:25:25,679
Speaker 9: crazy shit about my records and you know, jd ain't

1856
01:25:25,680 --> 01:25:27,960
Speaker 9: from Atlanta and here I don't sound like outcasts and

1857
01:25:28,000 --> 01:25:29,720
Speaker 9: this that and the third like it was. But my

1858
01:25:30,040 --> 01:25:32,479
Speaker 9: my childhood and my life was different than that.

1859
01:25:32,600 --> 01:25:34,400
Speaker 5: I wasn't. I didn't grow up in Atlanta. I grew

1860
01:25:34,520 --> 01:25:35,160
Speaker 5: up on tour.

1861
01:25:35,439 --> 01:25:38,120
Speaker 2: So can you explain can you explain the science of

1862
01:25:39,080 --> 01:25:42,479
Speaker 2: what would be now known as trap culture because initially

1863
01:25:42,600 --> 01:25:45,600
Speaker 2: I thought that you guys were more of a refined

1864
01:25:47,720 --> 01:25:52,760
Speaker 2: what was supposed to be Miami's identification of bass music.

1865
01:25:53,600 --> 01:25:56,280
Speaker 2: I always felt that you guys were a more refined

1866
01:25:56,840 --> 01:25:59,120
Speaker 2: bass music, Like you guys did better work with those

1867
01:25:59,160 --> 01:26:03,600
Speaker 2: type of planet rock beats and stuff, you know, and

1868
01:26:03,800 --> 01:26:06,000
Speaker 2: then trap culture.

1869
01:26:07,720 --> 01:26:13,280
Speaker 1: Develops. How how do you feel, like, are you in

1870
01:26:13,360 --> 01:26:14,519
Speaker 1: your heart the old.

1871
01:26:14,400 --> 01:26:16,760
Speaker 2: I know, you're technically not supposed to agree with this,

1872
01:26:16,960 --> 01:26:19,439
Speaker 2: like are you the old schooler that's sort of looking

1873
01:26:19,560 --> 01:26:23,840
Speaker 2: like okay whatever, or like are you still about like

1874
01:26:24,560 --> 01:26:26,760
Speaker 2: if kids are about it, then that's the future and

1875
01:26:26,960 --> 01:26:28,800
Speaker 2: I support it and that sort of well, I.

1876
01:26:28,840 --> 01:26:31,080
Speaker 9: Mean, it's it's hard to it's hard for me to

1877
01:26:31,120 --> 01:26:34,439
Speaker 9: even have talk about this because if you listen to

1878
01:26:35,200 --> 01:26:40,519
Speaker 9: Jermain du Pre records that are like some non social

1879
01:26:40,640 --> 01:26:43,800
Speaker 9: death artist records, the records are trap. Like if you

1880
01:26:43,920 --> 01:26:48,360
Speaker 9: listen to Grills by Nelly. Okay, this was before people

1881
01:26:48,479 --> 01:26:52,320
Speaker 9: start saying trap records, this is, but but it's by

1882
01:26:52,439 --> 01:26:55,160
Speaker 9: Nelly and it became a number one that top one

1883
01:26:55,240 --> 01:26:59,479
Speaker 9: hundred records and it's not connected to the trap.

1884
01:27:00,360 --> 01:27:01,639
Speaker 5: It don't come off like that's.

1885
01:27:01,520 --> 01:27:01,960
Speaker 1: What that is.

1886
01:27:02,080 --> 01:27:04,640
Speaker 5: But the sound of the record. The sound of the

1887
01:27:04,720 --> 01:27:05,519
Speaker 5: record is one.

1888
01:27:09,200 --> 01:27:09,479
Speaker 8: Boom.

1889
01:27:09,720 --> 01:27:11,439
Speaker 5: It's all the same elements.

1890
01:27:11,600 --> 01:27:11,760
Speaker 1: You know.

1891
01:27:11,840 --> 01:27:15,640
Speaker 9: The eight eight is overbearing, the small little kick, the

1892
01:27:15,760 --> 01:27:19,840
Speaker 9: Franchise Boys, Bone Crusher, young Bloods, all of this shit

1893
01:27:20,000 --> 01:27:23,479
Speaker 9: is what you're basically listening to now. So to me,

1894
01:27:23,640 --> 01:27:26,800
Speaker 9: i'm i'm I think people disconnect me from being with

1895
01:27:26,920 --> 01:27:29,400
Speaker 9: that sound. But that's that's been the sound like you

1896
01:27:29,520 --> 01:27:31,439
Speaker 9: make me wanted to me, sounds like a trap record.

1897
01:27:32,320 --> 01:27:33,400
Speaker 5: Guitars on it, right.

1898
01:27:34,880 --> 01:27:35,080
Speaker 1: Music.

1899
01:27:35,160 --> 01:27:36,880
Speaker 5: Yeah, So I just I don't look.

1900
01:27:36,760 --> 01:27:38,920
Speaker 9: At it as I look at it as like people

1901
01:27:39,000 --> 01:27:41,120
Speaker 9: were listening to that sound and they just decided what

1902
01:27:41,200 --> 01:27:46,000
Speaker 9: to do. I also feel like trap music ultimately, I

1903
01:27:46,080 --> 01:27:48,840
Speaker 9: don't like that title because I think people use that

1904
01:27:49,000 --> 01:27:52,719
Speaker 9: title to let us in as opposed to just saying

1905
01:27:53,240 --> 01:27:56,200
Speaker 9: it's the Atlanta sound. I wish people would stop calling

1906
01:27:56,280 --> 01:27:59,679
Speaker 9: it trap and say Atlanta music like they say everybody else.

1907
01:28:00,000 --> 01:28:02,920
Speaker 9: That's that La sound, that's that New York sound, That's

1908
01:28:03,000 --> 01:28:05,640
Speaker 9: that Atlanta sound. Stop saying trap because trap makes it.

1909
01:28:06,200 --> 01:28:08,080
Speaker 9: Puts it in a box and it's like, Okay, you

1910
01:28:08,160 --> 01:28:11,080
Speaker 9: got a trap set. No, this is two hours of

1911
01:28:11,120 --> 01:28:15,120
Speaker 9: Atlanta music. Music from all of the artists in Atlanta.

1912
01:28:15,160 --> 01:28:16,720
Speaker 9: You go to New York right now, you're gonna hear

1913
01:28:17,760 --> 01:28:20,880
Speaker 9: two hours of records from Atlanta. Stop saying trap. That's

1914
01:28:20,880 --> 01:28:21,800
Speaker 9: what I wish people would do.

1915
01:28:22,680 --> 01:28:25,760
Speaker 1: So what do you feel now? Is the future like

1916
01:28:25,880 --> 01:28:28,160
Speaker 1: are you done with Atlanta or is it just starting?

1917
01:28:28,920 --> 01:28:31,320
Speaker 1: Like for you? Is there more to reveal to the

1918
01:28:31,360 --> 01:28:34,479
Speaker 1: world as far as what your next move is going

1919
01:28:34,560 --> 01:28:35,160
Speaker 1: to be? I don't know.

1920
01:28:35,280 --> 01:28:38,479
Speaker 9: As executive or nah, I mean I you know, you

1921
01:28:38,680 --> 01:28:41,400
Speaker 9: have to continue to keep finding ways to open the

1922
01:28:41,479 --> 01:28:43,840
Speaker 9: doors for Atlanta. So I got the TV show, and

1923
01:28:44,160 --> 01:28:46,360
Speaker 9: you know, with the TV show, I bring five kids

1924
01:28:46,400 --> 01:28:51,599
Speaker 9: to Atlanta and expose them to what kids in Atlanta

1925
01:28:51,680 --> 01:28:55,000
Speaker 9: are exposed to. Kids in Atlanta have it better than

1926
01:28:55,400 --> 01:28:58,719
Speaker 9: mostly every other city kids out here period.

1927
01:28:59,200 --> 01:29:00,719
Speaker 5: Like in Brooklyn.

1928
01:29:00,760 --> 01:29:02,640
Speaker 9: I don't think they have talent shows for kids with

1929
01:29:02,800 --> 01:29:04,360
Speaker 9: kids can do do things. I don't think they have

1930
01:29:04,520 --> 01:29:07,160
Speaker 9: skating rinks where they allow you to perform. I don't

1931
01:29:07,160 --> 01:29:09,960
Speaker 9: think they have it just when you want to be

1932
01:29:10,000 --> 01:29:12,800
Speaker 9: an entertainer. In Atlanta, we have more elements than you know.

1933
01:29:12,920 --> 01:29:14,880
Speaker 9: I find out because these kids coming, they're like, yo,

1934
01:29:15,040 --> 01:29:16,559
Speaker 9: we don't have nothing. Like one of the kids came

1935
01:29:16,600 --> 01:29:19,559
Speaker 9: from Chicago and she was talking about how they close

1936
01:29:19,640 --> 01:29:21,920
Speaker 9: the skating rinks and kids don't really have anything to do.

1937
01:29:22,439 --> 01:29:24,840
Speaker 5: Right in Atlanta, the kids got they can go.

1938
01:29:25,000 --> 01:29:27,240
Speaker 9: To things and perform and people see them and do

1939
01:29:27,439 --> 01:29:29,840
Speaker 9: just so many different outlets that people are opening that

1940
01:29:29,920 --> 01:29:36,120
Speaker 9: we already had Wednesday, every Wednesday, every Monday, every Sunday.

1941
01:29:36,280 --> 01:29:37,040
Speaker 5: This is going on.

1942
01:29:38,080 --> 01:29:41,160
Speaker 9: So with all of this stuff going on, I'm still

1943
01:29:41,360 --> 01:29:44,760
Speaker 9: pushing Atlanta culture. I think that that's that's the most

1944
01:29:44,840 --> 01:29:46,800
Speaker 9: you know, that's the most important thing. And I still

1945
01:29:46,840 --> 01:29:52,320
Speaker 9: feel like Atlanta's yet to have their Kendrick Lamar or

1946
01:29:52,400 --> 01:29:53,720
Speaker 9: their j Cole or.

1947
01:29:53,720 --> 01:29:56,160
Speaker 5: Their jay Z. Yet in this era.

1948
01:29:56,439 --> 01:29:59,280
Speaker 9: We had it prior to No No, No, No No,

1949
01:29:59,320 --> 01:30:02,120
Speaker 9: I'm saying we had it prior. I'm just saying I'm

1950
01:30:02,120 --> 01:30:04,880
Speaker 9: saying in this era. In this era, it feels like,

1951
01:30:05,439 --> 01:30:08,200
Speaker 9: you know, it's a new artist every week, right, feel

1952
01:30:08,200 --> 01:30:10,160
Speaker 9: like it's a new hot artist every week. So I'm

1953
01:30:10,200 --> 01:30:13,160
Speaker 9: just saying, I still feel like the city is so

1954
01:30:13,640 --> 01:30:17,519
Speaker 9: hot that one of these rappers that people look at

1955
01:30:17,600 --> 01:30:22,160
Speaker 9: as a problem rapper, because like I said, they label

1956
01:30:22,200 --> 01:30:24,479
Speaker 9: everything in Atlanta so much as trapped that they don't

1957
01:30:24,560 --> 01:30:27,040
Speaker 9: fear anything, right, you know what I mean? If you say, oh,

1958
01:30:27,080 --> 01:30:29,960
Speaker 9: he's just that's that's just trapped. So it don't it

1959
01:30:30,000 --> 01:30:33,640
Speaker 9: don't ever get into the box of oh ship you

1960
01:30:33,720 --> 01:30:35,360
Speaker 9: know this guy. You know what I'm saying, it's never that.

1961
01:30:35,600 --> 01:30:38,040
Speaker 1: Who do you feel that's unbeknowns to us?

1962
01:30:38,160 --> 01:30:40,559
Speaker 2: But who do you feel that's bubbling under that's gonna

1963
01:30:40,840 --> 01:30:41,920
Speaker 2: make an impact right now?

1964
01:30:42,080 --> 01:30:43,800
Speaker 1: Like what artists do you feel that are?

1965
01:30:44,120 --> 01:30:46,080
Speaker 9: I mean, it's a lot of underground artists in Atlanta

1966
01:30:46,120 --> 01:30:49,519
Speaker 9: that really raped that that could possibly do this. I

1967
01:30:49,640 --> 01:30:51,479
Speaker 9: feel like I felt like Saha was gonna be that

1968
01:30:51,560 --> 01:30:54,840
Speaker 9: guy for a second. You know, he's with the right

1969
01:30:54,960 --> 01:30:57,680
Speaker 9: crew and he understands what I'm talking about. Like a

1970
01:30:57,720 --> 01:30:59,280
Speaker 9: lot of people might not even know that this is

1971
01:30:59,320 --> 01:31:04,360
Speaker 9: from Atlanta, Chicago. No, he's from He's from He's from

1972
01:31:04,360 --> 01:31:05,040
Speaker 9: the East side.

1973
01:31:04,840 --> 01:31:09,720
Speaker 1: Of Atlanta, and he I know that Kanye was from Atlanta, Atlanta.

1974
01:31:09,400 --> 01:31:10,880
Speaker 9: Too, So I mean, you know, like I said, it's

1975
01:31:10,920 --> 01:31:14,599
Speaker 9: it's it's we still got room because of how people

1976
01:31:14,640 --> 01:31:16,320
Speaker 9: put it in the box. If people open up the

1977
01:31:16,360 --> 01:31:17,680
Speaker 9: box and do what I'm doing, and it might be

1978
01:31:17,680 --> 01:31:20,080
Speaker 9: a little different. But I'm saying I wish people would

1979
01:31:20,080 --> 01:31:22,679
Speaker 9: stop that because I think trap the word trap music.

1980
01:31:22,600 --> 01:31:24,519
Speaker 5: Came from E D E.

1981
01:31:24,680 --> 01:31:27,679
Speaker 9: M d j's wanting the ability to play rap music,

1982
01:31:27,720 --> 01:31:29,960
Speaker 9: and they said, and call it and not call it

1983
01:31:30,040 --> 01:31:30,519
Speaker 9: rap music.

1984
01:31:31,439 --> 01:31:36,160
Speaker 1: Let me as we're talking about wait, can I can? I?

1985
01:31:36,760 --> 01:31:39,360
Speaker 5: It's what I pushed open the trap.

1986
01:31:39,560 --> 01:31:43,120
Speaker 6: No, it's never a battle, boss, it's never a battle.

1987
01:31:43,240 --> 01:31:46,160
Speaker 1: I'm about to about the reign on parade.

1988
01:31:46,800 --> 01:31:49,920
Speaker 2: How happy are you to do an interview in which

1989
01:31:50,120 --> 01:31:54,000
Speaker 2: no one has to ask you any Jana Jackson questions, Yes,

1990
01:31:54,080 --> 01:31:56,920
Speaker 2: it is, that's why.

1991
01:31:57,560 --> 01:31:59,680
Speaker 6: No, Actually I didn't. I have little John questions that one.

1992
01:32:00,479 --> 01:32:01,400
Speaker 1: I want to be the first.

1993
01:32:01,680 --> 01:32:05,479
Speaker 5: I mean, listen me, let me say this. I don't.

1994
01:32:07,920 --> 01:32:10,360
Speaker 9: I don't look at any of that as a problem

1995
01:32:10,680 --> 01:32:15,000
Speaker 9: because my life is not regular, right, And if you

1996
01:32:15,320 --> 01:32:18,200
Speaker 9: if you don't understand that your life is not regular,

1997
01:32:18,360 --> 01:32:21,800
Speaker 9: then you won't be celebrating your life the way you're

1998
01:32:21,800 --> 01:32:28,040
Speaker 9: supposed to write. I had a girl tell me, like, Nigga,

1999
01:32:28,080 --> 01:32:30,400
Speaker 9: do you even know that I don't know another person

2000
01:32:30,479 --> 01:32:33,800
Speaker 9: that's dated James Jackson. This is what the girl told me, right,

2001
01:32:34,000 --> 01:32:36,960
Speaker 9: And I'm like, I'm thinking, I'm listening to her. I'm like,

2002
01:32:37,040 --> 01:32:39,920
Speaker 9: and I'm listening to her in a in a not

2003
01:32:40,080 --> 01:32:42,760
Speaker 9: paying attention to what she's saying, mindset. But then it

2004
01:32:42,880 --> 01:32:47,080
Speaker 9: hit me like that's what people actually think. So if

2005
01:32:47,120 --> 01:32:49,240
Speaker 9: you don't ask me the questions, and it didn't, it

2006
01:32:49,479 --> 01:32:51,760
Speaker 9: wasn't something that resonated in your life.

2007
01:32:51,800 --> 01:32:52,559
Speaker 5: But I'm saying.

2008
01:32:54,720 --> 01:32:59,120
Speaker 9: And it overshadows, but I'm saying, she's such a cultural

2009
01:33:00,320 --> 01:33:03,479
Speaker 9: staple in our culture that it's hard for people to

2010
01:33:03,720 --> 01:33:04,120
Speaker 9: ignore it.

2011
01:33:04,240 --> 01:33:06,840
Speaker 5: Right, so I understand it. It's not something that you know.

2012
01:33:07,320 --> 01:33:09,400
Speaker 1: It is what it is. Okay, well, ask one question.