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Speaker 1: Quest Love Supreme is a production of iHeartRadio One.

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Speaker 2: I'm QLs listeners and viewers. I see you, Actually I don't.

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Speaker 2: But anyway, we are back with Part two of Quest

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Speaker 2: Love Supremes episode with DJ Drama. Now don't forget. This

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Speaker 2: was filmed on location in Atlanta, Georgia, and we recorded

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Speaker 2: this episode in TI Studio, which is really a dope spot.

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Speaker 2: So make sure you've watched or listened to part one.

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Speaker 2: That's where Drama, you know, my Homide from CAU talks

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Speaker 2: about his Philly upbringing, his respect for Questlove and the

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Speaker 2: roots and making critical inroads with TI and GZ and

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Speaker 2: Fini at driving Atlanta. All right, y'all, let's get ready.

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Speaker 2: Here we go with part two.

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Speaker 1: As a mixtape. DJ, you're locking it down.

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Speaker 3: But as far as now, when you're DJing in clubs,

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Speaker 3: if I'm hiring you to DJ a party in two

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Speaker 3: thousand and six, two thousand and seven, how long, like

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Speaker 3: how long is your set? And are you doing just

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Speaker 3: exclusive stuff that is exclusive to you or are you

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Speaker 3: still just like doing regularly DJ stuff?

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Speaker 4: And so really what wound up happening was around that time,

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Speaker 4: I actually wasn't doing a lot of gigs because I

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Speaker 4: then became DJ Drama and I went literally from getting

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Speaker 4: paid three hundred dollars from doing parties in Atlanta to

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Speaker 4: them not being able to afford me. And then I

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Speaker 4: was also tips DJ, so I was on the road,

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Speaker 4: so I didn't really I wasn't doing a lot of

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Speaker 4: my own gigs. I would I would here and there,

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Speaker 4: I would I would get hired, but I would probably

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Speaker 4: do like a two hour set and I would you know,

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Speaker 4: but this is all a time when like so I

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Speaker 4: guess Serrato was already out right, so I would do

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Speaker 4: like big gigs like I remember when Vibe had like

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Speaker 4: the Vibe something down here and outcasts perform like they

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Speaker 4: will book me for that, or like BT would book me,

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Speaker 4: and you know, I was just I was playing like

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Speaker 4: I would mix it up. I mean, I would do

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Speaker 4: what was hot, but I would also, you know, kind

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Speaker 4: of play some gangster grol ship.

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Speaker 3: So are you a business in terms of like now

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Speaker 3: you have a manager and an.

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Speaker 1: Agent and a staff. Yeah.

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Speaker 4: The office space like definitely, we had a Walker Street

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Speaker 4: was our was our was our office. Niece Denise, Denise

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Speaker 4: worked for us. We had I had Jason Brown was

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Speaker 4: was handling all the distribution. Orlando McGee was my first manager,

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Speaker 4: and yeah, because then I got, you know, the opportunity

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Speaker 4: to get an album there. I mean I literally met

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Speaker 4: with every late Boot at one point as far as

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Speaker 4: like their interest in signing me as a DJ to

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Speaker 4: do a Gangster Girls album, you know, and based upon

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Speaker 4: my loyalty and I hadn't known the building, I signed

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Speaker 4: to Ground Hustle Atlantic. But but yeah, I definitely had

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Speaker 4: staff and a manager and you know, the whole nine.

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Speaker 4: So with dedication, Like how did that come to? I

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Speaker 4: was on the I was on the bus with Tip.

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Speaker 4: We were on the Urban Legend tour. He was on

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Speaker 4: the phone with Wayne. I heard him talking to Wayne

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Speaker 4: and I was like, Yo, let me holler at him.

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Speaker 4: So I remember being on my bunk and I just

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Speaker 4: got on the phone with him and I was like,

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Speaker 4: what's up.

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Speaker 1: I was like, you know, and at that.

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Speaker 4: Time, Wayne was was doing his squad up mid Squy,

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Speaker 4: so I was using a lot of those songs on

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Speaker 4: Gangster Grills, so I knew he was kind of in

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Speaker 4: his mixtape bag. And I was like, yo, you know,

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Speaker 4: we got to get one, and he was like yeah,

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Speaker 4: you know, I mean he was already familiar with me.

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Speaker 4: And I remember coming off tour for a time and

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Speaker 4: I went to stank On and met with Wayne and

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Speaker 4: Tez and we just kind of like went over. I

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Speaker 4: brought on a bunch of instrumentals, just options and things

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Speaker 4: to wrap on and things of that nature, and I

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Speaker 4: literally just came up with the name Dedication, just like

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Speaker 4: let's call it Dedication and he was like all right, cool.

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Speaker 4: And Rob Petroso, who used to do all my artwork,

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Speaker 4: came up with the cover, which was you know, legendary.

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Speaker 4: And you know, because by that point, Gangster Grills was

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Speaker 4: a brand, Like you know, when I was moving them

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Speaker 4: throughout the southeast or up north or what have you,

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Speaker 4: people were already like okay, if it's a Gangster Grills,

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Speaker 4: like we need it, we want it. And the Wayne tape,

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Speaker 4: you know, I remember when he sent me to music

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Speaker 4: and listening and I was like, Yo, this shit is different.

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Speaker 4: This is not the wobbledy wobbley dropping like his hot kid,

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Speaker 4: like he's on some shit, like some real bars on here.

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Speaker 4: And you know, when I did the tape and I

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Speaker 4: kind of I had known like, yeah, this this is

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Speaker 4: this is a moment. You know what I'm saying, and

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Speaker 4: then it really turned into a moment and so it

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Speaker 4: was like it was like back to back from me

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Speaker 4: because I just did Trap or Die and then Dedication

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Speaker 4: happened and it was like Wayne was on fire from

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Speaker 4: you know Carter to dedication to you know, coming into

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Speaker 4: his own and so here I am again, this kid

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Speaker 4: from Philly went to school in Atlanta, who's now the

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Speaker 4: king of the mixtapes with Tip GZ and Wayne or

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Speaker 4: like who were the hottest guys not only in the

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Speaker 4: South but now in the hip hop And it was

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Speaker 4: like I'm in the mix, like I'm the platform for

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Speaker 4: you know, what's what's getting these niggas hot?

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Speaker 1: In your mind?

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Speaker 3: And this is before you know the fans and Rico stuff,

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Speaker 3: but like in your mind, what.

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Speaker 1: Was the end game? Are you? Like a great question?

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Speaker 3: Let me start, like when do you You're like, hey,

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Speaker 3: I need to be puffy or I need to start

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Speaker 3: my label or I need like because in your mind you're.

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Speaker 1: Like, whoa, I'm just in college.

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Speaker 3: You know, in fact seven years ago now, like I

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Speaker 3: determined what the future.

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Speaker 4: You know what it really was when when I first

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Speaker 4: got hot or got popular or became that guy. The

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Speaker 4: only thing that I told myself, is yo, okay, you

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Speaker 4: got here like from ninety two to zero five, like

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Speaker 4: there was a lot of legwork to get here.

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Speaker 1: You gotta stay.

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Speaker 4: Here drama Like I didn't know how or what it

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Speaker 4: was gonna be, but I just told myself like, yo,

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Speaker 4: like you gotta stay relevant, like somehow, some way, And

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Speaker 4: it happened in a lot of forms. I mean, my

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Speaker 4: brother over here, like when at the time when Gangster

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Speaker 4: Grills was known for trap music and southern hip hop

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Speaker 4: to an extent, you know, at the same time, like

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Speaker 4: they they're per it was at Apache Cafe or yin

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Speaker 4: Yank Cafe. It was Apache and they Little Brother had

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Speaker 4: a show and the bus was outside of the venue

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Speaker 4: and I came on a bus and we sat down

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Speaker 4: and I told them like, yo, I'm a huge fan.

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Speaker 1: I have been for some time.

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Speaker 4: And then you know, they told me the same in return,

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Speaker 4: and they were like, what do you think about doing

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Speaker 4: a Gangster Grills And I was like, what.

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Speaker 1: What are we waiting on?

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Speaker 4: But around the same time, I was getting pushback from

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Speaker 4: various people like wait, you're gonna do a tape with

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Speaker 4: who Little Brother and Pharrell like that's not Gangster Grills. Like,

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Speaker 4: how does that make sense? And you know, I've always

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Speaker 4: looked at myself like John Singleton and Martin Scorsese like

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Speaker 4: I make I can make boys in the hood, but

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Speaker 4: then I can go and make poetic justice, and I

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Speaker 4: can make higher learning, and I can make baby boys.

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Speaker 4: So that was how I approached it, so that the

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Speaker 4: the fact that people were like pushing against this is

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Speaker 4: not a platform for Little Brother was like so like

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Speaker 4: not only like what are y'all saying my ship's and

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Speaker 4: I say on the table, Yeah, it wasn't gonna sound

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Speaker 4: good on.

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Speaker 5: This, yeah, Like, and that was our mentality going into

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Speaker 5: it too, because hence the name separate but equals.

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Speaker 1: It's so iconic in so many ways, like how.

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Speaker 3: Are you talking Wayne into because you know, to be

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Speaker 3: it was kind of perplexing.

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Speaker 5: That he chose that beat. Really he chose that. You

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Speaker 5: didn't even know I was going to ask you first.

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Speaker 5: He chose that beat, all right, Wayne chose And that

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Speaker 5: just shows Wayne rhymed over loving it. Well no, no, no,

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Speaker 5: I'm sorry. Well yeah, like he.

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Speaker 3: Round of a Star and I'm like, god, damn, like

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Speaker 3: he's killing our ship more than our ship.

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Speaker 1: I was so anti Wayne back then.

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Speaker 6: I ain't none of it.

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Speaker 1: It's crazy you missed dedication I was.

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Speaker 6: I was on the radio is very anti these things,

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Speaker 6: and that's what I was known for.

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Speaker 1: So but I heard that little brother, but a little brother,

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Speaker 1: so you wasn't a gangster girl? Oh yeah, she's one

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Speaker 1: of the ones like when are you gonna do another automatic?

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Speaker 7: But so what like because that's exactly exactly like but

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Speaker 7: I'm saying, like, like the for my mind, I was like,

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Speaker 7: did you I was like, man, maybe helped Wayne to gunpoint,

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Speaker 7: like you better run over this Philly track like he.

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Speaker 1: Was just from a big giant is a head hip hop?

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Speaker 1: Yeah you know?

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Speaker 4: And and then and then for me it was my

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Speaker 4: like again also coming from making automatic relaxations or coming

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Speaker 4: from wanting to do this because if y'all like when

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Speaker 4: Little Brother approached me and when Pharrell approached me, it

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Speaker 4: was so exciting for me because it was one it

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Speaker 4: was an opportunity to branch out, and then too, it

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Speaker 4: was an opportunity to like feel like I was giving

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Speaker 4: back to my roots, no pun intended, but like like

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Speaker 4: what like I can make a little brother gangster girls

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Speaker 4: or for real gangster grills like oh man, once I

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Speaker 4: open this door. That just opens the floodgates for you know,

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Speaker 4: for it to go in so many directions and.

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Speaker 5: For us doing that when we did Separate equal like

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Speaker 5: because my whole thing was, like I hated mixed. Well,

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Speaker 5: I love listening to mixtapes, but I didn't want to

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Speaker 5: make a mixtape, you know what I'm saying. Like my

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Speaker 5: thing was, if I'm going to take time to write

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Speaker 5: these original rhymes, I'm not putting them ships over somebody

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Speaker 5: else tracks, you know what I'm saying, Like I can

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Speaker 5: take them new rhymes, I can put over a new beat.

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Speaker 1: You know what I'm saying, That's a new jam.

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Speaker 5: I'm loved it. I love that our tape was like that. Yeah,

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Speaker 5: we only rhymed of like maybe one instrumental. The rest

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Speaker 5: of that shit was all original joints.

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Speaker 4: Can we discuss the no drama version though, Like you know,

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Speaker 4: I've had a saw well yeah, but yeah, so.

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Speaker 5: What we did we did We did the tape and

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Speaker 5: that was in like we did some that was like

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Speaker 5: oh it was six yeah, so maybe like what like

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Speaker 5: two years later, like we did uh we called drama

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Speaker 5: free version because at the time when we were out,

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Speaker 5: it was a drama free version because we had the mixtape.

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Speaker 1: But like all your drops on this stuff.

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Speaker 5: But then if if if I'm not if I remember

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Speaker 5: this correctly, I think who we were putting it out,

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Speaker 5: we were putting the project out with they just didn't

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Speaker 5: want Yeah, I mean it was straight up you know

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Speaker 5: what I mean, because retail wouldn't they wouldn't put it

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Speaker 5: in like you couldn't get in certain stories like it

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Speaker 5: was a mixtape exactly. So we were just like, all right,

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Speaker 5: well here's the records. They was original records and they

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Speaker 5: was our fucking records, So you know what I mean.

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Speaker 1: I mean, I get it.

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Speaker 4: I mean the fact that it was called Drama Free

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Speaker 4: was definitely kind of made me sad.

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Speaker 5: But it wasn't no like that wasn't a shot and

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Speaker 5: it was just like it was just like free.

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Speaker 6: It's kind of catchy. It's catchy as a motherfucker's shape.

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Speaker 1: I got it.

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Speaker 4: I mean, they're not the you know, they're not the

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Speaker 4: first person to do a version of the tape without me.

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Speaker 4: I mean, Crenshaw exists on on streaming platforms.

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Speaker 1: Without me on that one hurts too, like you know,

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Speaker 1: like that was I was part of it.

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Speaker 3: I was part of Crenshaw, aren't you the spice and

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Speaker 3: the bells and the whistles.

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Speaker 1: Yeah, like like that that was the thing about that

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Speaker 1: was one.

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Speaker 4: I mean hence why because when I did the table

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Speaker 4: with Geez, like, the music didn't exist without me on it,

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Speaker 4: So all the DJs had to play the versions with

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Speaker 4: me on it, and he didn't give it out without

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Speaker 4: me on it. So you would go to the club

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Speaker 4: and hear gangster grills all over because the music didn't

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Speaker 4: exist without me on it.

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Speaker 6: Sounds like a do over. It sounds like, I.

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Speaker 5: Don't know, it's like almost hearing a Dela jooring without

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Speaker 5: the siren and the Dila dilla beats beats. Yeah, like

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Speaker 5: he thought he was sucking shit up, like nobody will

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Speaker 5: rhyme over this shit to be that made it better?

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Speaker 4: I mean yeah, I mean you know, I like, to me,

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Speaker 4: it would hurt like I've never listened to the separate

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Speaker 4: but equal drama free version, like I don't even it

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Speaker 4: would hurt my soul to to me this, I think.

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Speaker 5: The separated egal drummer fee version. So and it's crazy.

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Speaker 5: I thought it just me and you have never talked

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Speaker 5: about none of this shit. So man, when we did that.

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Speaker 5: We did that record, and I always just want to

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Speaker 5: thank you man, because I sent you those records. Like

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Speaker 5: when I manage at the time, Dough, me and Poot

255
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Speaker 5: finished everything and I just put the records in a sequence.

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Speaker 5: I put all the songs in the sequence, skits like everything,

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Speaker 5: and I was like, I think this worked. But whatever,

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Speaker 5: I'm sure Drama do his thing. He'll change it up whatever.

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Speaker 5: I trust him. And so when they sent it back,

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Speaker 5: we were on tour and Doe was like, yo, Drama

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Speaker 5: just sent the joint and I was like, all right, cool,

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Speaker 5: and I opened it up because this is you know,

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Speaker 5: MP three's, so you will open it and see the

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Speaker 5: track listing first before you loaded the shit up, and

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Speaker 5: you kept the track listening the exact same way I

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Speaker 5: did it. And I was like, holy shit, you know

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Speaker 5: what I mean, Like that was just a.

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Speaker 4: Big ohst to it when I listened to it and

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Speaker 4: I heard it and then I heard it in the

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Speaker 4: way that the skits were and everything, like I'm not like,

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Speaker 4: you know, I know, part of my job is, you know,

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Speaker 4: there's people that want me to put it in an

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Speaker 4: order or or however to do my thing, but I'm

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Speaker 4: not going to mess with something that's already dope, you

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Speaker 4: know what I'm saying. So for me, it was already

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Speaker 4: like okay, here's my bells and my whistles. But if

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Speaker 4: this ship flows the way it flows, like watch watch

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Speaker 4: change perfection, that's always I appreciated that, man, bro, Like

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Speaker 4: I mean you like the Little Brother and the Pharaal

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Speaker 4: tape like came out at a time, and it came

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Speaker 4: out literally like back to back, and those tapes are

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Speaker 4: so important to me because again, like you know, from

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Speaker 4: where I come from, from the cloth that I come from,

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Speaker 4: and for what I was being known for at the time,

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Speaker 4: and not that I was fighting against it, but it

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Speaker 4: was like yo, like I want to show the world

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Speaker 4: like I am hip hop like to it's full, like

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Speaker 4: I am from the cloth, you know what I mean.

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Speaker 1: And to be able to do those two projects were like.

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Speaker 5: We had a point to prove because you had We

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Speaker 5: both had a point because for you, you know, you

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Speaker 5: said it was proven like we were from that cloth.

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Speaker 5: For us at that time, you know, we were coming

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Speaker 5: off the Minstrel show and it was just like ah,

295
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Speaker 5: them niggas, they just some backpack hate niggas. It was

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Speaker 5: like no, we fucking wrapped, you know what I mean.

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Speaker 5: And it was just like, look, it don't matter if

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Speaker 5: it's trapshit whatever, like.

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Speaker 1: And just beat the South.

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Speaker 4: I mean, so it was like even that in that

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Speaker 4: sense of what people were looking at was Southern hip hop.

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Speaker 4: And then you know us doing that tape and separate

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Speaker 4: but equal like as a title and y'all being from

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Speaker 4: the South, like it all it all just made it

305
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Speaker 4: was It was great.

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Speaker 1: It was a great moment.

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Speaker 5: Now it really was, man, And that was just I'm

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Speaker 5: so thankful that you know our pass like crossing the

309
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Speaker 5: way he did that shit was amazing, amazing. I know

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Speaker 5: that you rehashed the story over and over and over

311
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Speaker 5: and over again, so I'm trying not to beat an

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Speaker 5: already dead horse that you moved past. I mean, the

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Speaker 5: question is basically like in two thousand and seven, I'm

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Speaker 5: trying to figure out how an industry that utilizes you

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Speaker 5: to break open their artists like and again, I'm a

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Speaker 5: stornch East Coast head.

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Speaker 3: You know, Tarik himself listen to nothing but your mixtapes.

318
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Speaker 3: So this is how I'm learning about Wayne, Like, this

319
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Speaker 3: is how I'm getting my education on what I need

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Speaker 3: to learn about the rest of America except my niece.

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Speaker 3: And I'm trying to like, and I understand that there

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Speaker 3: was a period between two thousand and three in two

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Speaker 3: thousand and eight, especially like with record labels not knowing

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Speaker 3: like if they're going to survive now that streaming culture.

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Speaker 1: Like you know, we already had the sign napster.

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Speaker 3: Yeah, yeah, like around two thousand and three whatever like

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Speaker 3: that just starts, But I'm trying to figure out how like,

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Speaker 3: like you were definitely utilized and used to break open people,

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Speaker 3: like so just in general and not like from one

330
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Speaker 3: to ten, How shocked were you when you came home

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Speaker 3: and like, wait, what the fuck is this? Like did

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Speaker 3: you did you have an inkling of a clue?

333
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Speaker 1: Like none? Or even even when the ship was selling

334
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Speaker 1: like hotcakes? Twelve, even when she was selling like hotcakes?

335
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Speaker 3: Was there any person that was sort of like, have

336
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Speaker 3: you ever received pushback from anyone that like you rhymed

337
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Speaker 3: an instrumental over and like Jame's like, hey, why'd you

338
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Speaker 3: use fronting?

339
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Speaker 1: Or why never?

340
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Speaker 5: It wasn't on the artists like that was a badge

341
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Speaker 5: of honor to have someone to like wrap over you.

342
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Speaker 1: It wasn't that.

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Speaker 4: So, I mean we there's a there's a there's a

344
00:17:35,119 --> 00:17:37,760
Speaker 4: lot to unpack here. And again, I know I've told

345
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Speaker 4: the story. One part about it is, first off, it

346
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Speaker 4: shows the disconnect within the labels. Right, So as much

347
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Speaker 4: as the marketing departments loved me, or the mix show departments,

348
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Speaker 4: or you know, the promotion department, how much I meant

349
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Speaker 4: to them, the legal department of a label didn't understand.

350
00:17:59,480 --> 00:18:02,440
Speaker 4: They haven't clue, they don't get it. Like what wait

351
00:18:02,480 --> 00:18:06,000
Speaker 4: what like that that's not cleared? Like we're not you know,

352
00:18:06,680 --> 00:18:09,600
Speaker 4: we hold on. So they're you know, I was friends

353
00:18:09,640 --> 00:18:12,680
Speaker 4: with the promotions in the marketing side, but yeah, the

354
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Speaker 4: legal department didn't. It didn't make sense to them, why

355
00:18:16,200 --> 00:18:19,600
Speaker 4: are we giving this free music out? And then this

356
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Speaker 4: is also a time where outside of my mixtapes, there

357
00:18:23,800 --> 00:18:29,200
Speaker 4: were hundreds of other mixtapes that weren't sanctioned that people were,

358
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Speaker 4: you know however, getting MP three's hacking for whatever way

359
00:18:34,000 --> 00:18:37,040
Speaker 4: they were getting them. Music was coming out that people

360
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Speaker 4: didn't give permission for. And then on top of that,

361
00:18:41,840 --> 00:18:47,080
Speaker 4: around this time, these mixtapes Minds and others started to

362
00:18:47,160 --> 00:18:50,800
Speaker 4: show up in best Buys and then targets and in

363
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Speaker 4: walmarts with barcodes on it and so in that, you know,

364
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Speaker 4: and that made it confusing. And I just spoke about

365
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Speaker 4: this on math Hafa because they brought up, you know,

366
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Speaker 4: after I got raided. One of the people they asked

367
00:19:04,040 --> 00:19:05,840
Speaker 4: about what do you think about what happened to drama

368
00:19:05,840 --> 00:19:10,960
Speaker 4: was Wayne? And Wayne said, drama needs to Drama needs

369
00:19:11,000 --> 00:19:15,119
Speaker 4: to play the game fair or smarter like Clue or

370
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Speaker 4: Kalid or something of that.

371
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Speaker 1: But is it the same? I mean, the reason why

372
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Speaker 1: I never.

373
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Speaker 4: Took offence to it is because you know, when these

374
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Speaker 4: when these because there's all there was a street code

375
00:19:28,960 --> 00:19:31,920
Speaker 4: that went along with mixtapes for promotional use. Only right,

376
00:19:32,320 --> 00:19:34,879
Speaker 4: everybody knew that we were making money, and you know,

377
00:19:36,000 --> 00:19:39,399
Speaker 4: that's how I was supporting myself. But when they started,

378
00:19:39,400 --> 00:19:42,320
Speaker 4: when the mixtape started to show up in the stores

379
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Speaker 4: with bar codes, as an artist, I could understand how

380
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Speaker 4: one could fill the type of way promotion because they're like, wait,

381
00:19:49,200 --> 00:19:51,560
Speaker 4: hold on, why is this? Why is my ship in

382
00:19:51,680 --> 00:19:53,720
Speaker 4: Target with a bar code? And I'm not seeing a

383
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Speaker 4: dollar from it?

384
00:19:54,320 --> 00:19:56,040
Speaker 6: So they're okay, not seeing a dollar if you just

385
00:19:56,080 --> 00:19:57,520
Speaker 6: selling it the way you're selling it.

386
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Speaker 1: Like from to an extent.

387
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Speaker 4: I mean again, now look looking back on it, if

388
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Speaker 4: at the wise age of forty four that I am

389
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Speaker 4: now in my twenties, the type of money that I

390
00:20:08,880 --> 00:20:10,720
Speaker 4: was making, and I would you know, I would have

391
00:20:10,760 --> 00:20:14,400
Speaker 4: easily thrown someone at twenty five or fifty if I'm

392
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Speaker 4: making X amount of dollars, like just as a quick

393
00:20:17,320 --> 00:20:18,840
Speaker 4: thank you, it would have It would have been a

394
00:20:18,920 --> 00:20:19,600
Speaker 4: nice gesture.

395
00:20:19,720 --> 00:20:19,840
Speaker 1: Like.

396
00:20:20,119 --> 00:20:22,000
Speaker 4: But you know, on the on the other end, these

397
00:20:22,040 --> 00:20:24,440
Speaker 4: guys are going and doing shows for one hundred and

398
00:20:24,440 --> 00:20:29,160
Speaker 4: fifty two hundred thousand dollars off of what we've built together.

399
00:20:29,320 --> 00:20:32,320
Speaker 4: So you know, I don't count anyone's pockets, nor did

400
00:20:32,320 --> 00:20:33,440
Speaker 4: I feel like anyone should.

401
00:20:33,240 --> 00:20:34,199
Speaker 1: Count to be fair and just.

402
00:20:34,240 --> 00:20:36,080
Speaker 5: I mean again, we just talk about it now, but

403
00:20:36,200 --> 00:20:38,320
Speaker 5: you know I never felt you know, me and I

404
00:20:38,359 --> 00:20:40,320
Speaker 5: could speak you know, from my brother Pool as well.

405
00:20:40,480 --> 00:20:42,480
Speaker 1: For us, it was never that like we did our

406
00:20:42,520 --> 00:20:45,639
Speaker 1: show up with a barcode. No, it didn't. I was

407
00:20:45,640 --> 00:20:46,760
Speaker 1: gonna show up on a bar code.

408
00:20:46,840 --> 00:20:50,840
Speaker 5: I remember like watching it on the news and seeing

409
00:20:51,280 --> 00:20:54,199
Speaker 5: like when they was taking like shut out and they

410
00:20:54,240 --> 00:20:57,720
Speaker 5: separate videos there, bro I was like, what the fuck.

411
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Speaker 1: News outside?

412
00:21:01,920 --> 00:21:04,600
Speaker 5: I remember that, Yeah, y'all's was there, Bruh. That shit

413
00:21:04,720 --> 00:21:06,800
Speaker 5: was nuts so. But yeah, but for us, like you said,

414
00:21:06,840 --> 00:21:09,000
Speaker 5: it was just a code of honor. It was just understood.

415
00:21:09,000 --> 00:21:11,520
Speaker 5: It's like, okay, we do to take you know, drum,

416
00:21:11,600 --> 00:21:14,080
Speaker 5: he gonna move it on our end, We'll do whatever

417
00:21:14,119 --> 00:21:14,879
Speaker 5: on our end.

418
00:21:14,760 --> 00:21:16,520
Speaker 1: We'll do, press it, shows whatever.

419
00:21:16,960 --> 00:21:18,520
Speaker 5: Like it was just you know what I mean, it

420
00:21:18,560 --> 00:21:20,040
Speaker 5: was a mutually beneficial thing, and.

421
00:21:20,040 --> 00:21:22,119
Speaker 4: It was like that for most people. But yeah, I

422
00:21:22,160 --> 00:21:24,960
Speaker 4: think all those things came into play. I think the

423
00:21:25,040 --> 00:21:27,359
Speaker 4: fact that you know, two thousand and seven was a

424
00:21:27,440 --> 00:21:30,560
Speaker 4: very pivotal year for the music business where you know,

425
00:21:30,680 --> 00:21:34,000
Speaker 4: it was a transition, and you know, the the bottom

426
00:21:34,080 --> 00:21:38,359
Speaker 4: line wasn't wasn't adding up for them, And there's there's

427
00:21:38,440 --> 00:21:43,240
Speaker 4: many theories or conspiracy theories or you know, let's take

428
00:21:43,280 --> 00:21:46,199
Speaker 4: the big guy out to shut this down. However, you know,

429
00:21:46,680 --> 00:21:49,520
Speaker 4: hence I don't you know, I do know that for

430
00:21:49,600 --> 00:21:53,120
Speaker 4: a fact that people were told, artists were told like yo,

431
00:21:53,240 --> 00:21:57,160
Speaker 4: if when when DRAMs situation comes up, don't speak on it,

432
00:21:57,200 --> 00:21:59,080
Speaker 4: like leave that alone, you know what I'm saying, or

433
00:21:59,400 --> 00:22:01,679
Speaker 4: you know, nobody he necessarily people used to ask me

434
00:22:01,680 --> 00:22:03,320
Speaker 4: in interviews like did you feel the type of way

435
00:22:03,359 --> 00:22:06,240
Speaker 4: when nobody spoke up for you? And I was like, honestly,

436
00:22:06,880 --> 00:22:09,120
Speaker 4: not really like you know, like there were a couple

437
00:22:09,160 --> 00:22:11,439
Speaker 4: of people behind the scenes I talked to, you know,

438
00:22:12,400 --> 00:22:15,159
Speaker 4: just that that that reached out or what have you.

439
00:22:15,200 --> 00:22:17,120
Speaker 5: And then yeah, well us when you got when when

440
00:22:17,119 --> 00:22:19,280
Speaker 5: it happened for us specifically, So yeah, that was like

441
00:22:19,280 --> 00:22:23,080
Speaker 5: oh six o seven we did the and Justice for All?

442
00:22:23,119 --> 00:22:26,240
Speaker 4: What's it seven? We did just January. It was January

443
00:22:26,840 --> 00:22:28,040
Speaker 4: seven when my shit happened.

444
00:22:28,040 --> 00:22:30,240
Speaker 5: Okay, it was January seventh, so I think maybe it's

445
00:22:30,280 --> 00:22:33,199
Speaker 5: the next year, maybe it was or later that year. Anyway,

446
00:22:33,520 --> 00:22:36,840
Speaker 5: we did Mike Boogie tape uh and Justice for All?

447
00:22:37,160 --> 00:22:39,280
Speaker 5: I mean yeah, and I hear uh. I was telling me,

448
00:22:39,320 --> 00:22:41,000
Speaker 5: I said, y'all did that before the raid or after

449
00:22:41,000 --> 00:22:42,639
Speaker 5: the ring? That was after the raid? Got you that

450
00:22:42,680 --> 00:22:44,480
Speaker 5: was after the raid, because I was telling me, I

451
00:22:44,480 --> 00:22:46,520
Speaker 5: was like, yo, bro, like, we gotta get drums speaking

452
00:22:46,520 --> 00:22:48,520
Speaker 5: on this, because the first record on that tape was

453
00:22:48,520 --> 00:22:50,360
Speaker 5: Can't Stop as a record called Can't Stop as well.

454
00:22:50,600 --> 00:22:52,880
Speaker 1: We was talking about that ship and it was just.

455
00:22:52,840 --> 00:22:54,720
Speaker 5: Like I said, nah, bru, like we gotta get drum

456
00:22:54,840 --> 00:22:57,440
Speaker 5: talking because they not they're not gonna We're not letting

457
00:22:57,440 --> 00:22:58,199
Speaker 5: them shut this ship down.

458
00:22:58,320 --> 00:22:58,920
Speaker 1: Like fuck y'all.

459
00:22:59,040 --> 00:23:01,440
Speaker 4: I meir I felt the type away, like I felt

460
00:23:01,480 --> 00:23:03,560
Speaker 4: a lot of guilt at the time because I'm like, damn,

461
00:23:03,640 --> 00:23:06,560
Speaker 4: like this is a culture like I grew up loving,

462
00:23:06,680 --> 00:23:09,400
Speaker 4: you know what I'm saying, like, and I can't let

463
00:23:09,400 --> 00:23:12,639
Speaker 4: this shit die on my shoulders, like like damn, you

464
00:23:12,680 --> 00:23:15,080
Speaker 4: felt like you killed the mixtape game for a moment,

465
00:23:15,760 --> 00:23:19,760
Speaker 4: for a moment, literally, yeah, Like I felt like, damn,

466
00:23:19,840 --> 00:23:22,800
Speaker 4: the downfall of the fucking mixtape game is going to

467
00:23:22,880 --> 00:23:26,200
Speaker 4: happen when I become the top of the food chain.

468
00:23:26,240 --> 00:23:28,560
Speaker 4: And like, you know, I spent a lot of time,

469
00:23:28,720 --> 00:23:30,600
Speaker 4: like you know, I still went and put tapes out

470
00:23:30,680 --> 00:23:32,840
Speaker 4: right after that, and.

471
00:23:32,200 --> 00:23:35,160
Speaker 3: How long was it until you look both ways where

472
00:23:35,200 --> 00:23:36,679
Speaker 3: you cross the street, and like, oh, I put a

473
00:23:36,720 --> 00:23:38,800
Speaker 3: tape by like a month too after like I did

474
00:23:38,840 --> 00:23:43,760
Speaker 3: like Gangster Grills sixteen and was just talking crazy on there,

475
00:23:43,920 --> 00:23:47,359
Speaker 3: like you know, and I remember the first big the

476
00:23:47,800 --> 00:23:51,080
Speaker 3: first big mixtape that I probably did was Dedication three,

477
00:23:51,520 --> 00:23:53,960
Speaker 3: and then I remember, you know, that was after you know,

478
00:23:54,359 --> 00:23:57,159
Speaker 3: Wayne had went and said like fuck mixtape DJs or

479
00:23:57,200 --> 00:23:59,760
Speaker 3: fuck DJs or something, and then he called in my

480
00:24:00,080 --> 00:24:01,520
Speaker 3: radio show and we cleared that up.

481
00:24:01,560 --> 00:24:05,200
Speaker 4: And then you know we went on to do Dedication three,

482
00:24:05,320 --> 00:24:08,560
Speaker 4: but yeah, I mean again, I was like, you know,

483
00:24:08,600 --> 00:24:11,280
Speaker 4: I had a point to prove, like yo, I'm not first,

484
00:24:11,400 --> 00:24:14,800
Speaker 4: you know. And then Atlantic Records called literally the next day, like,

485
00:24:14,840 --> 00:24:16,960
Speaker 4: oh my god, how fast can we get your album done?

486
00:24:17,000 --> 00:24:18,080
Speaker 1: Like we can't pay for.

487
00:24:18,040 --> 00:24:23,440
Speaker 4: This type of publicity because the record Riggs Riggs actually

488
00:24:23,520 --> 00:24:26,080
Speaker 4: did all the skits on my first album. So Riggs

489
00:24:26,119 --> 00:24:28,960
Speaker 4: did the I mean it was it was literally Julie

490
00:24:29,160 --> 00:24:31,719
Speaker 4: and Craig and I think Kevin was still there at

491
00:24:31,720 --> 00:24:34,520
Speaker 4: the time, and and Kuys and then they all called like, yo,

492
00:24:34,600 --> 00:24:36,160
Speaker 4: we can't play for this type publicity.

493
00:24:36,160 --> 00:24:37,480
Speaker 1: How soon can you turn your album in?

494
00:24:37,680 --> 00:24:41,960
Speaker 4: So you know, my first single actually was titled Feds

495
00:24:42,000 --> 00:24:43,040
Speaker 4: Taking Pictures.

496
00:24:42,680 --> 00:24:47,280
Speaker 1: Taking Pictures. Yeah, so you know Beneath the Diamonds. Oh,

497
00:24:47,320 --> 00:24:49,480
Speaker 1: I love that ship.

498
00:24:50,119 --> 00:24:51,880
Speaker 6: For some reason, when that happened to you, I feel

499
00:24:51,920 --> 00:24:55,280
Speaker 6: like a lot of people who knew you, we felt

500
00:24:55,320 --> 00:24:57,800
Speaker 6: like it couldn't have happened to some better person who

501
00:24:58,240 --> 00:25:00,639
Speaker 6: had resources prepared for In a way, I don't know

502
00:25:00,680 --> 00:25:03,520
Speaker 6: how to explain it to you, but we felt like

503
00:25:03,760 --> 00:25:05,560
Speaker 6: we knew you were going to be okay because you

504
00:25:05,600 --> 00:25:07,920
Speaker 6: were smart as fuck, right and because what is that

505
00:25:08,440 --> 00:25:11,720
Speaker 6: Another reason as to why it felt like it kind

506
00:25:11,720 --> 00:25:14,160
Speaker 6: of came and went and away.

507
00:25:13,960 --> 00:25:16,439
Speaker 4: Resource well for me, I mean you know again, I

508
00:25:16,480 --> 00:25:19,359
Speaker 4: mean it literally made me more famous than I ever was.

509
00:25:19,520 --> 00:25:20,720
Speaker 1: I mean, next thing, I know.

510
00:25:20,880 --> 00:25:22,479
Speaker 6: So you never had a crying moment, you was like,

511
00:25:22,880 --> 00:25:23,320
Speaker 6: the only.

512
00:25:23,200 --> 00:25:24,960
Speaker 4: Crime moment I had is the next day I got

513
00:25:24,960 --> 00:25:27,199
Speaker 4: out and I wasn't familiar with what the RICO was.

514
00:25:27,240 --> 00:25:29,760
Speaker 4: And then I called Tip and Tip was like, bro,

515
00:25:30,320 --> 00:25:32,560
Speaker 4: they hit you with the RICO, Like, check your bank account.

516
00:25:32,760 --> 00:25:35,280
Speaker 4: My bank account said zero point zero zero after having

517
00:25:35,359 --> 00:25:38,280
Speaker 4: six figures in it, So I definitely shed a tear.

518
00:25:40,320 --> 00:25:45,199
Speaker 3: But after that, like where is no they kept? So

519
00:25:45,280 --> 00:25:47,640
Speaker 3: I had we had two accounts for a museum's sake,

520
00:25:47,680 --> 00:25:48,639
Speaker 3: like where is that stuff?

521
00:25:49,000 --> 00:25:52,639
Speaker 4: Well, they gave back what did they gave back the equipment,

522
00:25:53,440 --> 00:25:56,239
Speaker 4: They gave back one of our accounts. They gave back

523
00:25:56,280 --> 00:26:01,440
Speaker 4: the account that ironically was like the label budget account.

524
00:26:02,080 --> 00:26:05,560
Speaker 4: But the drama like the d or the DJ drama

525
00:26:05,640 --> 00:26:08,879
Speaker 4: account that I had with where most of the money was.

526
00:26:08,960 --> 00:26:11,880
Speaker 4: They kept that because they they said they couldn't differentiate

527
00:26:12,240 --> 00:26:14,679
Speaker 4: what was what was what? So we're keeping all.

528
00:26:14,520 --> 00:26:16,359
Speaker 1: Of this, But how long did it take to replace

529
00:26:17,280 --> 00:26:19,160
Speaker 1: I started making money. I mean, you know, I got

530
00:26:19,160 --> 00:26:20,800
Speaker 1: it back and got I got back up, you know,

531
00:26:21,400 --> 00:26:22,320
Speaker 1: to take me too long?

532
00:26:22,960 --> 00:26:27,080
Speaker 3: Obviously it was a performative actually, like what was the

533
00:26:27,960 --> 00:26:28,480
Speaker 3: end results?

534
00:26:29,400 --> 00:26:32,760
Speaker 1: Like yeah, I mean story the I double A.

535
00:26:32,920 --> 00:26:34,920
Speaker 4: You know, and around that Timmy and Cannon had kind

536
00:26:34,920 --> 00:26:37,080
Speaker 4: of had a falling out and you know we went

537
00:26:37,080 --> 00:26:38,320
Speaker 4: our separate ways for a moment.

538
00:26:38,359 --> 00:26:40,800
Speaker 1: But the R I Double A made us do.

539
00:26:40,840 --> 00:26:44,240
Speaker 4: This like P s A where it was like hey, kids,

540
00:26:44,280 --> 00:26:51,600
Speaker 4: like don't sell music. Yeah, like they chilling, Yeah, like

541
00:26:52,040 --> 00:26:54,400
Speaker 4: it never came. They never put it out, but they

542
00:26:54,440 --> 00:26:58,920
Speaker 4: made it. We shot it at Tree Sounds and they literally,

543
00:26:58,960 --> 00:27:00,800
Speaker 4: like you know, gave us a screw like if you

544
00:27:01,040 --> 00:27:02,720
Speaker 4: make music, do you have a copy of it?

545
00:27:02,840 --> 00:27:05,920
Speaker 1: I wish I did. Yo, Man, you gotta put it

546
00:27:05,960 --> 00:27:08,199
Speaker 1: on your Instagram. I know it exists, it has to be.

547
00:27:08,240 --> 00:27:10,080
Speaker 4: And this this was literally the first time me and

548
00:27:10,119 --> 00:27:12,240
Speaker 4: Cannon had seen each other in a while, and we

549
00:27:12,320 --> 00:27:12,920
Speaker 4: had to do it.

550
00:27:13,040 --> 00:27:13,240
Speaker 1: You know.

551
00:27:13,680 --> 00:27:16,600
Speaker 4: Part of the agreement was us doing that P S

552
00:27:16,640 --> 00:27:19,320
Speaker 4: A that they never put out. But it's like, you know,

553
00:27:19,640 --> 00:27:22,720
Speaker 4: like for me, Likeah said, like when I was doing interviews,

554
00:27:23,560 --> 00:27:26,600
Speaker 4: I remember saying like, yo, this is not the end

555
00:27:26,680 --> 00:27:29,439
Speaker 4: of my story, like this is one chapter, like you know,

556
00:27:29,960 --> 00:27:31,879
Speaker 4: for me, it was like, yeah, this is just you know, everybody,

557
00:27:31,920 --> 00:27:35,200
Speaker 4: anybody who's anybody gets hit with some type of adversity

558
00:27:35,240 --> 00:27:38,399
Speaker 4: and this is just my my first, you know, my

559
00:27:38,480 --> 00:27:40,720
Speaker 4: first real challenge. And you know, I'm a I'm a

560
00:27:40,880 --> 00:27:43,480
Speaker 4: I'm gonna be here like I've been here and at

561
00:27:43,480 --> 00:27:46,000
Speaker 4: the time, I had, you know, been here to up

562
00:27:46,040 --> 00:27:49,840
Speaker 4: to that extent, not knowing what life had in in

563
00:27:50,040 --> 00:27:52,320
Speaker 4: uh in mind for me up to this point. But

564
00:27:52,400 --> 00:27:54,760
Speaker 4: it was like, yeah, like this is just one chapter

565
00:27:54,840 --> 00:27:57,600
Speaker 4: in my story. This is not the last chapter. Like

566
00:27:58,119 --> 00:27:58,800
Speaker 4: watch what I do?

567
00:28:03,640 --> 00:28:03,840
Speaker 1: Man.

568
00:28:03,880 --> 00:28:06,360
Speaker 5: I always wanted to ask you about the ARTI storytelling three.

569
00:28:06,400 --> 00:28:07,880
Speaker 5: I was just about to bring that up. All man,

570
00:28:08,240 --> 00:28:09,159
Speaker 5: how did how did that?

571
00:28:10,200 --> 00:28:12,080
Speaker 1: Three? Or four? Four? Oh? Four?

572
00:28:12,119 --> 00:28:15,600
Speaker 5: I'm sorry? Yeah, there's a three. Yeah, there is a three.

573
00:28:15,680 --> 00:28:16,360
Speaker 5: That's why it's four.

574
00:28:16,480 --> 00:28:18,360
Speaker 4: Big boy has to tell you where the three exists,

575
00:28:18,600 --> 00:28:21,160
Speaker 4: because he told me, because that's why we artist storytelling four.

576
00:28:21,720 --> 00:28:25,240
Speaker 1: But I was supposed to do it Idle Wild Gangster Grills.

577
00:28:25,520 --> 00:28:28,240
Speaker 4: Oh wow, okay, really yeah, I was supposed to do

578
00:28:28,280 --> 00:28:30,600
Speaker 4: a tape around that time were they were gonna go.

579
00:28:30,680 --> 00:28:34,560
Speaker 4: We were gonna do a tape pre Idle Wild going

580
00:28:34,600 --> 00:28:40,560
Speaker 4: into the project me uh stacks Big and their manager

581
00:28:40,600 --> 00:28:42,800
Speaker 4: Blue got on the phone and they came to me like, Yo,

582
00:28:42,840 --> 00:28:44,400
Speaker 4: we want to do a Gangster Grills and I was like,

583
00:28:44,840 --> 00:28:49,280
Speaker 4: hell motherfucker yeah. And then a few months later they

584
00:28:49,320 --> 00:28:52,360
Speaker 4: called and was like, listen, bro, we're just buckled down

585
00:28:52,400 --> 00:28:55,920
Speaker 4: with the movie and the soundtrack and we you know,

586
00:28:56,160 --> 00:28:58,760
Speaker 4: we apologize, but we don't have time to do the tape.

587
00:28:58,840 --> 00:29:01,280
Speaker 4: And they were like, but how about we offer you

588
00:29:01,320 --> 00:29:04,280
Speaker 4: a song for your album? And I was like hell yeah,

589
00:29:04,440 --> 00:29:09,600
Speaker 4: Like of course. So I started the process of literally

590
00:29:09,720 --> 00:29:14,880
Speaker 4: sending three thousand beats from every big known name producer

591
00:29:14,920 --> 00:29:17,160
Speaker 4: out at the time, you know, because this is the

592
00:29:17,200 --> 00:29:19,080
Speaker 4: time when I was doing the first Gang Squirrel album.

593
00:29:19,120 --> 00:29:22,120
Speaker 4: Gangster Grills was the biggest thing going, So everybody was

594
00:29:22,640 --> 00:29:24,760
Speaker 4: pretty much giving me beats and I would send them

595
00:29:24,800 --> 00:29:27,720
Speaker 4: to three thousand and he would be like nah, nah nah.

596
00:29:27,720 --> 00:29:30,400
Speaker 4: He would pretty much turn everything down. One of the

597
00:29:30,440 --> 00:29:34,120
Speaker 4: last tapes I made before the raid was Jim Jones

598
00:29:34,560 --> 00:29:38,320
Speaker 4: seven Day Theory tape from We Set the Trends No

599
00:29:38,840 --> 00:29:43,080
Speaker 4: well no, no, I mean yeah that Jim Jones. Yeah, with

600
00:29:43,200 --> 00:29:46,480
Speaker 4: the tape Our first tape was called the Seven Day Theory,

601
00:29:46,520 --> 00:29:47,880
Speaker 4: which was a fire tape.

602
00:29:47,880 --> 00:29:49,120
Speaker 1: Max b is all over there.

603
00:29:51,120 --> 00:29:53,840
Speaker 4: Recipe stack was on their you know that was when

604
00:29:54,760 --> 00:29:57,160
Speaker 4: that was when he created a bird Gang. And there

605
00:29:57,200 --> 00:29:59,920
Speaker 4: was a beat on that tape, and I asked Cannon, like,

606
00:30:00,120 --> 00:30:04,520
Speaker 4: make me a beat similar to that beat. So Cannon

607
00:30:04,600 --> 00:30:08,120
Speaker 4: made the beat and then we had gotten the raid

608
00:30:08,200 --> 00:30:12,960
Speaker 4: had happened, and Lake was actually managing.

609
00:30:12,480 --> 00:30:13,920
Speaker 1: Marcia at the time.

610
00:30:14,040 --> 00:30:18,040
Speaker 4: Oh okay, So I sent the beat to Marcia, and

611
00:30:18,120 --> 00:30:21,920
Speaker 4: I told Marcia I was like, yo, like, look like, man,

612
00:30:21,960 --> 00:30:25,120
Speaker 4: they just locked us up like people saying this is

613
00:30:25,160 --> 00:30:28,080
Speaker 4: the end for me, Like I need something like nothing's

614
00:30:28,080 --> 00:30:30,600
Speaker 4: gonna stop us, like I'm gonna be here, like you

615
00:30:30,640 --> 00:30:33,479
Speaker 4: can't stop us. And she literally like took what I

616
00:30:33,480 --> 00:30:36,320
Speaker 4: said and turned it into the hook. And I sent

617
00:30:36,400 --> 00:30:40,840
Speaker 4: the record to three thousand, and he said, I'm gonna

618
00:30:41,200 --> 00:30:44,719
Speaker 4: call you tomorrow. Twenty four hours later, he sends me

619
00:30:44,800 --> 00:30:49,360
Speaker 4: back his verse of art the storytelling part four, and

620
00:30:49,440 --> 00:30:52,120
Speaker 4: I just was like, I couldn't believe it that I

621
00:30:52,160 --> 00:30:55,840
Speaker 4: had an Andre three thousand verse like and on top

622
00:30:55,920 --> 00:30:59,200
Speaker 4: of a Don Cannon beat like. So then I went

623
00:30:59,240 --> 00:31:02,040
Speaker 4: to stank on the and I played it for Big.

624
00:31:02,400 --> 00:31:04,160
Speaker 4: I think at the time, I was like, I was

625
00:31:04,160 --> 00:31:06,120
Speaker 4: still trying to figure out what record Big had wanted

626
00:31:06,160 --> 00:31:07,600
Speaker 4: to be on. I played him a couple records, and

627
00:31:07,600 --> 00:31:08,840
Speaker 4: then when I played him then he was like, oh,

628
00:31:08,880 --> 00:31:11,719
Speaker 4: what are we talking about? Like I'm doing this, so

629
00:31:12,720 --> 00:31:15,120
Speaker 4: he did his verse and then Big was like, Yo,

630
00:31:15,200 --> 00:31:17,920
Speaker 4: we should call it an artist storytelling part four. And

631
00:31:17,960 --> 00:31:21,240
Speaker 4: then hence, you know, I literally have a fucking outcast

632
00:31:21,760 --> 00:31:24,480
Speaker 4: record on my album. And then, you know, I wish

633
00:31:24,520 --> 00:31:26,440
Speaker 4: I would have knew then. I wish I would have

634
00:31:26,520 --> 00:31:30,560
Speaker 4: knew now when I knew then, because three thousand offered

635
00:31:30,600 --> 00:31:33,239
Speaker 4: to do the video and he was just like, yo,

636
00:31:33,280 --> 00:31:35,880
Speaker 4: I just need one hundred thousand from the label and

637
00:31:37,240 --> 00:31:41,280
Speaker 4: me not me, not as knowledgeable as I was, then

638
00:31:41,440 --> 00:31:44,800
Speaker 4: I kind of let the opportunity like pass, And looking

639
00:31:44,840 --> 00:31:46,920
Speaker 4: back on it, I would have told the label give

640
00:31:47,000 --> 00:31:49,760
Speaker 4: me fucking one hundred grand to give this man for

641
00:31:49,800 --> 00:31:52,320
Speaker 4: this record, Like we probably could have got a Grammy

642
00:31:52,360 --> 00:31:55,160
Speaker 4: nomination out of that, you know what I'm saying if

643
00:31:55,160 --> 00:31:57,160
Speaker 4: it would have literally happened. But I mean, it's still

644
00:31:57,200 --> 00:32:00,400
Speaker 4: an amazing record. You know how many dj can say

645
00:32:00,440 --> 00:32:03,040
Speaker 4: they have an outcast record like It's one of my

646
00:32:03,360 --> 00:32:07,160
Speaker 4: proudest moments in my career. Still, yeah, I still wound

647
00:32:07,200 --> 00:32:07,920
Speaker 4: up getting Grammy.

648
00:32:07,960 --> 00:32:11,040
Speaker 5: Well, how did you approach making the transition from DJ

649
00:32:11,200 --> 00:32:11,960
Speaker 5: to executive?

650
00:32:12,680 --> 00:32:13,200
Speaker 1: Naturally?

651
00:32:13,280 --> 00:32:16,920
Speaker 4: Honestly, I mean it was just like, you know, again,

652
00:32:17,520 --> 00:32:21,800
Speaker 4: relevancy has always been very key for me in my career,

653
00:32:22,040 --> 00:32:24,480
Speaker 4: and like staying on a cusp, and I think a

654
00:32:24,520 --> 00:32:26,840
Speaker 4: lot of that comes from being a mixtape DJ, and

655
00:32:26,880 --> 00:32:30,280
Speaker 4: like just like my addiction to new shit, like my

656
00:32:30,400 --> 00:32:32,920
Speaker 4: fascination of like what's next, you know what I'm saying

657
00:32:33,000 --> 00:32:39,000
Speaker 4: and not kind of letting myself get boxed into one thing.

658
00:32:39,160 --> 00:32:41,600
Speaker 4: You know, Like there was a tweet somebody to put

659
00:32:41,640 --> 00:32:44,920
Speaker 4: out was like yo, DJ Drama literally went from the

660
00:32:45,040 --> 00:32:49,000
Speaker 4: roots in Bahamadia to Tip Cheezy and Wayne to Little

661
00:32:49,120 --> 00:32:52,480
Speaker 4: Uzi and Jack Harlowe like give this man this, Yeah,

662
00:32:52,480 --> 00:32:55,760
Speaker 4: and that's exactly what it is. So, you know, just

663
00:32:55,800 --> 00:33:00,120
Speaker 4: around I had when I was making my albums, I

664
00:33:00,160 --> 00:33:03,640
Speaker 4: had left Atlantic and went to E one, and you know,

665
00:33:03,680 --> 00:33:06,000
Speaker 4: I was still using a lot of the staff over

666
00:33:06,040 --> 00:33:09,200
Speaker 4: at Atlantic, just kind of independently to work my records

667
00:33:09,400 --> 00:33:11,920
Speaker 4: and things of that nature. And I started to make

668
00:33:12,000 --> 00:33:15,600
Speaker 4: like records that were having success, like oh, my like

669
00:33:16,160 --> 00:33:19,520
Speaker 4: my moment. And so when I was doing that, one

670
00:33:19,560 --> 00:33:21,200
Speaker 4: of the people, you know, I used to have Sam

671
00:33:21,240 --> 00:33:25,280
Speaker 4: Crespo work my records and Chris, my brother Sam. And

672
00:33:25,320 --> 00:33:29,000
Speaker 4: Sam was like, yeah, I should you should like think

673
00:33:29,040 --> 00:33:31,240
Speaker 4: about being an R, Like you know, I should bring

674
00:33:31,280 --> 00:33:35,240
Speaker 4: that idea to Julian Craig, like, you know, you're putting

675
00:33:35,240 --> 00:33:37,880
Speaker 4: together some real good records, like maybe it could be

676
00:33:37,920 --> 00:33:40,040
Speaker 4: opportunity for you to come in a building and be

677
00:33:40,040 --> 00:33:42,720
Speaker 4: an an R. And I was like, I'm down. So

678
00:33:43,160 --> 00:33:46,840
Speaker 4: he mentioned it to Julian Craig and you know clearly,

679
00:33:46,920 --> 00:33:49,120
Speaker 4: you know, they were like, drum, that's our guy, Like

680
00:33:49,200 --> 00:33:52,480
Speaker 4: we love drum. So I flew to New York. I

681
00:33:52,520 --> 00:33:55,080
Speaker 4: had a meeting with Craig Julian Kaiser, and they were like,

682
00:33:55,400 --> 00:33:58,160
Speaker 4: you know, are you interested in you know, coming over

683
00:33:58,200 --> 00:33:58,880
Speaker 4: here as an R.

684
00:33:58,960 --> 00:34:00,840
Speaker 1: And I was like yeah. And and then.

685
00:34:01,360 --> 00:34:03,440
Speaker 4: I was like, oh, yeah, by the way, I'm building

686
00:34:03,440 --> 00:34:06,560
Speaker 4: the studio in Atlanta that you know, you guys might

687
00:34:06,640 --> 00:34:08,879
Speaker 4: want to partner with me on. And at the time,

688
00:34:09,680 --> 00:34:13,080
Speaker 4: Kawan Pray third KP was was vice president of Atlantic.

689
00:34:13,120 --> 00:34:15,640
Speaker 4: He was working out of another studio. They sent him

690
00:34:15,640 --> 00:34:19,160
Speaker 4: over to my spot mean Streets to check it out

691
00:34:19,200 --> 00:34:21,520
Speaker 4: to see you know what he thought, and he was like,

692
00:34:21,560 --> 00:34:22,120
Speaker 4: oh yeah.

693
00:34:21,920 --> 00:34:24,960
Speaker 1: This is dope like this this this could be a

694
00:34:25,000 --> 00:34:25,640
Speaker 1: thing for us.

695
00:34:25,640 --> 00:34:28,480
Speaker 4: So part of my deal when I came over as

696
00:34:28,480 --> 00:34:33,160
Speaker 4: an an R was also for Atlantic to be partners

697
00:34:33,200 --> 00:34:35,680
Speaker 4: with me on Mean Streets. So I literally, you know,

698
00:34:36,760 --> 00:34:39,640
Speaker 4: took their money and built the rest of Mean Streets up,

699
00:34:39,880 --> 00:34:41,759
Speaker 4: you know, from what I had already built from it.

700
00:34:42,120 --> 00:34:45,239
Speaker 4: And when I got there, I really was kind of

701
00:34:45,280 --> 00:34:47,640
Speaker 4: trying to find my way. They had put me with,

702
00:34:47,760 --> 00:34:52,439
Speaker 4: like artists that were already on the label to try

703
00:34:52,440 --> 00:34:55,800
Speaker 4: to work with, and it just wasn't it wasn't meshing

704
00:34:56,000 --> 00:34:57,080
Speaker 4: Like it wasn't you know.

705
00:34:57,120 --> 00:34:58,040
Speaker 1: I would go to an R.

706
00:34:58,120 --> 00:35:00,640
Speaker 4: Meetings and things, and you know, they they would give

707
00:35:00,680 --> 00:35:02,160
Speaker 4: me an artists to try to work with, and it

708
00:35:02,320 --> 00:35:04,480
Speaker 4: just kind of it wasn't.

709
00:35:04,280 --> 00:35:06,080
Speaker 1: They were trying to put you with at the time.

710
00:35:06,200 --> 00:35:07,239
Speaker 1: Did anybody you can name?

711
00:35:08,000 --> 00:35:13,840
Speaker 4: So Spenzo Boussi cap G was KP's guy, and he

712
00:35:14,000 --> 00:35:16,400
Speaker 4: was there, he was around, but you know he was

713
00:35:17,080 --> 00:35:20,120
Speaker 4: those were those were some of their the artists that

714
00:35:20,239 --> 00:35:22,719
Speaker 4: you know, early on they kind of wanted me to

715
00:35:23,160 --> 00:35:25,360
Speaker 4: quote unquote, I guess an R be a part of

716
00:35:25,800 --> 00:35:29,360
Speaker 4: and then also Thug was you know, I happened to

717
00:35:29,400 --> 00:35:32,600
Speaker 4: be the closest thing to Thug in those days that

718
00:35:32,840 --> 00:35:37,840
Speaker 4: they felt like could be of an assistance to help

719
00:35:38,680 --> 00:35:41,479
Speaker 4: with Thug and you know, getting music or you know.

720
00:35:41,880 --> 00:35:42,640
Speaker 6: Young not slim.

721
00:35:42,640 --> 00:35:46,719
Speaker 1: I'm sorry. So it's a few of them young, yeah,

722
00:35:47,120 --> 00:35:49,000
Speaker 1: young thug, not some thug again. Shout out to something.

723
00:35:49,080 --> 00:35:51,680
Speaker 4: He's got a gangster girls too though, But so yeah,

724
00:35:51,760 --> 00:35:54,160
Speaker 4: Thug was working a lot of mean streets. So you know,

725
00:35:54,239 --> 00:35:57,800
Speaker 4: I was kind of in the mix with Thug and

726
00:35:57,840 --> 00:36:01,000
Speaker 4: Atlantic and you know, just trying to make that whole

727
00:36:01,040 --> 00:36:03,879
Speaker 4: thing kind of work out, and it went out went.

728
00:36:04,880 --> 00:36:09,239
Speaker 4: But we also you know, myself, Lake and Cannon. You know,

729
00:36:09,440 --> 00:36:12,120
Speaker 4: when Cannon was vice president of Deaf Jam around the

730
00:36:12,120 --> 00:36:15,160
Speaker 4: time I got my gig, and then we had missed

731
00:36:15,160 --> 00:36:18,720
Speaker 4: out on a couple opportunities of artists. I took Migos

732
00:36:18,760 --> 00:36:22,600
Speaker 4: to New York for the first time and presented them

733
00:36:22,640 --> 00:36:26,879
Speaker 4: to Alan Grumblack and he offered them pennies, and you know,

734
00:36:27,120 --> 00:36:29,279
Speaker 4: they they went and did the right thing and went

735
00:36:29,320 --> 00:36:32,440
Speaker 4: to QC. Shout out to Coach and p you know

736
00:36:32,560 --> 00:36:34,600
Speaker 4: those are my guys. You know, we kind of started

737
00:36:34,600 --> 00:36:37,560
Speaker 4: our labels around the same time, but me, Cannon and

738
00:36:37,640 --> 00:36:39,600
Speaker 4: Lake were like, yo, we can't miss nothing else.

739
00:36:39,719 --> 00:36:41,200
Speaker 1: Like, we're not missing nothing else.

740
00:36:41,360 --> 00:36:44,680
Speaker 4: I was gonna say, besides Migos who so Tory Lane,

741
00:36:45,000 --> 00:36:48,879
Speaker 4: I wanted to sign Tory Ot Genesis, t Fly.

742
00:36:49,200 --> 00:36:50,560
Speaker 1: I actually wanted to sign t Fly.

743
00:36:51,360 --> 00:36:55,000
Speaker 4: So those are a few that you know, we were

744
00:36:55,120 --> 00:36:57,640
Speaker 4: in the midst of us and you know when we

745
00:36:57,640 --> 00:37:01,120
Speaker 4: were trying to figure out the label thing or signing

746
00:37:01,200 --> 00:37:05,479
Speaker 4: artists up around the time. Cannon came back one day

747
00:37:05,560 --> 00:37:08,040
Speaker 4: and just was like, Yo, I heard this kid, little

748
00:37:08,080 --> 00:37:10,839
Speaker 4: Uzi vert and I was like, let's do it.

749
00:37:11,680 --> 00:37:15,319
Speaker 5: Get him signed unseen unseen that is crazy if you

750
00:37:15,360 --> 00:37:17,759
Speaker 5: believe your man, let's go.

751
00:37:17,960 --> 00:37:22,960
Speaker 1: Never heard nothing, didn't know nothing. Where's he at? What

752
00:37:23,040 --> 00:37:24,319
Speaker 1: are we doing? Like?

753
00:37:24,440 --> 00:37:26,640
Speaker 4: And it was this is around what year? This was

754
00:37:26,680 --> 00:37:34,600
Speaker 4: two thousand fourteen. Oh, in twenty fourteen. Wait, that's when, yeah,

755
00:37:34,600 --> 00:37:35,600
Speaker 4: we signed Uzzi twenty.

756
00:37:35,760 --> 00:37:37,399
Speaker 5: I was about to say, I know that we had

757
00:37:37,560 --> 00:37:40,200
Speaker 5: Uzzi on the Roots pick like way before now y'all had.

758
00:37:40,400 --> 00:37:41,440
Speaker 1: No you did him.

759
00:37:41,840 --> 00:37:46,439
Speaker 5: That was like when he was opening that he did

760
00:37:46,480 --> 00:37:49,600
Speaker 5: it was roots picnic, okay, moneylaw, it was money long.

761
00:37:49,760 --> 00:37:51,080
Speaker 1: It was before actual to our life.

762
00:37:51,560 --> 00:37:54,440
Speaker 4: It was money longer days when he did Roots Picnic

763
00:37:54,800 --> 00:37:56,680
Speaker 4: because I did it in twenty seventeen.

764
00:37:57,160 --> 00:38:00,239
Speaker 1: Because when I brought Little Baby, yeah, y'all had that

765
00:38:00,440 --> 00:38:04,279
Speaker 1: stage that they were looking like, who is this guy?

766
00:38:04,960 --> 00:38:08,120
Speaker 4: Like I remember that I brought Baby to Roots pic Nick,

767
00:38:08,440 --> 00:38:11,080
Speaker 4: and I think that was right before the Drake record,

768
00:38:11,239 --> 00:38:13,560
Speaker 4: like or maybe the Drake record it just came out.

769
00:38:13,600 --> 00:38:18,600
Speaker 4: But literally I remember the crowd like not understanding, like

770
00:38:19,160 --> 00:38:22,600
Speaker 4: I just brought y'all little Baby like here. But so yeah,

771
00:38:22,640 --> 00:38:27,640
Speaker 4: so we signed. So we signed Scheme. Scheme actually was

772
00:38:27,640 --> 00:38:29,839
Speaker 4: our first artist that we signed. Shout the scheme. He's

773
00:38:29,880 --> 00:38:31,600
Speaker 4: he's kind of mad at me because I haven't brought

774
00:38:31,600 --> 00:38:33,759
Speaker 4: his name up when I talk about the label. So

775
00:38:33,800 --> 00:38:38,000
Speaker 4: we signed Scheme. We signed Uzi, and we were signing.

776
00:38:38,200 --> 00:38:40,480
Speaker 4: We were trying to sign this group called the Wedding Crashers,

777
00:38:40,960 --> 00:38:45,160
Speaker 4: which Quentin Miller was part of. So we named a

778
00:38:45,239 --> 00:38:48,680
Speaker 4: Generation Now. Generation Now is actually a mixtape title that

779
00:38:48,800 --> 00:38:52,120
Speaker 4: I had used early on before the Little Brother and

780
00:38:52,160 --> 00:38:55,960
Speaker 4: the for Real tapes. I had gotten drops from Kanye West.

781
00:38:56,640 --> 00:38:58,880
Speaker 4: He was opening enough for Taile Lib quality wound up

782
00:38:58,880 --> 00:39:02,000
Speaker 4: getting drops from Kanye. I also got some drops from

783
00:39:02,040 --> 00:39:05,160
Speaker 4: Joe Budden and it wasn't. It was like, damn, this

784
00:39:05,200 --> 00:39:07,759
Speaker 4: is not gangster grills. It doesn't feel gangster grills. So

785
00:39:07,840 --> 00:39:11,319
Speaker 4: I need another title for another brand. So I came

786
00:39:11,400 --> 00:39:14,400
Speaker 4: up with Generation Now. Years later, we wound up double

787
00:39:14,440 --> 00:39:16,160
Speaker 4: backing when we were looking for a title for the

788
00:39:16,239 --> 00:39:18,000
Speaker 4: label and I was like, what about Generation Now.

789
00:39:18,280 --> 00:39:19,720
Speaker 1: So the guys was like, yeah, that's fire.

790
00:39:19,920 --> 00:39:24,239
Speaker 4: So we Atlantic was on the verge of firing me,

791
00:39:24,719 --> 00:39:29,000
Speaker 4: like I was two years into my deal and they

792
00:39:29,000 --> 00:39:31,359
Speaker 4: were looking at it like, look, we just paid DJ

793
00:39:31,520 --> 00:39:34,680
Speaker 4: Drama all this money he brought us. We done, We

794
00:39:34,760 --> 00:39:38,239
Speaker 4: put all this money into this studio, Like what are

795
00:39:38,239 --> 00:39:42,440
Speaker 4: we doing? What's going on? Like where's our where's our return.

796
00:39:43,400 --> 00:39:47,360
Speaker 4: Craig Kleman came to Atlanta. We sat in the radio

797
00:39:47,440 --> 00:39:51,840
Speaker 4: room of the The of Mean Streets and he said, look, Drama,

798
00:39:52,440 --> 00:39:55,400
Speaker 4: I believe in you. You know, I don't want to

799
00:39:55,480 --> 00:39:58,640
Speaker 4: let you go. Like let's just do a one year deal.

800
00:39:59,400 --> 00:40:02,480
Speaker 4: We're gonna I will stay partners on the studio and

801
00:40:02,520 --> 00:40:05,000
Speaker 4: we'll just you just you guys, just focus on Uzzy.

802
00:40:05,280 --> 00:40:08,040
Speaker 4: Like we'll just just you guys, just focus on little Uzzy.

803
00:40:08,480 --> 00:40:11,720
Speaker 4: And I was like cool, like I'm with that, like okay, cool,

804
00:40:12,640 --> 00:40:15,520
Speaker 4: And next thing you know, you know, Love is Rage

805
00:40:15,520 --> 00:40:19,680
Speaker 4: comes out. Mean Streets becomes the go to studio in

806
00:40:19,719 --> 00:40:25,080
Speaker 4: Atlanta and the tables turned within six months in one

807
00:40:25,160 --> 00:40:28,320
Speaker 4: eight and you know it was like I told.

808
00:40:28,120 --> 00:40:30,000
Speaker 6: You not going.

809
00:40:30,040 --> 00:40:34,680
Speaker 5: My ancestors are watching you and guiding. How did Jack

810
00:40:34,719 --> 00:40:37,440
Speaker 5: get on y'all's radar? Because for me, Jack, he was

811
00:40:37,719 --> 00:40:40,239
Speaker 5: the record and I don't think this was before Generation Now.

812
00:40:40,400 --> 00:40:41,080
Speaker 1: My record was.

813
00:40:41,000 --> 00:40:44,279
Speaker 5: Sundown, Like that was the one that I heard. I

814
00:40:44,280 --> 00:40:46,120
Speaker 5: was like, he was on your generation now, that was

815
00:40:46,160 --> 00:40:48,880
Speaker 5: generation Oh then okay. He had put out a record

816
00:40:48,880 --> 00:40:50,920
Speaker 5: called Dark Knight. That was the one that really forced

817
00:40:50,920 --> 00:40:52,960
Speaker 5: our hand. But we had heard of him before them.

818
00:40:53,000 --> 00:40:57,040
Speaker 5: A friend of mine brought them to me late twenty

819
00:40:57,120 --> 00:40:59,800
Speaker 5: seventeen and put.

820
00:40:59,719 --> 00:41:00,560
Speaker 1: Him on my radar.

821
00:41:01,280 --> 00:41:05,920
Speaker 4: And then you know Ky Engineering, who is based in Atlanta,

822
00:41:05,920 --> 00:41:11,360
Speaker 4: who had engineered for Wayne Tiger. He mixed Dreams of Nightmares.

823
00:41:12,360 --> 00:41:15,960
Speaker 4: He mixed that whole, mixed the whole first album. He

824
00:41:16,080 --> 00:41:20,000
Speaker 4: was Waka Floka's engineer. He's two chaines engineer. He mixed

825
00:41:20,200 --> 00:41:23,120
Speaker 4: my records. He did my quality street music album. He's

826
00:41:23,160 --> 00:41:25,560
Speaker 4: from His name is Kay because he's from Kentucky. So

827
00:41:25,640 --> 00:41:30,480
Speaker 4: around the same time he was telling right, okay, he

828
00:41:30,560 --> 00:41:33,440
Speaker 4: was telling Lake like, yo, I want to bring you

829
00:41:33,480 --> 00:41:37,880
Speaker 4: something when it's ready. So Jack wound up on my radar.

830
00:41:38,120 --> 00:41:40,760
Speaker 4: I went and followed him. He had like seven thousand followers.

831
00:41:41,239 --> 00:41:43,279
Speaker 4: He saw that I followed him, He followed me right back.

832
00:41:43,360 --> 00:41:46,040
Speaker 4: He then went on to tell me later on that

833
00:41:46,120 --> 00:41:48,680
Speaker 4: he told a friend of his like, damn, DJ Drama

834
00:41:48,760 --> 00:41:50,520
Speaker 4: just signed to me. I think I'm think I'm gonna

835
00:41:50,520 --> 00:41:54,520
Speaker 4: sign the drama. So we so he wounds up. He

836
00:41:54,560 --> 00:41:57,120
Speaker 4: winds up coming being in Atlanta and coming to mean

837
00:41:57,160 --> 00:42:00,680
Speaker 4: Streets and you know, that was our first time meeting,

838
00:42:00,680 --> 00:42:03,240
Speaker 4: and we like, you know, we sat down, we chopped

839
00:42:03,239 --> 00:42:03,440
Speaker 4: it up.

840
00:42:03,480 --> 00:42:04,680
Speaker 1: We were talking. He was like, you know, what are

841
00:42:04,680 --> 00:42:05,319
Speaker 1: you what are you into?

842
00:42:05,360 --> 00:42:07,120
Speaker 4: And I'm like, I'm in the movie, Like I'm a

843
00:42:07,160 --> 00:42:10,160
Speaker 4: movie buff, like I just love movies. And he was like,

844
00:42:10,160 --> 00:42:12,160
Speaker 4: tell me a movie that you think that I would

845
00:42:12,200 --> 00:42:14,640
Speaker 4: be shocked that you would know. And I told him

846
00:42:14,640 --> 00:42:16,719
Speaker 4: it was this movie called E two My Time Bien,

847
00:42:17,080 --> 00:42:20,000
Speaker 4: Oh yeah yeah, and he was like wait what. He

848
00:42:20,080 --> 00:42:24,600
Speaker 4: was like, DJ dramat has watched YouTube.

849
00:42:27,000 --> 00:42:30,880
Speaker 1: The ritz like so I think that really blew his mind.

850
00:42:31,080 --> 00:42:34,279
Speaker 4: And then you know, we we had a meeting you know,

851
00:42:35,600 --> 00:42:39,040
Speaker 4: with Jack and you know, our staff, and he was

852
00:42:39,080 --> 00:42:43,160
Speaker 4: on you know, we we the opportunity was about signing

853
00:42:43,239 --> 00:42:46,280
Speaker 4: him was there, and and then we weren't one hundred.

854
00:42:47,480 --> 00:42:50,560
Speaker 4: We were like seventy five percent. And then he put

855
00:42:50,600 --> 00:42:52,680
Speaker 4: out Dark Night and we was like, okay, we gotta

856
00:42:52,760 --> 00:42:55,040
Speaker 4: do it, like we gotta we gotta sign this kid

857
00:42:55,120 --> 00:42:56,520
Speaker 4: before we miss out.

858
00:42:56,719 --> 00:42:58,920
Speaker 1: So we went on to sign Jack.

859
00:43:00,200 --> 00:43:02,319
Speaker 4: And you know, again this is you know, when I

860
00:43:02,360 --> 00:43:06,279
Speaker 4: signed Jack, he looked like Napoleon Dynamite, So you know,

861
00:43:06,560 --> 00:43:09,120
Speaker 4: he's come along. The heart the sex symbol heart throb

862
00:43:09,200 --> 00:43:11,719
Speaker 4: that he is of today was you know, he's come

863
00:43:11,760 --> 00:43:13,640
Speaker 4: a long way. But I saw it in him like,

864
00:43:13,960 --> 00:43:16,120
Speaker 4: you know, the same way I saw it in UZI

865
00:43:16,200 --> 00:43:18,920
Speaker 4: early on, Like you know, I saw like, these are

866
00:43:18,920 --> 00:43:23,399
Speaker 4: two guys that, for me, like, regardless of of us

867
00:43:23,440 --> 00:43:26,080
Speaker 4: being evolved, they would have made their way into hip

868
00:43:26,120 --> 00:43:29,200
Speaker 4: hop same way, regardless of however I would have been,

869
00:43:29,239 --> 00:43:31,480
Speaker 4: I was gonna, yeah, I was gonna. I was gonna

870
00:43:31,480 --> 00:43:35,200
Speaker 4: get here somehow, some way. But again we allowed them

871
00:43:35,200 --> 00:43:38,040
Speaker 4: to stand on our shoulders to you know, go a

872
00:43:38,080 --> 00:43:40,560
Speaker 4: little faster, you know, me walking him in the sway

873
00:43:40,680 --> 00:43:43,480
Speaker 4: and you know him being able to you know, just

874
00:43:43,520 --> 00:43:47,000
Speaker 4: move around, especially somebody like Jack, who you know is

875
00:43:47,040 --> 00:43:49,759
Speaker 4: a white rapper from Kentucky to be able to say

876
00:43:49,760 --> 00:43:53,760
Speaker 4: he signed to Generation Now and DJ Drama who created

877
00:43:53,800 --> 00:43:57,239
Speaker 4: Gangster Grills and the label that you know, you know,

878
00:43:57,320 --> 00:43:59,200
Speaker 4: little Uzi Vert was a part of. I mean, I

879
00:43:59,239 --> 00:44:03,640
Speaker 4: think that out a lot of you know, yeah to

880
00:44:03,760 --> 00:44:04,640
Speaker 4: the table, you know.

881
00:44:09,680 --> 00:44:14,080
Speaker 5: All right, before we we gotta wrap up the episode.

882
00:44:14,200 --> 00:44:16,319
Speaker 6: This is damn we have to You don't even know

883
00:44:16,320 --> 00:44:19,200
Speaker 6: how long we've been sitting here.

884
00:44:18,719 --> 00:44:22,640
Speaker 1: We just started. We got we gotta go home.

885
00:44:23,040 --> 00:44:24,359
Speaker 6: I mean, you gotta bite us back and we'll come

886
00:44:24,400 --> 00:44:24,920
Speaker 6: to your spot.

887
00:44:24,960 --> 00:44:27,160
Speaker 4: But okay, but before we wrap like I don't I

888
00:44:27,200 --> 00:44:29,080
Speaker 4: don't know if like I don't know if you're aware

889
00:44:29,080 --> 00:44:30,719
Speaker 4: of this because I say it all the time, but

890
00:44:31,840 --> 00:44:34,840
Speaker 4: being sitting at this table, like I have to say,

891
00:44:35,320 --> 00:44:38,000
Speaker 4: even though I say it all the time, like like

892
00:44:38,320 --> 00:44:43,240
Speaker 4: you gotta understand, I mere like if it wasn't for y'all,

893
00:44:44,360 --> 00:44:48,759
Speaker 4: like I don't, I don't know that. I don't know

894
00:44:48,800 --> 00:44:52,759
Speaker 4: if I would be here like watching like running in.

895
00:44:54,840 --> 00:44:59,799
Speaker 1: And we think it is the ongoing joke of the show.

896
00:45:00,560 --> 00:45:05,680
Speaker 4: Watch me squirm like, bro, listen, Like I used to

897
00:45:05,719 --> 00:45:08,360
Speaker 4: run into a mirror playing video games on South Street

898
00:45:08,680 --> 00:45:11,600
Speaker 4: and he would like let he would like put his

899
00:45:11,719 --> 00:45:16,560
Speaker 4: headphones on me and let me hear fucking Tariq rapping

900
00:45:16,719 --> 00:45:20,239
Speaker 4: like g rap or like you know, like I used

901
00:45:20,280 --> 00:45:22,440
Speaker 4: to go to the Truck. I was at the Trocadero

902
00:45:22,640 --> 00:45:28,279
Speaker 4: at their signing celebration party like like for me, like

903
00:45:28,320 --> 00:45:32,600
Speaker 4: I remember when Distortion the Static first came on Rap

904
00:45:32,719 --> 00:45:36,640
Speaker 4: City like yes, so like you got to understand for me, bro,

905
00:45:36,760 --> 00:45:41,920
Speaker 4: like the roots are the reason why I knew that

906
00:45:42,000 --> 00:45:45,279
Speaker 4: you could really do this ship, Like, oh, this ship

907
00:45:45,360 --> 00:45:49,080
Speaker 4: can really happen. Like I just watched this group in Philly.

908
00:45:49,280 --> 00:45:49,919
Speaker 1: Watch her face.

909
00:45:50,160 --> 00:45:52,480
Speaker 6: I'm just making him take it because it's hard, it's painful,

910
00:45:52,520 --> 00:45:53,160
Speaker 6: go ahead, keep going on.

911
00:45:53,960 --> 00:45:57,200
Speaker 4: Like I watched this group that I loved make this

912
00:45:57,320 --> 00:46:01,040
Speaker 4: album called Organics while I'm in high school and that's

913
00:46:01,120 --> 00:46:04,879
Speaker 4: all I'm listening to. And then like get a record deal,

914
00:46:05,000 --> 00:46:07,400
Speaker 4: like get signed to Geff and like these guys that

915
00:46:07,440 --> 00:46:11,040
Speaker 4: were freestyling on my little mixtapes that probably only one

916
00:46:11,120 --> 00:46:15,480
Speaker 4: hundred copies exist didn't go on to become the fucking roots,

917
00:46:15,600 --> 00:46:19,359
Speaker 4: Like oh my god, this you can like this rap

918
00:46:19,360 --> 00:46:22,680
Speaker 4: shit is real like everything before that for me was

919
00:46:22,800 --> 00:46:27,360
Speaker 4: just seeing it on like watching the Box and seeing

920
00:46:27,680 --> 00:46:33,000
Speaker 4: Kine and KRS and Public Enemy and NWA is just

921
00:46:33,239 --> 00:46:39,960
Speaker 4: like me watching it on television like I knew y'all, like.

922
00:46:38,320 --> 00:46:39,160
Speaker 1: Like I was there.

923
00:46:39,400 --> 00:46:42,920
Speaker 4: So that for me was literally the reason like and

924
00:46:42,960 --> 00:46:45,319
Speaker 4: I say it all the time like you are the

925
00:46:45,400 --> 00:46:49,239
Speaker 4: reason why I knew this shit could really happen, bro, Like,

926
00:46:49,280 --> 00:46:51,520
Speaker 4: and I have to give you your flowers by sitting

927
00:46:51,600 --> 00:46:52,160
Speaker 4: here next.

928
00:46:52,000 --> 00:46:54,640
Speaker 1: To you, thank you for a documentary.

929
00:46:54,920 --> 00:46:55,600
Speaker 6: A documentary.

930
00:46:57,520 --> 00:47:00,359
Speaker 1: It's gonna be great. No, I appreciate every word.

931
00:47:00,600 --> 00:47:04,520
Speaker 3: Yes, years ago, I would have definitely ended the episode

932
00:47:04,560 --> 00:47:08,800
Speaker 3: because I hate compliments. No, but I really appreciate.

933
00:47:08,360 --> 00:47:10,239
Speaker 6: That this conversation was long overdue.

934
00:47:10,840 --> 00:47:13,120
Speaker 1: No, No, for real, I don't over on every song

935
00:47:13,200 --> 00:47:13,640
Speaker 1: even for me.

936
00:47:14,640 --> 00:47:17,960
Speaker 3: Yeah, and I'm very proud like again, like you know

937
00:47:18,080 --> 00:47:22,640
Speaker 3: the fact that you validated us as well, because it

938
00:47:22,760 --> 00:47:26,120
Speaker 3: meant a lot to me that like, wow, someone believes

939
00:47:26,120 --> 00:47:28,040
Speaker 3: in us enough to put us on a mixtape, Like

940
00:47:28,080 --> 00:47:29,360
Speaker 3: to me, that was important.

941
00:47:29,800 --> 00:47:32,040
Speaker 4: Black Thought Gangster Girls is definitely on my bucket list

942
00:47:32,080 --> 00:47:35,080
Speaker 4: because it's full circle for me, like it has that's

943
00:47:35,120 --> 00:47:36,320
Speaker 4: one and I have Wow.

944
00:47:36,200 --> 00:47:37,799
Speaker 1: That'd be amazing. It has to happen.

945
00:47:37,840 --> 00:47:40,960
Speaker 3: I was going to say that eventually one day you're

946
00:47:40,960 --> 00:47:46,640
Speaker 3: going to have to make a gangster Grizelda.

947
00:47:47,920 --> 00:47:49,319
Speaker 1: You gotta make that happens. Fire.

948
00:47:50,360 --> 00:47:52,759
Speaker 3: This intro will make that happen. No, great, Wait, I

949
00:47:52,800 --> 00:47:56,799
Speaker 3: have one last question. I've been watching how things have

950
00:47:56,840 --> 00:47:59,400
Speaker 3: been developing in the in the last few weeks speaking

951
00:47:59,400 --> 00:48:03,600
Speaker 3: of Gris, and initially what started out as something that

952
00:48:03,640 --> 00:48:07,239
Speaker 3: could have gone ugly is actually turned into kind of

953
00:48:07,280 --> 00:48:11,600
Speaker 3: like a cool moment. Yeah, yeah, where initially you know,

954
00:48:12,080 --> 00:48:13,799
Speaker 3: there are complaints that you're not supporting Da.

955
00:48:13,760 --> 00:48:14,799
Speaker 1: Da da da.

956
00:48:15,040 --> 00:48:18,400
Speaker 3: And you know, maybe once every five years out here

957
00:48:19,320 --> 00:48:25,279
Speaker 3: another generation coming that will tell whoever the gatekeeper is like,

958
00:48:25,360 --> 00:48:28,440
Speaker 3: let somebody else in and let somebody But as a

959
00:48:28,520 --> 00:48:32,160
Speaker 3: DJ and I usually go through this kind of quasi

960
00:48:32,239 --> 00:48:35,680
Speaker 3: depression period, maybe in November and December or Okay, So

961
00:48:35,719 --> 00:48:38,880
Speaker 3: twenty twenty three is coming up, so instantly I'm like,

962
00:48:39,760 --> 00:48:42,879
Speaker 3: all right, so someone born in two thousand and two

963
00:48:43,520 --> 00:48:46,359
Speaker 3: is now legally going to be louder than the night club, right,

964
00:48:47,320 --> 00:48:51,200
Speaker 3: and that means when they're like fourteen years old and

965
00:48:52,480 --> 00:48:55,680
Speaker 3: you know, twenty sixteen or whatever, I mean, like I'm

966
00:48:55,680 --> 00:49:01,319
Speaker 3: always doing the math of reference points. To me, I

967
00:49:01,320 --> 00:49:06,000
Speaker 3: don't know, Like for you, is there ever time where

968
00:49:06,000 --> 00:49:09,000
Speaker 3: you're just like, I don't know, it might be too

969
00:49:09,000 --> 00:49:11,320
Speaker 3: old for this ship. I don't want to just reduce

970
00:49:11,360 --> 00:49:13,200
Speaker 3: it to as too old for this ship, but like.

971
00:49:13,160 --> 00:49:13,879
Speaker 1: Too old for this shit.

972
00:49:14,000 --> 00:49:18,279
Speaker 5: I mean right now, keep up like I legit was

973
00:49:18,320 --> 00:49:23,520
Speaker 5: on Wikipedia, like taking a crash course in drill because

974
00:49:23,600 --> 00:49:26,200
Speaker 5: I just like, all right, I gotta educate myself, Like

975
00:49:26,280 --> 00:49:28,239
Speaker 5: I hold a whole bunch of gigs coming up for

976
00:49:28,360 --> 00:49:32,040
Speaker 5: a bunch of kids, and I don't want to be

977
00:49:32,239 --> 00:49:35,080
Speaker 5: that person. But it's like I feel like if you

978
00:49:35,120 --> 00:49:36,880
Speaker 5: have to be paint by numbers, like okay, what are

979
00:49:36,880 --> 00:49:37,160
Speaker 5: the kids?

980
00:49:37,640 --> 00:49:41,439
Speaker 1: Whatever? But for you, like, is there ever a point

981
00:49:41,440 --> 00:49:43,239
Speaker 1: where you just get exhausted? It's just like.

982
00:49:44,840 --> 00:49:48,960
Speaker 3: Dog just throw Roy's album morning, I'm calling it a day,

983
00:49:49,040 --> 00:49:53,960
Speaker 3: like I'm gonna I'm gonna take a nap whatever. So

984
00:49:54,000 --> 00:49:57,120
Speaker 3: there's never a point where you saw an act like Okay,

985
00:49:57,160 --> 00:50:00,160
Speaker 3: this is what the future is or like no, So

986
00:50:00,239 --> 00:50:02,800
Speaker 3: for you, like the more dangerous is the more you

987
00:50:02,840 --> 00:50:03,880
Speaker 3: People my age.

988
00:50:03,640 --> 00:50:05,480
Speaker 1: Are talent in every generation.

989
00:50:05,640 --> 00:50:07,960
Speaker 4: Yeah, And I think that again, like I said, like

990
00:50:08,000 --> 00:50:11,880
Speaker 4: I'm from a mixtape culture where it's like new shit,

991
00:50:11,960 --> 00:50:16,000
Speaker 4: new shit, new shit. So it's like my fascination is

992
00:50:16,000 --> 00:50:19,920
Speaker 4: is with like like what's next. Like my label is

993
00:50:19,960 --> 00:50:22,600
Speaker 4: called Generation Now, you know. So for me, it's like

994
00:50:23,400 --> 00:50:27,480
Speaker 4: the fact that I've been able to navigate through fucking

995
00:50:27,560 --> 00:50:31,640
Speaker 4: being in a Bahamad Dia video to Jack Harlowe, you know,

996
00:50:32,200 --> 00:50:35,399
Speaker 4: or to Tyler Creator call me if you get lost,

997
00:50:35,440 --> 00:50:39,480
Speaker 4: and winning a Grammy, Like my career has literally been

998
00:50:39,719 --> 00:50:44,240
Speaker 4: an example of being able to surf through the errors.

999
00:50:44,480 --> 00:50:49,640
Speaker 1: So, like, you know, I it's a young like I

1000
00:50:49,680 --> 00:50:50,879
Speaker 1: love where hip hop is today.

1001
00:50:50,960 --> 00:50:52,640
Speaker 4: Last night I went to the Wu Tang in Nas

1002
00:50:52,680 --> 00:50:55,240
Speaker 4: concert and I was like a kid in a candy store,

1003
00:50:55,320 --> 00:50:55,520
Speaker 4: you know.

1004
00:50:55,800 --> 00:50:57,000
Speaker 1: I mean, that's that's my era.

1005
00:50:57,200 --> 00:51:00,000
Speaker 4: Like that's when you know when you're I think when

1006
00:51:00,080 --> 00:51:02,759
Speaker 4: your team, those are your pivotable moments, you know what

1007
00:51:02,760 --> 00:51:05,520
Speaker 4: I'm saying. So yeah, for me, I'm like, as a

1008
00:51:05,560 --> 00:51:08,000
Speaker 4: forty four year old man, I'm I'm I'm in heaven,

1009
00:51:08,080 --> 00:51:10,400
Speaker 4: you know. But at the same time, I'm also a

1010
00:51:10,480 --> 00:51:16,000
Speaker 4: DJ who more likely plays for audiences in their twenties

1011
00:51:16,080 --> 00:51:19,600
Speaker 4: than I do for audiences in their forties, So it

1012
00:51:19,719 --> 00:51:23,160
Speaker 4: keeps me current and again, I just I just I

1013
00:51:23,280 --> 00:51:26,480
Speaker 4: just love the culture so much, so I love every

1014
00:51:27,000 --> 00:51:28,800
Speaker 4: diaspora of it, you know what I'm saying.

1015
00:51:28,840 --> 00:51:29,799
Speaker 1: So I don't.

1016
00:51:30,200 --> 00:51:33,000
Speaker 4: You know, this shit keeps me twenty one forever, like

1017
00:51:33,840 --> 00:51:37,399
Speaker 4: even now, having this resurgence of gangster grills, whether it's

1018
00:51:37,440 --> 00:51:41,360
Speaker 4: with Simba or whether it's Icewear Veso or Seti Hendrix

1019
00:51:41,480 --> 00:51:45,319
Speaker 4: or you know, it's like being able to still be

1020
00:51:45,440 --> 00:51:49,239
Speaker 4: in this space. And you know, I got to give

1021
00:51:49,280 --> 00:51:52,279
Speaker 4: Tyler his flowers for you know, in a sense kind

1022
00:51:52,320 --> 00:51:55,799
Speaker 4: of you know, bringing this resurgence of gangster grills back

1023
00:51:56,040 --> 00:51:56,759
Speaker 4: for what he did.

1024
00:51:57,200 --> 00:51:58,560
Speaker 1: Yeah, So no, I don't, I don't.

1025
00:51:58,640 --> 00:52:02,240
Speaker 4: I don't get in that space like I'm you know again,

1026
00:52:02,280 --> 00:52:05,520
Speaker 4: I'm to be a DJ and to to have the

1027
00:52:05,560 --> 00:52:08,680
Speaker 4: accolades that I have. It's like my goal was to

1028
00:52:08,680 --> 00:52:11,719
Speaker 4: get my name on a flyer. So the success that

1029
00:52:11,760 --> 00:52:13,440
Speaker 4: I've had, I don't. I don't take none of it

1030
00:52:13,480 --> 00:52:17,080
Speaker 4: for granted. And as much as I've accomplished, the way

1031
00:52:17,160 --> 00:52:19,399
Speaker 4: my brain works is always like damn, what the fuck

1032
00:52:19,440 --> 00:52:20,440
Speaker 4: am I gonna do next?

1033
00:52:20,600 --> 00:52:21,240
Speaker 1: You know what I'm saying.

1034
00:52:21,320 --> 00:52:24,440
Speaker 4: So I think that's what keeps me in this space

1035
00:52:24,520 --> 00:52:28,239
Speaker 4: of still being excited about you know, tomorrow or not,

1036
00:52:28,360 --> 00:52:30,560
Speaker 4: you know, again being one of the whiz in Logic tour.

1037
00:52:31,200 --> 00:52:34,520
Speaker 4: When I'm out there, I'm asking you know, all my

1038
00:52:34,560 --> 00:52:36,640
Speaker 4: two thousands of babies make some noise, and it's they

1039
00:52:36,680 --> 00:52:38,880
Speaker 4: make a lot of fucking noise. Like still a lot

1040
00:52:38,920 --> 00:52:41,520
Speaker 4: of nineties babies in there too, and the eighties babies

1041
00:52:41,600 --> 00:52:43,560
Speaker 4: are a little more quiet, don't your parents. I don't

1042
00:52:43,560 --> 00:52:46,160
Speaker 4: even ask about the seventies. I leave that alone. But

1043
00:52:47,239 --> 00:52:49,719
Speaker 4: you know, even when I walk out on stage, you know,

1044
00:52:50,080 --> 00:52:53,640
Speaker 4: having these kids like say my name and chant my

1045
00:52:53,760 --> 00:52:56,759
Speaker 4: name and be familiar with me because of Tyler or

1046
00:52:56,760 --> 00:53:01,160
Speaker 4: because of the Dreamville mixtape like such a blessing, you

1047
00:53:01,160 --> 00:53:03,760
Speaker 4: know what I'm saying that you know, I'm still here.

1048
00:53:03,680 --> 00:53:06,440
Speaker 1: And you're still finding a new audience, and I'm.

1049
00:53:06,320 --> 00:53:08,759
Speaker 4: Still finding a new audience, and and I'm and I'm

1050
00:53:08,840 --> 00:53:11,680
Speaker 4: excited about it, you know, as much as I'm excited

1051
00:53:11,719 --> 00:53:13,640
Speaker 4: about being able to go to the fucking nas and

1052
00:53:13,680 --> 00:53:16,480
Speaker 4: Wu Tang show and you know, seeing that sell.

1053
00:53:16,320 --> 00:53:18,719
Speaker 3: Out and shout out to you guy who thought I

1054
00:53:18,760 --> 00:53:22,920
Speaker 3: was a stalker in the hotel lobby this morning, you

1055
00:53:23,040 --> 00:53:24,360
Speaker 3: got you got.

1056
00:53:24,600 --> 00:53:28,400
Speaker 1: What man, I was like, it's me quest that you,

1057
00:53:29,120 --> 00:53:29,879
Speaker 1: oh man, I'm sorry.

1058
00:53:29,920 --> 00:53:31,919
Speaker 4: I thought you was like he thought, but you got

1059
00:53:31,920 --> 00:53:34,160
Speaker 4: to understand too, like even I hate I don't want

1060
00:53:34,160 --> 00:53:37,920
Speaker 4: to do this make you squirm again, but like bro, like, Bro,

1061
00:53:38,360 --> 00:53:40,480
Speaker 4: I saw you in the fucking like I used to.

1062
00:53:40,480 --> 00:53:44,320
Speaker 4: I was there past the popcorn. You're on television every.

1063
00:53:44,160 --> 00:53:47,239
Speaker 1: Night, like you have you have a fucking you have

1064
00:53:47,280 --> 00:53:48,440
Speaker 1: a fucking oscar.

1065
00:53:48,560 --> 00:53:53,200
Speaker 4: Bro, like you have an oscar? Like like, well, those

1066
00:53:53,280 --> 00:53:56,000
Speaker 4: things to me are like, Yo, there's the sky is

1067
00:53:56,040 --> 00:53:57,840
Speaker 4: not the limit. There's no limit.

1068
00:53:57,960 --> 00:54:00,719
Speaker 3: I'm gonna tell you this. This this is I'm not

1069
00:54:00,760 --> 00:54:04,960
Speaker 3: even blowing smoke. Today was a teachable lesson because every

1070
00:54:04,960 --> 00:54:07,040
Speaker 3: time you say something, I'm like, wait a minute, how

1071
00:54:07,080 --> 00:54:10,200
Speaker 3: are you just yes and jumping into some ship without

1072
00:54:10,239 --> 00:54:11,400
Speaker 3: light seeing.

1073
00:54:11,160 --> 00:54:13,440
Speaker 1: Who's going to be there first? Yeah, I'm like, and

1074
00:54:13,520 --> 00:54:16,480
Speaker 1: I need to be more so this is a little talk.

1075
00:54:16,480 --> 00:54:17,799
Speaker 1: You're a little more bougie than I am.

1076
00:54:17,880 --> 00:54:20,640
Speaker 5: I'm very much. I'm guarded. I'm protected. I'm guarded. I

1077
00:54:20,719 --> 00:54:22,880
Speaker 5: want to know that. I want the formula work. I

1078
00:54:22,880 --> 00:54:24,080
Speaker 5: wanted to break down the sciences.

1079
00:54:25,040 --> 00:54:27,120
Speaker 4: So if you run into somebody in the street right

1080
00:54:27,120 --> 00:54:31,280
Speaker 4: now and they're like, yo, I'm inspiring artists over the street,

1081
00:54:31,320 --> 00:54:32,520
Speaker 4: street can I get your number?

1082
00:54:32,880 --> 00:54:33,480
Speaker 1: Five people?

1083
00:54:33,600 --> 00:54:40,920
Speaker 5: Five people, blow slum Village, Jill Scott, Blow Slum Village,

1084
00:54:41,000 --> 00:54:46,440
Speaker 5: Jill Scott little brother. I'm five and oh, but I'm

1085
00:54:46,480 --> 00:54:49,320
Speaker 5: probably five and forty two.

1086
00:54:49,200 --> 00:54:51,680
Speaker 1: Thousand, oh those five I came to you.

1087
00:54:52,200 --> 00:54:55,239
Speaker 5: I yeah, I was in the position where I was

1088
00:54:55,280 --> 00:54:57,719
Speaker 5: like I felt in my heart like, oh this is

1089
00:54:57,760 --> 00:54:59,719
Speaker 5: oh Cody Testna that was my five.

1090
00:54:59,760 --> 00:54:59,920
Speaker 1: Oh.

1091
00:55:00,000 --> 00:55:03,880
Speaker 4: I remember he was on automatic relaxation. Yes, definitely was

1092
00:55:04,080 --> 00:55:06,239
Speaker 4: definitely more definitely all right.

1093
00:55:06,160 --> 00:55:08,439
Speaker 3: Give all right, we gotta wrap up, but please give

1094
00:55:09,280 --> 00:55:11,359
Speaker 3: another automatic relaxation.

1095
00:55:11,480 --> 00:55:12,200
Speaker 1: A whole bunch of people.

1096
00:55:12,280 --> 00:55:16,840
Speaker 4: You know, it's a few y'all, Like, can I just

1097
00:55:16,880 --> 00:55:21,000
Speaker 4: give you copies of the old ones? Like there's like

1098
00:55:21,080 --> 00:55:23,799
Speaker 4: it's not I mean, we we when it when it

1099
00:55:23,840 --> 00:55:26,160
Speaker 4: was what it was like now that there's a lot.

1100
00:55:26,040 --> 00:55:29,560
Speaker 1: Of that out now there's playlist, but it ain't nothing.

1101
00:55:30,000 --> 00:55:30,960
Speaker 1: But I've been coming from you.

1102
00:55:31,040 --> 00:55:34,160
Speaker 5: I think now at this point of your style, I

1103
00:55:34,160 --> 00:55:35,920
Speaker 5: don't think it would be that for you now, like

1104
00:55:35,960 --> 00:55:40,719
Speaker 5: if you did now, it's gonna be probably yeah, you

1105
00:55:40,760 --> 00:55:41,880
Speaker 5: know it's gonna be And I'll.

1106
00:55:41,760 --> 00:55:43,560
Speaker 6: Be listening now now you don't have to go, well

1107
00:55:44,239 --> 00:55:46,080
Speaker 6: where they went, they're.

1108
00:55:45,840 --> 00:55:48,120
Speaker 5: Gonna check for DJ Drama regardless. So if you win

1109
00:55:48,200 --> 00:55:50,000
Speaker 5: in that lane, that would be it would be something

1110
00:55:50,080 --> 00:55:50,880
Speaker 5: new to that audience.

1111
00:55:51,840 --> 00:55:56,440
Speaker 8: No, I'm respecting when you said relaxations and gangster Grizzelden.

1112
00:55:56,719 --> 00:55:59,399
Speaker 8: There you go, all right on behalf of Quest Left,

1113
00:55:59,400 --> 00:56:03,799
Speaker 8: Supreme Fante and Sugar, Steve and Steve.

1114
00:56:04,080 --> 00:56:05,960
Speaker 1: They say anything he was.

1115
00:56:06,719 --> 00:56:10,200
Speaker 4: Learning except about the skateboarder in Philly.

1116
00:56:10,480 --> 00:56:13,239
Speaker 1: You know he's he's Steve's here.

1117
00:56:13,320 --> 00:56:15,799
Speaker 3: Trust me anyway, No, thank you for doing this, man, man,

1118
00:56:16,040 --> 00:56:17,280
Speaker 3: I really appreciate.

1119
00:56:16,880 --> 00:56:20,439
Speaker 2: That school in the nation.

1120
00:56:21,920 --> 00:56:25,239
Speaker 3: Thank you to the staff everyone, fam you, thank you,

1121
00:56:25,320 --> 00:56:26,279
Speaker 3: and I thank you.

1122
00:56:26,320 --> 00:56:26,600
Speaker 1: Thank you.

1123
00:56:27,239 --> 00:56:29,279
Speaker 3: Uh and I am going to break that misspac Man

1124
00:56:29,320 --> 00:56:30,600
Speaker 3: record over time.

1125
00:56:30,640 --> 00:56:33,480
Speaker 1: Yeah, shout the exit shot.

1126
00:56:33,600 --> 00:56:36,120
Speaker 4: One day if somebody comes, just give him a number. Bro,

1127
00:56:36,239 --> 00:56:39,120
Speaker 4: you never know he's not You don't have to answer.

1128
00:56:39,560 --> 00:56:39,920
Speaker 1: Like the.

1129
00:56:41,440 --> 00:56:43,359
Speaker 4: Text me all the time, Like if I don't want

1130
00:56:43,400 --> 00:56:45,640
Speaker 4: to answer, I don't have to. You know, random people

1131
00:56:45,640 --> 00:56:47,680
Speaker 4: have Just when I was on tour, this guy just

1132
00:56:47,719 --> 00:56:50,040
Speaker 4: called me out of nowhere. I was like, Hey, this

1133
00:56:50,080 --> 00:56:51,959
Speaker 4: is a drama. I like, yeah, where'd you get my number?

1134
00:56:51,960 --> 00:56:54,600
Speaker 4: He's like, my manager gave it to me and he

1135
00:56:54,680 --> 00:56:56,839
Speaker 4: was like, yo, I'm a new artist, and I said, listen, bro,

1136
00:56:57,000 --> 00:56:59,480
Speaker 4: I'm a jewel you real quick. Like when I was

1137
00:56:59,520 --> 00:57:02,440
Speaker 4: coming up, I couldn't just call Jay z or Funk

1138
00:57:02,520 --> 00:57:05,839
Speaker 4: Master Flex like I'm like, and most people aren't gonna

1139
00:57:05,840 --> 00:57:07,720
Speaker 4: be as nice as me. But I'm telling you, before

1140
00:57:07,760 --> 00:57:10,239
Speaker 4: you try to get on my radar, look to your

1141
00:57:10,320 --> 00:57:12,280
Speaker 4: left and look to your right and try to create

1142
00:57:12,320 --> 00:57:15,520
Speaker 4: a movement with the people around you, and then before

1143
00:57:15,560 --> 00:57:17,479
Speaker 4: you know it, you'll be on my radar. Like, don't

1144
00:57:17,600 --> 00:57:21,960
Speaker 4: just call the the big wigs and think you can

1145
00:57:22,080 --> 00:57:24,600
Speaker 4: get on like. It's not that easy. I Connecticut, Yeah,

1146
00:57:24,600 --> 00:57:27,800
Speaker 4: I couldn't. I couldn't call jay z or Flex and say, hey,

1147
00:57:27,840 --> 00:57:31,000
Speaker 4: I'm DJ Drama like I'm dope like and I was,

1148
00:57:31,120 --> 00:57:33,280
Speaker 4: but I didn't have the right meaning to them.

1149
00:57:33,320 --> 00:57:34,800
Speaker 1: I didn't have the right to do that yet, you

1150
00:57:34,800 --> 00:57:37,720
Speaker 1: know what I'm saying. So there's a teachable that's the

1151
00:57:37,840 --> 00:57:40,200
Speaker 1: jewel right there. All right, We'll see you in the

1152
00:57:40,200 --> 00:57:55,080
Speaker 1: next go round. Thank you very much, nim You quest

1153
00:57:55,120 --> 00:57:57,720
Speaker 1: Some Supreme is a production of iHeartRadio.

1154
00:58:02,240 --> 00:58:07,000
Speaker 3: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1155
00:58:07,120 --> 00:58:08,800
Speaker 3: or wherever you listen to your favorite shows.