1
00:00:00,120 --> 00:00:09,399
Speaker 1: Quest Love Supreme is a production of iHeartRadio, Good People.

2
00:00:09,440 --> 00:00:09,880
Speaker 2: What's Up?

3
00:00:10,600 --> 00:00:13,520
Speaker 1: Of course, in part one we talked to our good

4
00:00:13,520 --> 00:00:18,680
Speaker 1: friend DJ Drama live from t I Studio actually formerly

5
00:00:18,800 --> 00:00:25,479
Speaker 1: Dart Studio dart As in Dallas, Austin Record Productions. I

6
00:00:25,480 --> 00:00:27,640
Speaker 1: don't know what RP stands for. That's what I assume

7
00:00:27,640 --> 00:00:31,240
Speaker 1: it was for you roots fans out there. Uh, this

8
00:00:31,360 --> 00:00:34,080
Speaker 1: is the same studio that we recorded the song Panic

9
00:00:34,720 --> 00:00:37,320
Speaker 1: for our ill Adelf Half Life record.

10
00:00:38,440 --> 00:00:41,680
Speaker 2: But yeah, you know, in part one we talked about.

11
00:00:41,720 --> 00:00:44,920
Speaker 1: His early days in Philly, have come to college and

12
00:00:45,360 --> 00:00:47,720
Speaker 1: you know, really like trying to find himself as a DJ.

13
00:00:48,080 --> 00:00:52,560
Speaker 1: And now this is part two of DJ Drama. All right, QLs,

14
00:00:52,800 --> 00:00:57,400
Speaker 1: thank you. As a mixtape, DJ, you're locking it down.

15
00:00:57,800 --> 00:01:02,600
Speaker 1: But as far as now when you're in clubs, if

16
00:01:02,680 --> 00:01:08,479
Speaker 1: I'm hiring you to DJ a party in two thousand

17
00:01:08,480 --> 00:01:12,360
Speaker 1: and six, two thousand and seven, how long, like how

18
00:01:12,400 --> 00:01:15,440
Speaker 1: long is your set? And are you doing just exclusive

19
00:01:15,480 --> 00:01:20,640
Speaker 1: stuff that is exclusive to you or are you still

20
00:01:20,760 --> 00:01:22,959
Speaker 1: just like doing regularly DJ stuff?

21
00:01:22,959 --> 00:01:27,160
Speaker 3: And so really what wound up happening was around that time,

22
00:01:27,560 --> 00:01:32,039
Speaker 3: I actually wasn't doing a lot of gigs because I

23
00:01:32,160 --> 00:01:38,080
Speaker 3: then became DJ Drama, and I went literally from getting

24
00:01:38,080 --> 00:01:41,640
Speaker 3: paid three hundred dollars from doing parties in Atlanta to

25
00:01:41,800 --> 00:01:44,880
Speaker 3: them not being able to afford me. And then I

26
00:01:44,959 --> 00:01:47,880
Speaker 3: was also tips DJ, so I was on the road,

27
00:01:48,400 --> 00:01:51,400
Speaker 3: so I didn't really I wasn't doing a lot of

28
00:01:51,440 --> 00:01:52,400
Speaker 3: my own gigs.

29
00:01:52,440 --> 00:01:55,240
Speaker 2: I would I would here and there, I would I

30
00:01:55,240 --> 00:01:56,240
Speaker 2: would get hired.

31
00:01:56,040 --> 00:01:58,440
Speaker 3: But I would probably do like a two hour set

32
00:01:58,480 --> 00:02:01,320
Speaker 3: and I would you know, but this is still a

33
00:02:01,360 --> 00:02:04,240
Speaker 3: time when like so I guess Serrato was already out,

34
00:02:05,200 --> 00:02:08,000
Speaker 3: so I would do like big gigs like I remember

35
00:02:08,000 --> 00:02:11,720
Speaker 3: when Vibe had like the Vibe something down.

36
00:02:11,520 --> 00:02:13,280
Speaker 2: Here and outcasts perform, like.

37
00:02:13,440 --> 00:02:16,280
Speaker 3: They will book me for that, or like BT would

38
00:02:16,280 --> 00:02:18,880
Speaker 3: book me, and you know, I was just I was

39
00:02:19,639 --> 00:02:21,680
Speaker 3: playing like I would mix it up. I mean, I

40
00:02:21,680 --> 00:02:24,160
Speaker 3: would do what was hot, but I would also, you know,

41
00:02:24,320 --> 00:02:26,399
Speaker 3: kind of play some gangster grol ship.

42
00:02:26,560 --> 00:02:29,240
Speaker 1: So are you a business in terms of like now

43
00:02:29,320 --> 00:02:32,360
Speaker 1: you have a manager and an agent and.

44
00:02:34,000 --> 00:02:34,680
Speaker 2: A staff.

45
00:02:35,600 --> 00:02:39,799
Speaker 3: Yeah. The office space, like definitely, we had a Walker Street.

46
00:02:39,680 --> 00:02:42,240
Speaker 2: Was our was our was our office.

47
00:02:42,720 --> 00:02:47,280
Speaker 3: Denise Denise Denise worked for us. We had I had

48
00:02:48,080 --> 00:02:52,640
Speaker 3: Jason Brown was was handling all the distribution Orlando McGee

49
00:02:52,720 --> 00:02:56,880
Speaker 3: was my first manager, and yeah, because then I got,

50
00:02:57,000 --> 00:02:59,519
Speaker 3: you know, the opportunity to get an album there. I

51
00:02:59,560 --> 00:03:02,400
Speaker 3: mean I literally he met with every label at one

52
00:03:02,440 --> 00:03:05,400
Speaker 3: point as far as like their interest in signing me

53
00:03:05,480 --> 00:03:08,280
Speaker 3: as a DJ to do a Gangster Girls album, you know,

54
00:03:08,440 --> 00:03:11,280
Speaker 3: and based upon my loyalty, and I hadn't known the building,

55
00:03:11,320 --> 00:03:14,120
Speaker 3: I signed to Ground Hustle Atlantic, but but yeah, I

56
00:03:14,160 --> 00:03:19,080
Speaker 3: definitely had staff and a manager and you know, the

57
00:03:19,120 --> 00:03:23,760
Speaker 3: whole nine. So with dedication, Like how did that come to?

58
00:03:23,960 --> 00:03:25,760
Speaker 3: I was on the I was on the bus with Tip.

59
00:03:26,160 --> 00:03:28,160
Speaker 3: We were on the Urban Legend tour. He was on

60
00:03:28,200 --> 00:03:31,520
Speaker 3: the phone with Wayne. I heard him talking to Wayne

61
00:03:31,600 --> 00:03:33,440
Speaker 3: and I was like, Yo, let me holler at him.

62
00:03:33,960 --> 00:03:36,760
Speaker 3: So I remember being on my bunk and I just

63
00:03:36,800 --> 00:03:38,160
Speaker 3: got on the phone with him and I was like,

64
00:03:38,200 --> 00:03:38,640
Speaker 3: what's up.

65
00:03:38,840 --> 00:03:40,280
Speaker 2: I was like, you know, And at that.

66
00:03:40,320 --> 00:03:44,760
Speaker 3: Time, Wayne was was doing his squad up. Yeah, so

67
00:03:45,040 --> 00:03:48,000
Speaker 3: I was using a lot of those songs on Gangster Grills,

68
00:03:48,040 --> 00:03:50,240
Speaker 3: so I knew he was kind of in his mixtape bag.

69
00:03:50,480 --> 00:03:52,360
Speaker 3: And I was like, yo, you know, we got to

70
00:03:52,400 --> 00:03:54,520
Speaker 3: get one, and he was like yeah, you know. I

71
00:03:54,520 --> 00:03:57,720
Speaker 3: mean he was already familiar with me and I remember

72
00:03:57,800 --> 00:04:00,480
Speaker 3: coming off tour for a time and I went to

73
00:04:00,560 --> 00:04:04,320
Speaker 3: Stankonia and met with Wayne and Tez and we just

74
00:04:04,400 --> 00:04:06,160
Speaker 3: kind of like went over. I brought on a bunch

75
00:04:06,200 --> 00:04:09,320
Speaker 3: of instrumentals, just options and things to wrap on and

76
00:04:09,360 --> 00:04:12,600
Speaker 3: things of that nature, and I literally just came up

77
00:04:12,600 --> 00:04:15,920
Speaker 3: with the name Dedication, just like let's call it Dedication,

78
00:04:16,040 --> 00:04:17,120
Speaker 3: and he was like, all right, cool.

79
00:04:17,720 --> 00:04:19,680
Speaker 2: And Rob Petroso, who used.

80
00:04:19,520 --> 00:04:21,920
Speaker 3: To do all my artwork, came up with the cover,

81
00:04:22,080 --> 00:04:26,640
Speaker 3: which was you know, legendary. And you know, because by

82
00:04:26,720 --> 00:04:31,200
Speaker 3: that point, Gangster Grills was a brand, Like you know,

83
00:04:31,320 --> 00:04:35,320
Speaker 3: when I was moving them throughout the southeast or up

84
00:04:35,400 --> 00:04:38,040
Speaker 3: north or what have you, people were already like okay,

85
00:04:38,120 --> 00:04:40,240
Speaker 3: if it's a Gangster Grills, like we need it, we

86
00:04:40,279 --> 00:04:42,760
Speaker 3: want it. And the Wayne tape, you know, I remember

87
00:04:42,800 --> 00:04:45,360
Speaker 3: when he sent me to music and listening and I

88
00:04:45,400 --> 00:04:47,120
Speaker 3: was like, Yo, this shit is different. This is not

89
00:04:47,240 --> 00:04:52,240
Speaker 3: the wobbledy wobbley dropping like his hot kid, like he's

90
00:04:52,279 --> 00:04:55,600
Speaker 3: on some shit, like some real bars on here. And

91
00:04:56,200 --> 00:04:58,320
Speaker 3: you know, when I did the tape and I kind

92
00:04:58,360 --> 00:05:02,080
Speaker 3: of I had known like, yeah, this this is this

93
00:05:02,160 --> 00:05:04,240
Speaker 3: is a moment, you know what I'm saying, And then

94
00:05:04,760 --> 00:05:07,080
Speaker 3: it really turned into a moment, and so it was

95
00:05:07,120 --> 00:05:09,200
Speaker 3: like it was like back to back from me because

96
00:05:09,200 --> 00:05:11,880
Speaker 3: I had just did Trap or Die and then Dedication

97
00:05:12,120 --> 00:05:15,440
Speaker 3: happened and it was like Wayne was on fire from

98
00:05:15,760 --> 00:05:19,599
Speaker 3: you know, Carter to Dedication to you know, coming into

99
00:05:19,680 --> 00:05:23,159
Speaker 3: his own and so here I am again, this kid

100
00:05:23,200 --> 00:05:26,560
Speaker 3: from Philly went to school in Atlanta, who's now the

101
00:05:26,680 --> 00:05:29,520
Speaker 3: king of the mixtapes with Tip, Gez and Wayne or

102
00:05:29,640 --> 00:05:31,839
Speaker 3: like who were the hottest guys not only in the

103
00:05:31,920 --> 00:05:34,960
Speaker 3: South but now in hip hop. And it was like

104
00:05:35,480 --> 00:05:38,360
Speaker 3: I'm in the mix, like I'm the platform for you know,

105
00:05:38,440 --> 00:05:40,400
Speaker 3: what's what's getting these niggas hot?

106
00:05:40,680 --> 00:05:41,640
Speaker 2: In your mind?

107
00:05:42,360 --> 00:05:45,080
Speaker 1: And this is before you know the fans and Rico stuff,

108
00:05:45,160 --> 00:05:47,760
Speaker 1: but like in your mind, what.

109
00:05:49,279 --> 00:05:53,840
Speaker 2: Was the end game? Are you? Like a great question?

110
00:05:54,200 --> 00:05:57,120
Speaker 2: Let me start, like when do you do?

111
00:05:57,200 --> 00:05:59,359
Speaker 1: You're like, hey, I need to be puffy or I

112
00:05:59,360 --> 00:06:03,000
Speaker 1: need to start my label or I need like because

113
00:06:03,040 --> 00:06:05,520
Speaker 1: in your mind, you're like, whoa, I'm was just in college,

114
00:06:06,040 --> 00:06:09,560
Speaker 1: you know, in fact seven years ago now, like I

115
00:06:09,720 --> 00:06:10,640
Speaker 1: determined what the future.

116
00:06:10,800 --> 00:06:13,280
Speaker 3: You know what it really was when when I first

117
00:06:13,520 --> 00:06:17,800
Speaker 3: got hot or got popular or became that guy. The

118
00:06:17,839 --> 00:06:21,479
Speaker 3: only thing that I told myself is yo, okay, you

119
00:06:21,600 --> 00:06:26,720
Speaker 3: got here like from ninety two to zero five, like

120
00:06:27,040 --> 00:06:30,320
Speaker 3: there was a lot of legwork to get here. You

121
00:06:30,480 --> 00:06:34,040
Speaker 3: gotta stay here, dram like. I didn't know how or

122
00:06:34,160 --> 00:06:36,480
Speaker 3: what it was going to be, but I just told

123
00:06:36,480 --> 00:06:40,800
Speaker 3: myself like, yo, like you gotta stay relevant, like somehow,

124
00:06:40,839 --> 00:06:44,360
Speaker 3: some way, and it happened in a lot of forms.

125
00:06:44,400 --> 00:06:49,440
Speaker 3: I mean, my brother over here, like when at the

126
00:06:49,520 --> 00:06:53,880
Speaker 3: time when Gangster Grills was known for trap music and

127
00:06:54,839 --> 00:06:58,240
Speaker 3: southern hip hop to an extent, you know, at the

128
00:06:58,279 --> 00:07:02,000
Speaker 3: same time, like they they were performing it was at

129
00:07:02,200 --> 00:07:06,240
Speaker 3: Apache Cafe or yin Yank Cafe. It was Apache and

130
00:07:06,279 --> 00:07:09,240
Speaker 3: they Little Brother had a show and the bus was

131
00:07:09,440 --> 00:07:13,040
Speaker 3: outside of the venue and I came on a bus

132
00:07:13,080 --> 00:07:16,480
Speaker 3: and we sat down and I told them like, yo,

133
00:07:16,560 --> 00:07:17,520
Speaker 3: I'm a huge fan.

134
00:07:17,800 --> 00:07:19,119
Speaker 2: I have been for some time.

135
00:07:19,680 --> 00:07:22,800
Speaker 3: And then you know, they told me the same in return,

136
00:07:23,240 --> 00:07:24,800
Speaker 3: and they were like, what do you think about doing

137
00:07:24,800 --> 00:07:28,320
Speaker 3: a Gangster Grills? And I was like, what what are

138
00:07:28,320 --> 00:07:32,840
Speaker 3: we waiting on? But around the same time, I was

139
00:07:32,920 --> 00:07:37,160
Speaker 3: getting pushback from various people like wait, you're gonna do

140
00:07:38,120 --> 00:07:41,560
Speaker 3: a tape with who Little Brother and Pharrell like that's

141
00:07:41,600 --> 00:07:45,240
Speaker 3: not Gangster Grills, Like how does that make sense? And

142
00:07:45,320 --> 00:07:48,520
Speaker 3: you know, I've always looked at myself like John Singleton

143
00:07:48,520 --> 00:07:52,560
Speaker 3: and Martin Scorsese like I make I can make boys

144
00:07:52,560 --> 00:07:54,440
Speaker 3: in the hood, but then I can go and make

145
00:07:54,480 --> 00:07:56,880
Speaker 3: poetic justice, and I can make higher learning, and I

146
00:07:56,880 --> 00:07:59,800
Speaker 3: can make baby boys. So that was how I approached it,

147
00:07:59,840 --> 00:08:04,240
Speaker 3: so that the fact that people were like pushing against

148
00:08:04,920 --> 00:08:08,160
Speaker 3: this is not a platform for Little Brother was like

149
00:08:08,320 --> 00:08:13,360
Speaker 3: so like.

150
00:08:11,760 --> 00:08:13,600
Speaker 2: Not only like what are y'all saying?

151
00:08:13,640 --> 00:08:15,600
Speaker 3: My ship's and I say on the table, yeah, you

152
00:08:15,680 --> 00:08:18,120
Speaker 3: thought it wasn't gonna sound good on this yeah, Like,

153
00:08:18,840 --> 00:08:19,120
Speaker 3: And that.

154
00:08:19,160 --> 00:08:21,840
Speaker 4: Was our mentality going into it too, because hence the

155
00:08:21,960 --> 00:08:23,400
Speaker 4: name Separate but equal.

156
00:08:23,800 --> 00:08:27,080
Speaker 2: It's so iconic in so many ways, like how.

157
00:08:27,000 --> 00:08:30,120
Speaker 1: Are you talking Wayne into because you know, to be

158
00:08:30,680 --> 00:08:32,880
Speaker 1: it was kind of perplexing.

159
00:08:32,840 --> 00:08:36,199
Speaker 2: That he chose that beat. Really he chose that. You

160
00:08:36,200 --> 00:08:37,839
Speaker 2: didn't even know I was going to ask you first.

161
00:08:37,840 --> 00:08:40,120
Speaker 2: He chose that beat, all right, Wayne chose And that

162
00:08:40,200 --> 00:08:42,520
Speaker 2: just shows Wayne rhym Over loving it.

163
00:08:42,600 --> 00:08:49,480
Speaker 4: Well no, no, no, I'm sorry. Well yeah, like he.

164
00:08:48,120 --> 00:08:50,240
Speaker 1: Round of a Star and I'm like, god, damn, like

165
00:08:51,559 --> 00:08:54,079
Speaker 1: he's killing our ship more than our ship.

166
00:08:54,120 --> 00:08:56,760
Speaker 5: I was so anti Wayne back then. None of it.

167
00:08:56,760 --> 00:08:59,240
Speaker 2: It's crazy you missed dedication I was.

168
00:08:59,480 --> 00:09:01,600
Speaker 5: I was on the y'a was very anti all these things,

169
00:09:01,640 --> 00:09:04,000
Speaker 5: and that's what I was known for. So but I

170
00:09:04,040 --> 00:09:04,959
Speaker 5: heard that Little Brother.

171
00:09:08,280 --> 00:09:11,679
Speaker 2: But you listen to a little brother was front on.

172
00:09:11,760 --> 00:09:12,920
Speaker 2: So you wasn't a gangst girl?

173
00:09:13,000 --> 00:09:15,200
Speaker 3: Oh yeah, she's one of the ones like when are

174
00:09:15,200 --> 00:09:16,599
Speaker 3: you gonna do another automatic?

175
00:09:18,160 --> 00:09:24,680
Speaker 1: So what like because that's exactly exactly like but I'm saying, like,

176
00:09:24,679 --> 00:09:26,600
Speaker 1: like the for my mind, I was like, did you?

177
00:09:26,920 --> 00:09:30,440
Speaker 1: I was like, man, maybe helped Wayne to gunpoint, like

178
00:09:30,480 --> 00:09:34,480
Speaker 1: you been around over this Philly track like he was

179
00:09:34,559 --> 00:09:37,760
Speaker 1: just big giant Yan is.

180
00:09:37,720 --> 00:09:40,240
Speaker 2: A head hip hop? Yeah you know.

181
00:09:40,400 --> 00:09:42,120
Speaker 3: And and then and then for me it was my

182
00:09:42,720 --> 00:09:46,960
Speaker 3: like again also coming from making automatic relaxations or coming

183
00:09:47,000 --> 00:09:51,160
Speaker 3: from wanting to do this because if y'all like when

184
00:09:51,520 --> 00:09:54,840
Speaker 3: Little Brother approached me and when Farrell approached me, it

185
00:09:54,880 --> 00:09:58,560
Speaker 3: was so exciting for me because it was one, it

186
00:09:58,640 --> 00:10:01,360
Speaker 3: was an opportunity to brand shout, and then two it

187
00:10:01,520 --> 00:10:04,240
Speaker 3: was an opportunity to like feel like I was giving

188
00:10:04,280 --> 00:10:07,200
Speaker 3: back to my roots, no pun intended, but like like

189
00:10:07,400 --> 00:10:09,920
Speaker 3: what like I can make a little brother gangster girls

190
00:10:09,960 --> 00:10:12,680
Speaker 3: or for real gangster girls like oh man, once I

191
00:10:12,720 --> 00:10:16,679
Speaker 3: open this door, that just opens the floodgates for you know,

192
00:10:16,880 --> 00:10:19,079
Speaker 3: for it to go in so many directions and.

193
00:10:19,080 --> 00:10:21,440
Speaker 4: For us doing that when we did Separate equal like

194
00:10:21,679 --> 00:10:24,959
Speaker 4: because my whole thing was, like I hated mixed. Well,

195
00:10:24,960 --> 00:10:26,640
Speaker 4: I love listening to mixtapes, but I didn't want to

196
00:10:26,640 --> 00:10:28,200
Speaker 4: make a mixtape. You know what I'm saying. Like my

197
00:10:28,280 --> 00:10:30,240
Speaker 4: thing was, if I'm going to take time to write

198
00:10:30,280 --> 00:10:32,760
Speaker 4: these original rhymes, I'm not putting them ships over somebody

199
00:10:32,800 --> 00:10:34,719
Speaker 4: else tracks, you know what I'm saying, Like I can

200
00:10:34,760 --> 00:10:36,840
Speaker 4: take them new rhymes, I can put over a new beat.

201
00:10:37,000 --> 00:10:38,400
Speaker 4: You know what I'm saying, that's a new jan I

202
00:10:38,559 --> 00:10:41,000
Speaker 4: loved it. I love that our tape was like that. Yeah,

203
00:10:41,000 --> 00:10:42,839
Speaker 4: we only rhymed of like maybe one in shrement. The

204
00:10:42,880 --> 00:10:45,000
Speaker 4: rest of that shit was all original joints.

205
00:10:45,040 --> 00:10:47,800
Speaker 2: Can we discuss the no drama version though, Like you know,

206
00:10:47,840 --> 00:10:51,320
Speaker 2: I've had a yeah you saw yeah, well yeah, but yeah,

207
00:10:51,520 --> 00:10:56,200
Speaker 2: so we we did. We did.

208
00:10:57,000 --> 00:10:59,600
Speaker 4: We did the tape and that was in like we

209
00:10:59,640 --> 00:11:02,320
Speaker 4: did some it was like six it was six. Yeah,

210
00:11:02,480 --> 00:11:06,200
Speaker 4: so maybe like what like two years later, like we

211
00:11:06,280 --> 00:11:11,120
Speaker 4: did uh, we called drama free version because at the

212
00:11:11,200 --> 00:11:15,079
Speaker 4: time when we were out it was a drama free

213
00:11:15,120 --> 00:11:16,960
Speaker 4: version because we had the mixtape.

214
00:11:16,960 --> 00:11:18,360
Speaker 2: But like all your drops on this stuff.

215
00:11:18,640 --> 00:11:21,240
Speaker 4: But then if if if I'm not if I remember

216
00:11:21,240 --> 00:11:23,600
Speaker 4: this correctly, I think who we were putting it out,

217
00:11:23,760 --> 00:11:26,000
Speaker 4: we were putting the project out with they just didn't

218
00:11:26,080 --> 00:11:28,120
Speaker 4: want Yeah, I mean it was straight up you know

219
00:11:28,120 --> 00:11:31,000
Speaker 4: what I mean, because retail wouldn't they wouldn't put it

220
00:11:31,040 --> 00:11:33,160
Speaker 4: in like you couldn't get in certain stories, like it

221
00:11:33,240 --> 00:11:35,440
Speaker 4: was a mixtape exact. So we were just like, all right,

222
00:11:35,480 --> 00:11:37,840
Speaker 4: well here's the records. They was original records and they

223
00:11:37,920 --> 00:11:39,800
Speaker 4: was our fucking records, So you know what I mean.

224
00:11:39,840 --> 00:11:40,839
Speaker 2: I mean, I get it.

225
00:11:40,880 --> 00:11:42,680
Speaker 3: I mean the fact that it was called drama free

226
00:11:42,800 --> 00:11:44,520
Speaker 3: was definitely kind of made me sad.

227
00:11:44,640 --> 00:11:48,560
Speaker 4: But oh but it wasn't no, like that wasn't a

228
00:11:48,640 --> 00:11:51,040
Speaker 4: shot and it was just like it was just like free.

229
00:11:53,400 --> 00:11:57,839
Speaker 6: It's kind of catchy. It's catchy as a motherfucker's shape.

230
00:11:59,559 --> 00:11:59,960
Speaker 2: I got it.

231
00:12:00,000 --> 00:12:01,800
Speaker 3: I mean, they're not the you know, they're not the

232
00:12:01,840 --> 00:12:04,520
Speaker 3: first person to do a version of the Tabe without me.

233
00:12:04,559 --> 00:12:07,719
Speaker 3: I mean, Crenshaw exists on on streaming platforms without me

234
00:12:07,800 --> 00:12:10,720
Speaker 3: on that one hurts too, like, you know, like that

235
00:12:10,840 --> 00:12:13,360
Speaker 3: was I was part of it. That was part of Crenshaw,

236
00:12:13,640 --> 00:12:17,040
Speaker 3: aren't you the spice and the bells and the whistles. Yeah,

237
00:12:17,240 --> 00:12:21,080
Speaker 3: like like that that was the thing about that was one.

238
00:12:21,160 --> 00:12:23,680
Speaker 3: I mean hence why because when I did the table

239
00:12:23,679 --> 00:12:26,560
Speaker 3: with Geezy, like, the music didn't exist without me on it,

240
00:12:26,600 --> 00:12:29,760
Speaker 3: so all the DJs had to play the versions with

241
00:12:29,800 --> 00:12:31,720
Speaker 3: me on it, and he didn't give it out without

242
00:12:31,720 --> 00:12:33,760
Speaker 3: me on it. So you would go to the club

243
00:12:33,840 --> 00:12:37,680
Speaker 3: and hear gangster grills all over because the music didn't

244
00:12:37,679 --> 00:12:38,679
Speaker 3: exist without me on it.

245
00:12:38,679 --> 00:12:40,520
Speaker 5: Sounds like a do over. It sounds like, I.

246
00:12:40,480 --> 00:12:43,160
Speaker 1: Don't know, it's like almost hearing a Dela jouring without

247
00:12:43,200 --> 00:12:46,280
Speaker 1: the siren and the Dila dila beats beats. Yeah, like

248
00:12:46,360 --> 00:12:48,280
Speaker 1: he thought he was sucking shit up, like nobody will

249
00:12:48,360 --> 00:12:50,400
Speaker 1: rhyme over this shit to that made it better?

250
00:12:50,440 --> 00:12:53,400
Speaker 3: I mean yeah, I mean you know, I like, to me,

251
00:12:53,480 --> 00:12:56,440
Speaker 3: it would hurt like I've never listened to the separate

252
00:12:56,440 --> 00:12:59,440
Speaker 3: but equal drama free version, Like I don't even it.

253
00:12:59,400 --> 00:13:02,600
Speaker 4: Would hurt my sold to me this, I think the

254
00:13:02,640 --> 00:13:05,520
Speaker 4: separate legal drummer fee version. So and it's crazy. I

255
00:13:05,559 --> 00:13:07,320
Speaker 4: thought it just me and you have never talked about

256
00:13:07,360 --> 00:13:09,719
Speaker 4: none of this shit. So man, when we did that,

257
00:13:10,240 --> 00:13:12,200
Speaker 4: we did that record, and I always just want to

258
00:13:12,200 --> 00:13:15,200
Speaker 4: thank you, man, because I sent you those records. Like

259
00:13:15,240 --> 00:13:18,320
Speaker 4: when I manager at the time, Dough, me and Poot

260
00:13:18,400 --> 00:13:21,800
Speaker 4: finished everything and I just put the records in a sequence.

261
00:13:21,880 --> 00:13:24,360
Speaker 4: I put all the songs in the sequence, skits like everything,

262
00:13:24,760 --> 00:13:27,040
Speaker 4: and I was like, I think this worked. But whatever,

263
00:13:27,080 --> 00:13:29,760
Speaker 4: I'm sure Drama do his thing. He'll change it up whatever.

264
00:13:29,840 --> 00:13:32,360
Speaker 4: I trust him. And so when they sent it back,

265
00:13:32,440 --> 00:13:35,880
Speaker 4: we were on tour and Doe was like, yo, Drama

266
00:13:35,960 --> 00:13:37,680
Speaker 4: just sent the joint and I was like, all right, cool,

267
00:13:37,720 --> 00:13:39,480
Speaker 4: and I opened it up because this is you know,

268
00:13:39,640 --> 00:13:41,880
Speaker 4: MP three's, so you will open it and see the

269
00:13:41,920 --> 00:13:44,360
Speaker 4: track listing first before you loaded the shit up, and

270
00:13:44,400 --> 00:13:46,200
Speaker 4: you kept the track listening the exact same way I

271
00:13:46,240 --> 00:13:46,600
Speaker 4: did it.

272
00:13:46,640 --> 00:13:48,560
Speaker 2: And I was like, holy shit, you know what I mean,

273
00:13:48,600 --> 00:13:49,360
Speaker 2: Like that was just a.

274
00:13:49,360 --> 00:13:51,640
Speaker 3: Big when I listened to it. When I listened to

275
00:13:51,679 --> 00:13:53,400
Speaker 3: it and I heard it and then I heard it

276
00:13:53,480 --> 00:13:56,920
Speaker 3: in the way that the skits were and everything, like

277
00:13:57,000 --> 00:13:59,240
Speaker 3: I'm not like, you know, I know, part of my

278
00:13:59,400 --> 00:14:01,440
Speaker 3: job is, you know, there's people that want me to

279
00:14:01,480 --> 00:14:04,800
Speaker 3: put it in an order or or however to do

280
00:14:04,920 --> 00:14:07,680
Speaker 3: my thing. But I'm not going to mess with something

281
00:14:07,720 --> 00:14:10,520
Speaker 3: that's already dope, you know what I'm saying. So for me,

282
00:14:10,640 --> 00:14:16,600
Speaker 3: it was already like okay, here's my bells and my whistles.

283
00:14:16,640 --> 00:14:19,320
Speaker 3: But if this ship flows the way it flows, like

284
00:14:19,440 --> 00:14:21,360
Speaker 3: watch watch change perfection.

285
00:14:22,080 --> 00:14:25,080
Speaker 2: So that's always appreciated that man, bro.

286
00:14:25,240 --> 00:14:27,400
Speaker 3: Like I mean, you like the Little Brother and the

287
00:14:27,440 --> 00:14:30,080
Speaker 3: Pharaal tape like came out at a time, and it

288
00:14:30,120 --> 00:14:32,680
Speaker 3: came out literally like back to back, and those tapes

289
00:14:33,000 --> 00:14:36,240
Speaker 3: are so important to me because again, like you know,

290
00:14:36,520 --> 00:14:38,600
Speaker 3: from where I come from, from the cloth that I

291
00:14:38,640 --> 00:14:40,880
Speaker 3: come from, and for what I was being known for

292
00:14:40,920 --> 00:14:44,080
Speaker 3: at the time, and not that I was fighting against it,

293
00:14:44,160 --> 00:14:46,200
Speaker 3: but it was like, yo, like I want to show

294
00:14:46,240 --> 00:14:49,240
Speaker 3: the world like I am hip hop like to it's full,

295
00:14:49,400 --> 00:14:51,600
Speaker 3: like I am from the cloth, you know what I mean.

296
00:14:51,920 --> 00:14:59,640
Speaker 3: And to be able to do those two projects were liked.

297
00:14:57,000 --> 00:14:59,400
Speaker 4: A point because you had we both had a point

298
00:14:59,400 --> 00:15:01,440
Speaker 4: to be for you, you know, you said it was

299
00:15:01,480 --> 00:15:03,720
Speaker 4: proven like we were from that cloth for us at

300
00:15:03,720 --> 00:15:05,600
Speaker 4: that time, you know, we were coming off the Minstrel

301
00:15:05,600 --> 00:15:07,920
Speaker 4: Show and it was just like ah, them niggas, they

302
00:15:07,960 --> 00:15:09,880
Speaker 4: just some backpack hate niggas. It was like, no, we

303
00:15:10,040 --> 00:15:12,240
Speaker 4: fucking wrapped, you know what I mean. And it was

304
00:15:12,320 --> 00:15:16,240
Speaker 4: just like, look, it don't matter if it's trapshit whatever, like.

305
00:15:16,360 --> 00:15:17,360
Speaker 2: And just beat the South.

306
00:15:17,440 --> 00:15:20,000
Speaker 3: I mean, so it was like even that in that

307
00:15:20,120 --> 00:15:23,520
Speaker 3: sense of what people were looking at was Southern hip hop.

308
00:15:23,680 --> 00:15:26,120
Speaker 3: And then you know us doing that tape and separate

309
00:15:26,120 --> 00:15:28,240
Speaker 3: but equal like as a title and y'all being from

310
00:15:28,240 --> 00:15:30,920
Speaker 3: the South, like it all it all just made it

311
00:15:31,000 --> 00:15:32,080
Speaker 3: was It was great.

312
00:15:32,160 --> 00:15:32,960
Speaker 2: It was a great moment.

313
00:15:33,000 --> 00:15:34,960
Speaker 4: Now it really was, man, And that was just I'm

314
00:15:35,000 --> 00:15:36,880
Speaker 4: so thankful that you know our pass like crossing the

315
00:15:36,880 --> 00:15:38,840
Speaker 4: way he did that shit was amazing, amazing.

316
00:15:38,920 --> 00:15:42,560
Speaker 1: I know that you rehashed the story over and over

317
00:15:42,600 --> 00:15:44,400
Speaker 1: and over and over and over again, so I'm trying

318
00:15:44,480 --> 00:15:49,320
Speaker 1: not to beat an already dead horse that you moved past.

319
00:15:50,360 --> 00:15:54,280
Speaker 1: I mean, the question is basically, like in two thousand

320
00:15:54,320 --> 00:16:00,160
Speaker 1: and seven, I'm trying to figure out how an industry

321
00:16:00,640 --> 00:16:07,240
Speaker 1: that utilizes you to break open their artists like and again,

322
00:16:07,680 --> 00:16:12,960
Speaker 1: I'm a stornch East Coast head. You know, Tarik himself

323
00:16:13,800 --> 00:16:17,160
Speaker 1: listen to nothing but your mixtapes. So this is how

324
00:16:17,200 --> 00:16:19,520
Speaker 1: I'm learning about Wayne, Like, this is how I'm getting

325
00:16:19,600 --> 00:16:23,160
Speaker 1: my education on what I need to learn about the

326
00:16:23,160 --> 00:16:27,360
Speaker 1: rest of America except my niece. And I'm trying to like,

327
00:16:27,400 --> 00:16:29,760
Speaker 1: and I understand that there was a period between two

328
00:16:29,800 --> 00:16:33,520
Speaker 1: thousand and three in two thousand and eight, especially like

329
00:16:34,120 --> 00:16:36,800
Speaker 1: with record labels not knowing like if they're going to

330
00:16:36,840 --> 00:16:39,880
Speaker 1: survive now that streaming culture, like you know, we already had.

331
00:16:39,720 --> 00:16:41,760
Speaker 2: The sign napster.

332
00:16:42,080 --> 00:16:45,840
Speaker 1: Yeah, yeah, like around two thousand and three whatever like

333
00:16:45,880 --> 00:16:49,600
Speaker 1: that just starts. But I'm trying to figure out how like,

334
00:16:49,600 --> 00:16:56,800
Speaker 1: like you were definitely utilized and used to break open people,

335
00:16:58,040 --> 00:17:00,480
Speaker 1: Like so just in general and not like from a

336
00:17:00,520 --> 00:17:02,800
Speaker 1: one to ten, how shocked were you when you came

337
00:17:02,840 --> 00:17:03,760
Speaker 1: home and like, wait.

338
00:17:03,520 --> 00:17:06,399
Speaker 2: What the fuck is this? Like did you did you

339
00:17:06,440 --> 00:17:08,000
Speaker 2: have an inkling of a clue?

340
00:17:08,400 --> 00:17:11,480
Speaker 1: Like none, or even even when the ship was selling

341
00:17:11,560 --> 00:17:12,440
Speaker 1: like hotcakes?

342
00:17:12,680 --> 00:17:15,840
Speaker 2: Twelve, even when she was selling like hotcakes?

343
00:17:16,240 --> 00:17:18,639
Speaker 1: Was there any person that was sort of like, have

344
00:17:18,720 --> 00:17:21,920
Speaker 1: you ever received pushback from anyone that like you rhymed

345
00:17:21,920 --> 00:17:23,000
Speaker 1: an instrumental over.

346
00:17:22,840 --> 00:17:26,159
Speaker 2: And like Jame's like, hey, why'd you use fronting or

347
00:17:26,240 --> 00:17:27,000
Speaker 2: why never?

348
00:17:28,040 --> 00:17:29,960
Speaker 4: It wasn't on the artists like that was a badge

349
00:17:29,960 --> 00:17:32,159
Speaker 4: of honor to have someone like wrap over, you know,

350
00:17:32,280 --> 00:17:32,880
Speaker 4: it wasn't.

351
00:17:32,680 --> 00:17:35,960
Speaker 3: That so I mean, we there's a there's a there's

352
00:17:36,000 --> 00:17:37,320
Speaker 3: a lot to unpack here.

353
00:17:37,560 --> 00:17:39,280
Speaker 2: And again, I know I've told the story.

354
00:17:39,800 --> 00:17:43,120
Speaker 3: One part about it is, first off, it shows the

355
00:17:43,560 --> 00:17:46,880
Speaker 3: disconnect within the labels. Right, So as much as the

356
00:17:46,920 --> 00:17:52,160
Speaker 3: marketing departments loved me, or the mix show departments, or

357
00:17:52,240 --> 00:17:56,080
Speaker 3: you know, the promotion department, how much I meant to them,

358
00:17:56,280 --> 00:18:00,480
Speaker 3: the legal department of a label didn't un stand.

359
00:18:00,520 --> 00:18:01,399
Speaker 2: They have a clue.

360
00:18:01,440 --> 00:18:04,600
Speaker 3: They don't get it, Like what wait, what like that

361
00:18:04,600 --> 00:18:08,359
Speaker 3: that's not cleared? Like we're not you know, we hold on.

362
00:18:08,480 --> 00:18:11,919
Speaker 3: So they're you know, I was friends with the promotions

363
00:18:11,920 --> 00:18:15,040
Speaker 3: in the marketing side, but yeah, the legal department didn't.

364
00:18:15,920 --> 00:18:17,840
Speaker 3: It didn't make sense to them, why are we giving

365
00:18:17,960 --> 00:18:21,280
Speaker 3: this free music out? And then this is also a

366
00:18:21,359 --> 00:18:26,119
Speaker 3: time where outside of my mixtapes, there were hundreds of

367
00:18:26,160 --> 00:18:31,560
Speaker 3: other mixtapes that weren't sanctioned that people were, you know however,

368
00:18:31,880 --> 00:18:35,840
Speaker 3: getting MP three's hacking for whatever way they were getting them.

369
00:18:36,240 --> 00:18:40,080
Speaker 3: Music was coming out that people didn't give permission for.

370
00:18:40,600 --> 00:18:44,720
Speaker 3: And then on top of that, around this time, these

371
00:18:45,200 --> 00:18:49,560
Speaker 3: mixtapes Minds and others started to show up in best

372
00:18:49,560 --> 00:18:53,439
Speaker 3: buys and then targets and in walmarts with barcodes on

373
00:18:53,480 --> 00:18:57,160
Speaker 3: it and so in that, you know, and that made

374
00:18:57,200 --> 00:18:59,560
Speaker 3: it confusing. And I just spoke about this on math

375
00:18:59,560 --> 00:19:02,840
Speaker 3: Hafa because they brought up, you know, after I got raided.

376
00:19:03,480 --> 00:19:05,639
Speaker 3: One of the people they asked about what do you

377
00:19:05,680 --> 00:19:08,160
Speaker 3: think about what happened to drama was Wayne? And Wayne said,

378
00:19:09,119 --> 00:19:13,880
Speaker 3: drama needs to Drama needs to play the games fair

379
00:19:14,000 --> 00:19:18,320
Speaker 3: or smarter like Clue or Kalid or something of that.

380
00:19:18,480 --> 00:19:21,200
Speaker 3: But is it the same? I mean, the reason why

381
00:19:21,840 --> 00:19:24,840
Speaker 3: I never took offence to it is because you know,

382
00:19:25,800 --> 00:19:28,840
Speaker 3: when these when these because there's all there was a

383
00:19:28,880 --> 00:19:32,280
Speaker 3: street code that went along with mixtapes for promotional use

384
00:19:32,359 --> 00:19:35,560
Speaker 3: only right, everybody knew that we were making money, and

385
00:19:35,680 --> 00:19:39,840
Speaker 3: you know, that's how I was supporting myself. But when

386
00:19:39,880 --> 00:19:42,680
Speaker 3: they started, when the mixtape started to show up in

387
00:19:42,720 --> 00:19:45,840
Speaker 3: the stores with bar codes, as an artist, I could

388
00:19:45,960 --> 00:19:49,280
Speaker 3: understand how one could fill the type of way promotional

389
00:19:49,520 --> 00:19:51,440
Speaker 3: because they're like, wait, hold on, why is this? Why

390
00:19:51,520 --> 00:19:54,040
Speaker 3: is my ship in Target with a bar code? And

391
00:19:54,080 --> 00:19:55,320
Speaker 3: I'm not seeing a dollar from it?

392
00:19:55,359 --> 00:19:57,080
Speaker 6: So they're okay, not seeing a dollar if you just

393
00:19:57,119 --> 00:19:59,280
Speaker 6: selling it the way you're selling it, Like from to.

394
00:19:59,200 --> 00:20:02,760
Speaker 3: An extent, I mean again, now, looking looking back on it,

395
00:20:02,880 --> 00:20:06,480
Speaker 3: if at the wise age of forty four that I

396
00:20:06,520 --> 00:20:09,679
Speaker 3: am now in my twenties, the type of money that

397
00:20:09,720 --> 00:20:11,640
Speaker 3: I was making, and I would you know, I would

398
00:20:11,680 --> 00:20:15,159
Speaker 3: have easily thrown someone at twenty five or fifty if

399
00:20:15,200 --> 00:20:18,040
Speaker 3: I'm making X amount of dollars, like just as a

400
00:20:18,080 --> 00:20:19,800
Speaker 3: quick thank you, It would have It would have been

401
00:20:19,840 --> 00:20:20,640
Speaker 3: a nice gesture.

402
00:20:20,760 --> 00:20:20,879
Speaker 2: Like.

403
00:20:21,160 --> 00:20:23,040
Speaker 3: But you know, on the on the other end, these

404
00:20:23,080 --> 00:20:25,440
Speaker 3: guys are going and doing shows for one hundred and

405
00:20:25,480 --> 00:20:30,200
Speaker 3: fifty two hundred thousand dollars off of what we've built together.

406
00:20:30,359 --> 00:20:33,360
Speaker 3: So you know, I don't count anyone's pockets, nor did

407
00:20:33,359 --> 00:20:34,600
Speaker 3: I feel like anyone can.

408
00:20:34,520 --> 00:20:35,159
Speaker 2: To be fair and just.

409
00:20:35,240 --> 00:20:37,080
Speaker 4: I mean again, we just talked of it now, but

410
00:20:37,240 --> 00:20:39,359
Speaker 4: you know I never felt you know, me and I

411
00:20:39,359 --> 00:20:41,359
Speaker 4: could speak you know, for my brother Pool as well

412
00:20:41,520 --> 00:20:41,880
Speaker 4: for us.

413
00:20:41,920 --> 00:20:43,959
Speaker 2: It was never that like we did our show up

414
00:20:43,960 --> 00:20:46,480
Speaker 2: with a barcode. No, it didn't.

415
00:20:46,520 --> 00:20:48,480
Speaker 4: I was gonna shove on a bar code. I remember

416
00:20:48,840 --> 00:20:52,840
Speaker 4: like watching it on the news and seeing like when

417
00:20:52,840 --> 00:20:56,720
Speaker 4: they was taking like shit out and they separate videos there,

418
00:20:56,800 --> 00:20:58,760
Speaker 4: bro I was like, what the fuck.

419
00:21:02,400 --> 00:21:03,720
Speaker 2: Outside? I don't remember that.

420
00:21:03,760 --> 00:21:06,320
Speaker 4: Yeah, y'all's was there bruh, That shit was nuts. So

421
00:21:06,440 --> 00:21:08,080
Speaker 4: but yeah, but for us, like you said, it was

422
00:21:08,119 --> 00:21:10,760
Speaker 4: just a code of honor. It was just understood. It's like, okay,

423
00:21:11,200 --> 00:21:13,120
Speaker 4: we do to take you know, drum, he gonna move

424
00:21:13,119 --> 00:21:15,760
Speaker 4: it on our end. We'll do whatever on our end,

425
00:21:15,800 --> 00:21:18,720
Speaker 4: We'll do press it, shows whatever. Like it was just

426
00:21:18,880 --> 00:21:20,920
Speaker 4: you know what I mean, it was a mutually beneficial thing,

427
00:21:20,960 --> 00:21:22,280
Speaker 4: and it was like that for most people.

428
00:21:22,320 --> 00:21:25,560
Speaker 3: But yeah, I think all those things came into play.

429
00:21:25,600 --> 00:21:27,840
Speaker 3: I think the fact that you know, two thousand and

430
00:21:27,880 --> 00:21:30,919
Speaker 3: seven was a very pivotal year for the music business,

431
00:21:31,000 --> 00:21:33,600
Speaker 3: where you know, it was a transition, and you know,

432
00:21:33,800 --> 00:21:37,160
Speaker 3: the the bottom line wasn't wasn't adding up for them,

433
00:21:37,359 --> 00:21:43,639
Speaker 3: And there's there's many theories or conspiracy theories or you know,

434
00:21:43,760 --> 00:21:46,520
Speaker 3: let's take the big guy out to shut this down. However,

435
00:21:47,040 --> 00:21:50,160
Speaker 3: you know, hence I don't you know, I do know

436
00:21:50,200 --> 00:21:53,480
Speaker 3: that for a fact that people were told, artists were

437
00:21:53,520 --> 00:21:57,000
Speaker 3: told like yo, if when when DRAMs situation comes up,

438
00:21:57,280 --> 00:21:59,399
Speaker 3: don't speak on it, like leave that alone, you know

439
00:21:59,440 --> 00:22:02,359
Speaker 3: what I'm saying, Or you know, nobody necessarily people used

440
00:22:02,400 --> 00:22:03,879
Speaker 3: to ask me in interviews like did you feel the

441
00:22:03,880 --> 00:22:06,320
Speaker 3: type of way when nobody spoke up for you, and

442
00:22:06,359 --> 00:22:09,399
Speaker 3: I was like, honestly not really like you know, like

443
00:22:09,640 --> 00:22:11,320
Speaker 3: there were a couple of people behind the scenes I

444
00:22:11,359 --> 00:22:15,560
Speaker 3: talked to, you know, just that that that reached out

445
00:22:15,600 --> 00:22:16,199
Speaker 3: or what have you.

446
00:22:16,200 --> 00:22:18,119
Speaker 4: And then yeah, well us when you got when when

447
00:22:18,160 --> 00:22:20,320
Speaker 4: they happened for us specifically, So yeah, that was like

448
00:22:20,320 --> 00:22:24,119
Speaker 4: oh six o seven we did the and Justice for All?

449
00:22:24,119 --> 00:22:24,800
Speaker 2: What was it seven?

450
00:22:25,119 --> 00:22:28,480
Speaker 3: We did just January. It was January seven when my

451
00:22:28,520 --> 00:22:29,080
Speaker 3: should happened.

452
00:22:29,080 --> 00:22:31,280
Speaker 4: Okay, it was January seventh, so I think maybe it's

453
00:22:31,320 --> 00:22:34,240
Speaker 4: the next year, maybe it was or later that year. Anyway,

454
00:22:34,560 --> 00:22:37,880
Speaker 4: we did Mike Boogie tape uh and Justice for All?

455
00:22:38,200 --> 00:22:40,320
Speaker 4: I mean yeah, and I hit uh. I was telling me,

456
00:22:40,359 --> 00:22:41,760
Speaker 4: I said, ya, I did that before the raid or

457
00:22:41,800 --> 00:22:43,560
Speaker 4: after the ring? That was after the raid got you

458
00:22:43,600 --> 00:22:45,320
Speaker 4: that was after the raid, because I was telling me,

459
00:22:45,440 --> 00:22:47,200
Speaker 4: I was like, yo, bro, like, we gotta get drums

460
00:22:47,240 --> 00:22:48,280
Speaker 4: speaking on this, because.

461
00:22:48,040 --> 00:22:50,000
Speaker 2: The first record on that tape was Can't Stop.

462
00:22:50,040 --> 00:22:51,919
Speaker 4: As a record called Can't Stop as well, we was

463
00:22:51,920 --> 00:22:54,680
Speaker 4: talking about that ship and it was just like I said, nah, bru,

464
00:22:54,800 --> 00:22:57,040
Speaker 4: like we got to get drum talking because they not

465
00:22:57,440 --> 00:22:59,280
Speaker 4: they're not gonna We're not letting them shut this ship down,

466
00:22:59,359 --> 00:23:00,000
Speaker 4: like fuck y'all.

467
00:23:00,080 --> 00:23:02,199
Speaker 3: I mean I felt the type of way like I

468
00:23:02,240 --> 00:23:04,600
Speaker 3: felt a lot of guilt at the time because I'm like, damn,

469
00:23:04,680 --> 00:23:07,600
Speaker 3: like this is a culture like I grew up loving,

470
00:23:07,720 --> 00:23:10,440
Speaker 3: you know what I'm saying, like, and I can't let

471
00:23:10,440 --> 00:23:13,679
Speaker 3: this shit die on my shoulders, like like damn, you

472
00:23:13,720 --> 00:23:16,119
Speaker 3: felt like you killed the mixtape game for a moment,

473
00:23:16,800 --> 00:23:20,800
Speaker 3: for a moment, literally, yeah, Like I felt like, damn,

474
00:23:20,880 --> 00:23:23,840
Speaker 3: the downfall of the fucking mixtape game is going to

475
00:23:23,920 --> 00:23:27,240
Speaker 3: happen when I become the top of the food chain.

476
00:23:27,280 --> 00:23:29,640
Speaker 3: And like, you know, I spent a lot of time,

477
00:23:29,760 --> 00:23:31,640
Speaker 3: like you know, I still went and put tapes out

478
00:23:31,720 --> 00:23:33,879
Speaker 3: right after that, and.

479
00:23:33,240 --> 00:23:36,240
Speaker 1: How long was it until you look both ways where

480
00:23:36,240 --> 00:23:37,720
Speaker 1: you cross the street, and like, oh, I put a

481
00:23:37,720 --> 00:23:39,840
Speaker 1: tape by like a month too after like I did

482
00:23:39,880 --> 00:23:44,800
Speaker 1: like Gangster Grills sixteen and was just talking crazy on there,

483
00:23:44,960 --> 00:23:48,399
Speaker 1: like you know, and I remember the first big the

484
00:23:48,840 --> 00:23:52,119
Speaker 1: first big mixtape that I probably did was Dedication three

485
00:23:52,560 --> 00:23:55,000
Speaker 1: and then I remember, you know, that was after you know,

486
00:23:55,400 --> 00:23:58,200
Speaker 1: Wayne had went and said like fuck mixtape DJs or

487
00:23:58,200 --> 00:24:01,320
Speaker 1: fuck DJs or something and then called in my radio

488
00:24:01,400 --> 00:24:03,320
Speaker 1: show and we cleared that up and then you know,

489
00:24:03,400 --> 00:24:07,399
Speaker 1: we went on to do Dedication three, but yeah, I

490
00:24:07,440 --> 00:24:10,000
Speaker 1: mean again, I was like, you know, I had a

491
00:24:10,040 --> 00:24:12,600
Speaker 1: point to prove, like yo, I'm not first, you know.

492
00:24:12,680 --> 00:24:15,840
Speaker 3: And then Atlantic Records called literally the next day, like,

493
00:24:15,880 --> 00:24:18,000
Speaker 3: oh my god, how fast can we get your album done?

494
00:24:18,040 --> 00:24:19,240
Speaker 2: Like we can't pay for this.

495
00:24:19,200 --> 00:24:24,639
Speaker 3: Type of publicity because the record Riggs Riggs actually did

496
00:24:24,680 --> 00:24:27,360
Speaker 3: all the skits on my first album. So Riggs did

497
00:24:27,359 --> 00:24:30,320
Speaker 3: the I mean it was it was literally Julie and

498
00:24:30,400 --> 00:24:33,080
Speaker 3: Craig and I think Kevin was still there at the time,

499
00:24:33,160 --> 00:24:35,560
Speaker 3: and and Kuys and then they all called like, yo,

500
00:24:35,840 --> 00:24:37,200
Speaker 3: we can't play for this type publicity.

501
00:24:37,200 --> 00:24:38,520
Speaker 2: How soon can you turn your album in?

502
00:24:38,680 --> 00:24:43,000
Speaker 3: So you know, my first single actually was titled Fed's

503
00:24:43,040 --> 00:24:44,080
Speaker 3: Taking Pictures.

504
00:24:43,680 --> 00:24:48,080
Speaker 2: Taking Pictures. Yeah, so you know I beneath the Diamonds.

505
00:24:48,359 --> 00:24:50,480
Speaker 2: I love that ship.

506
00:24:51,160 --> 00:24:52,960
Speaker 6: For some reason, when that happened to you, I feel

507
00:24:52,960 --> 00:24:56,359
Speaker 6: like a lot of people who knew you, we felt

508
00:24:56,359 --> 00:24:58,800
Speaker 6: like it couldn't have happened to some better person who

509
00:24:59,280 --> 00:25:01,440
Speaker 6: had resources were prepared for you. In a way, I

510
00:25:01,440 --> 00:25:04,040
Speaker 6: don't know how to explain it to you, but we

511
00:25:04,119 --> 00:25:06,000
Speaker 6: felt like we knew you were going to be okay

512
00:25:06,040 --> 00:25:08,240
Speaker 6: because you were smart, as fuck right and because it

513
00:25:08,400 --> 00:25:11,040
Speaker 6: But is that another reason as to why it felt

514
00:25:11,080 --> 00:25:14,960
Speaker 6: like it kind of came and went and away?

515
00:25:15,000 --> 00:25:17,480
Speaker 3: Resource well for me, I mean you know again, I

516
00:25:17,520 --> 00:25:20,399
Speaker 3: mean it literally made me more famous than I ever was.

517
00:25:20,560 --> 00:25:21,760
Speaker 2: I mean, next thing, I know.

518
00:25:21,880 --> 00:25:23,520
Speaker 5: So you never had a crying moment, you was like,

519
00:25:23,920 --> 00:25:24,400
Speaker 5: the only.

520
00:25:24,200 --> 00:25:26,000
Speaker 3: Crime moment I had is the next day I got

521
00:25:26,000 --> 00:25:28,240
Speaker 3: out and I wasn't familiar with what the RICO was

522
00:25:28,280 --> 00:25:30,800
Speaker 3: and then I called Tip and Tip was like, bro,

523
00:25:31,359 --> 00:25:33,600
Speaker 3: they hit you with the RICO, Like, check your bank account.

524
00:25:33,800 --> 00:25:36,320
Speaker 3: My bank account said zero point zero zero after having

525
00:25:36,400 --> 00:25:39,320
Speaker 3: six figures in it, So I definitely shed a tear.

526
00:25:41,359 --> 00:25:46,240
Speaker 1: But after that, like where you know they kept? So

527
00:25:46,320 --> 00:25:48,680
Speaker 1: I had we had two accounts for a museum's sake,

528
00:25:48,720 --> 00:25:49,679
Speaker 1: like where is that stuff?

529
00:25:50,040 --> 00:25:53,679
Speaker 3: Well, they gave back what did they gave back the equipment,

530
00:25:54,480 --> 00:25:57,280
Speaker 3: They gave back one of our accounts. They gave back

531
00:25:57,320 --> 00:26:02,480
Speaker 3: the account that ironically was like the label budget account,

532
00:26:03,119 --> 00:26:06,600
Speaker 3: but the drama like the d or the DJ drama

533
00:26:06,680 --> 00:26:09,919
Speaker 3: account that I had with where most of the money was.

534
00:26:10,000 --> 00:26:12,920
Speaker 3: They kept that because they they said they couldn't differentiate

535
00:26:13,240 --> 00:26:15,760
Speaker 3: what was what was what? So we're keeping all of this?

536
00:26:16,119 --> 00:26:19,320
Speaker 3: How long did it take to replace I started making money?

537
00:26:19,320 --> 00:26:20,800
Speaker 3: I mean, you know I got it back and got

538
00:26:20,880 --> 00:26:23,360
Speaker 3: I got back up, you know, to take me too long?

539
00:26:24,000 --> 00:26:28,119
Speaker 1: Obviously it was a performative actually, like what was the

540
00:26:29,000 --> 00:26:30,359
Speaker 1: end results learned?

541
00:26:30,440 --> 00:26:33,800
Speaker 3: Like yeah, I mean the story the I I Double A,

542
00:26:33,960 --> 00:26:35,960
Speaker 3: you know, and around that Timmy and Cannon had kind

543
00:26:35,960 --> 00:26:38,080
Speaker 3: of had a falling out and you know we went

544
00:26:38,119 --> 00:26:40,560
Speaker 3: our separate ways for a moment. But the R I

545
00:26:40,680 --> 00:26:42,879
Speaker 3: Double A made us do this like p s A

546
00:26:43,240 --> 00:26:48,040
Speaker 3: where it was like, hey, kids like music, Yeah, like

547
00:26:48,960 --> 00:26:54,440
Speaker 3: they're chilling. Yeah, Like it never came. They never put

548
00:26:54,480 --> 00:26:56,719
Speaker 3: it out, but they made it. We shot it at

549
00:26:57,680 --> 00:27:00,800
Speaker 3: Tree Sounds and they literally, like you know, gave us

550
00:27:00,800 --> 00:27:02,840
Speaker 3: a script like if you make music, do.

551
00:27:02,880 --> 00:27:04,720
Speaker 2: You have a copy of it? I wish I did.

552
00:27:04,880 --> 00:27:07,600
Speaker 1: Yo, Man, you gotta put on your Instagram.

553
00:27:07,680 --> 00:27:09,440
Speaker 3: I know it exists, it has to be. And this

554
00:27:09,800 --> 00:27:11,600
Speaker 3: this was literally the first time me and Cannon had

555
00:27:11,680 --> 00:27:13,560
Speaker 3: seen each other in a while, and we had to

556
00:27:13,640 --> 00:27:13,840
Speaker 3: do it.

557
00:27:14,080 --> 00:27:14,240
Speaker 2: You know.

558
00:27:14,720 --> 00:27:17,720
Speaker 3: Part of the agreement was us doing that ps A

559
00:27:18,200 --> 00:27:20,320
Speaker 3: that they never put out. But it's like, you know,

560
00:27:20,680 --> 00:27:23,680
Speaker 3: like for me, LIKEAH said, like when I was doing interviews,

561
00:27:24,840 --> 00:27:27,600
Speaker 3: I remember saying like, yo, this is not the end

562
00:27:27,680 --> 00:27:30,399
Speaker 3: of my story, Like this is one chapter, like you know,

563
00:27:30,960 --> 00:27:32,919
Speaker 3: for me, it was like, yeah, this is just you know, everybody,

564
00:27:32,960 --> 00:27:36,200
Speaker 3: anybody who's anybody gets hit with some type of adversity

565
00:27:36,240 --> 00:27:39,399
Speaker 3: and this is just my my first, you know, my

566
00:27:39,520 --> 00:27:41,760
Speaker 3: first real challenge. And you know, I'm a I'm a

567
00:27:41,920 --> 00:27:44,479
Speaker 3: I'm anna be here like I've been here and at

568
00:27:44,520 --> 00:27:47,040
Speaker 3: the time, I had, you know, been here to up

569
00:27:47,080 --> 00:27:50,840
Speaker 3: to that extent, not knowing what life had in in

570
00:27:51,080 --> 00:27:53,320
Speaker 3: uh in mind for me up to this point. But

571
00:27:53,440 --> 00:27:55,760
Speaker 3: it was like, yeah, like this is just one chapter

572
00:27:55,880 --> 00:27:56,359
Speaker 3: in my story.

573
00:27:56,480 --> 00:28:04,840
Speaker 2: This is not the last chapter. Like watch what I do? Man.

574
00:28:04,880 --> 00:28:07,000
Speaker 4: I always wanted to ask you about the ARTI stories

575
00:28:07,000 --> 00:28:08,520
Speaker 4: telling three. I was just about to bring that up,

576
00:28:08,520 --> 00:28:11,400
Speaker 4: all man, how did how did that three?

577
00:28:11,560 --> 00:28:15,720
Speaker 2: Or four? Four? Oh? Four? I'm sorry, Yeah, there's a three. Yeah,

578
00:28:15,880 --> 00:28:17,360
Speaker 2: there is a three. That's why it's four.

579
00:28:17,520 --> 00:28:19,359
Speaker 3: Big boy has to tell you where the three exists

580
00:28:19,640 --> 00:28:21,720
Speaker 3: because he told me, because that's why we artist story

581
00:28:21,760 --> 00:28:22,200
Speaker 3: telling four.

582
00:28:22,760 --> 00:28:26,000
Speaker 2: But I was supposed to do it Idle Wild Gangster Grills.

583
00:28:26,520 --> 00:28:29,200
Speaker 3: Oh wow, okay, really yeah, I was supposed to do

584
00:28:29,280 --> 00:28:31,600
Speaker 3: a tape around that time were they were gonna go

585
00:28:31,720 --> 00:28:35,560
Speaker 3: we were gonna do a tape pre Idle Wild going

586
00:28:35,640 --> 00:28:41,560
Speaker 3: into the project me uh stacks Big and their manager

587
00:28:41,600 --> 00:28:43,800
Speaker 3: Blue got on the phone and they came to me like, yo,

588
00:28:43,880 --> 00:28:45,360
Speaker 3: we want to do a Gangster Grills and I was like,

589
00:28:45,880 --> 00:28:50,280
Speaker 3: hell motherfucker yeah. And then a few months later they

590
00:28:50,360 --> 00:28:53,360
Speaker 3: called and was like, listen, bro, we're just buckled down

591
00:28:53,440 --> 00:28:56,880
Speaker 3: with the movie and the soundtrack and we you know,

592
00:28:57,200 --> 00:28:59,680
Speaker 3: we apologize, but we don't have time to do the tape.

593
00:28:59,840 --> 00:29:02,280
Speaker 2: And they were like, but how about we offer you

594
00:29:02,360 --> 00:29:05,240
Speaker 2: a song for your album? And I was like hell yeah,

595
00:29:05,480 --> 00:29:07,160
Speaker 2: Like of course.

596
00:29:07,720 --> 00:29:12,480
Speaker 3: So I started the process of literally sending three thousand

597
00:29:12,720 --> 00:29:16,600
Speaker 3: beats from every big known name producer out at the time,

598
00:29:17,160 --> 00:29:18,760
Speaker 3: you know, because this is the time when I was

599
00:29:18,840 --> 00:29:21,360
Speaker 3: doing the first Gang Squirrel album. Gangster Grills was the

600
00:29:21,440 --> 00:29:24,560
Speaker 3: biggest thing going, so everybody was pretty much giving me

601
00:29:24,880 --> 00:29:26,880
Speaker 3: beats and I would send them to three thousand and

602
00:29:26,960 --> 00:29:29,440
Speaker 3: he would be like nah, nah nah. He would pretty

603
00:29:29,520 --> 00:29:32,080
Speaker 3: much turn everything down. One of the last tapes I

604
00:29:32,200 --> 00:29:37,480
Speaker 3: made before the raid was Jim Jones seven Day Theory tape.

605
00:29:38,040 --> 00:29:41,320
Speaker 3: Set the trends no, well no, no, I mean yeah

606
00:29:41,360 --> 00:29:45,520
Speaker 3: that Jim Jones. Yeah, with the tape our first tape

607
00:29:45,680 --> 00:29:48,880
Speaker 3: was called the Seven Day Theory, which was a fire tape.

608
00:29:48,920 --> 00:29:53,520
Speaker 2: Max b is all over there. Recipe stack was on there.

609
00:29:54,120 --> 00:29:54,280
Speaker 2: You know.

610
00:29:54,400 --> 00:29:57,160
Speaker 3: That was when that was when he created a bird Gang.

611
00:29:57,760 --> 00:29:59,800
Speaker 3: And there was a beat on that tape, and I

612
00:30:00,160 --> 00:30:03,440
Speaker 3: ask Cannon, like, make me a beat similar to that beat.

613
00:30:04,360 --> 00:30:08,520
Speaker 3: So Cannon made the beat, and then we had gotten

614
00:30:08,760 --> 00:30:13,880
Speaker 3: the raid had happened, and Lake was actually managing Marcia

615
00:30:14,360 --> 00:30:14,920
Speaker 3: at the time.

616
00:30:15,040 --> 00:30:15,600
Speaker 2: Oh okay.

617
00:30:16,120 --> 00:30:20,080
Speaker 3: So I sent the beat to Marcia and I told Marcia.

618
00:30:20,160 --> 00:30:23,280
Speaker 3: I was like, yo, like, look like, man, they just

619
00:30:23,360 --> 00:30:26,240
Speaker 3: locked us up, like people saying this this is the

620
00:30:26,440 --> 00:30:29,400
Speaker 3: end for me, Like I need something like nothing's gonna

621
00:30:29,440 --> 00:30:31,920
Speaker 3: stop us, like I'm gonna be here, like you can't

622
00:30:31,960 --> 00:30:34,760
Speaker 3: stop us. And she literally like took what I said

623
00:30:34,840 --> 00:30:37,440
Speaker 3: and turned it into the hook. And I sent the

624
00:30:37,560 --> 00:30:42,360
Speaker 3: record to three thousand, and he said, I'm gonna call

625
00:30:42,440 --> 00:30:46,000
Speaker 3: you tomorrow. Twenty four hours later, he sends me back

626
00:30:46,520 --> 00:30:50,520
Speaker 3: his verse of art the storytelling part four, and I

627
00:30:50,680 --> 00:30:53,280
Speaker 3: just was like, I couldn't believe it that I had

628
00:30:53,320 --> 00:30:56,960
Speaker 3: an Andre three thousand verse like and on top of

629
00:30:57,760 --> 00:31:00,320
Speaker 3: a Don Cannon beat like. So then I went to

630
00:31:00,360 --> 00:31:04,000
Speaker 3: Stankonia and I played it for Big. I think at

631
00:31:04,000 --> 00:31:05,680
Speaker 3: the time, I was like, I was still trying to

632
00:31:05,680 --> 00:31:07,440
Speaker 3: figure out what record Big had wanted to be on.

633
00:31:07,560 --> 00:31:08,960
Speaker 3: I played him a couple records, and then when I

634
00:31:08,960 --> 00:31:10,200
Speaker 3: played him then he was like, oh, what are we

635
00:31:10,280 --> 00:31:14,200
Speaker 3: talking about? Like I'm doing this, so he did his

636
00:31:14,400 --> 00:31:16,640
Speaker 3: verse and then Big was like, Yo, we should call

637
00:31:16,680 --> 00:31:19,840
Speaker 3: it an artist storytelling part four. And then hence, you know,

638
00:31:20,320 --> 00:31:23,840
Speaker 3: I literally have a fucking outcast record on my album.

639
00:31:24,360 --> 00:31:26,320
Speaker 2: And then, you know, I wish I would have knew then.

640
00:31:26,800 --> 00:31:28,320
Speaker 3: I wish I would have knew now what I knew

641
00:31:28,360 --> 00:31:33,520
Speaker 3: then because three thousand offered to do the video and

642
00:31:33,680 --> 00:31:35,000
Speaker 3: he was just like, yo, I just need one hundred

643
00:31:35,040 --> 00:31:40,400
Speaker 3: thousand from the label and me not me, not as

644
00:31:40,520 --> 00:31:43,320
Speaker 3: knowledgeable as I was, then I kind of let the

645
00:31:43,440 --> 00:31:46,760
Speaker 3: opportunity like pass, And looking back on it, I would

646
00:31:46,800 --> 00:31:49,320
Speaker 3: have told the label give me fucking one hundred grand

647
00:31:49,360 --> 00:31:52,440
Speaker 3: to give this man for this record, Like we probably

648
00:31:52,480 --> 00:31:55,120
Speaker 3: could have got a Grammy nomination out of that, you

649
00:31:55,160 --> 00:31:57,320
Speaker 3: know what I'm saying if it would have literally happened.

650
00:31:57,320 --> 00:31:59,720
Speaker 3: But I mean, it's still an amazing record. You know

651
00:32:00,320 --> 00:32:02,680
Speaker 3: how many DJs can say they have an outcast record

652
00:32:02,880 --> 00:32:05,800
Speaker 3: like it's one of my proudest moments in my career.

653
00:32:06,040 --> 00:32:08,920
Speaker 2: Still, yeah, I still wund up gett a Grammy.

654
00:32:09,000 --> 00:32:12,040
Speaker 4: Well, how did you approach making the transition from DJ

655
00:32:12,240 --> 00:32:12,960
Speaker 4: to executive?

656
00:32:13,720 --> 00:32:14,200
Speaker 2: Naturally?

657
00:32:14,320 --> 00:32:17,920
Speaker 3: Honestly, I mean it was just like, you know, again,

658
00:32:18,520 --> 00:32:22,800
Speaker 3: relevancy has always been very key for me in my career,

659
00:32:23,080 --> 00:32:25,480
Speaker 3: and like staying on a cusp, and I think a

660
00:32:25,560 --> 00:32:27,800
Speaker 3: lot of that comes from being a mixtape DJ, and

661
00:32:27,920 --> 00:32:31,280
Speaker 3: like just like my addiction to new shit, like my

662
00:32:31,400 --> 00:32:33,920
Speaker 3: fascination of like what's next, you know what I'm saying

663
00:32:34,040 --> 00:32:40,000
Speaker 3: and not kind of letting myself get boxed into one thing.

664
00:32:40,200 --> 00:32:42,800
Speaker 3: You know, Like there was a tweet somebody put out

665
00:32:42,960 --> 00:32:46,320
Speaker 3: was like yo, DJ Drama literally went from the roots

666
00:32:46,360 --> 00:32:50,400
Speaker 3: in Bahamadia to Tip Cheezy and Wayne to Little Uzi

667
00:32:50,480 --> 00:32:53,560
Speaker 3: and Jack Harlowe like give this man this, Yeah, and

668
00:32:54,240 --> 00:32:56,880
Speaker 3: that's exactly what it is. So, you know, just a

669
00:32:56,960 --> 00:33:01,040
Speaker 3: round I had when I was making my albums. I

670
00:33:01,160 --> 00:33:04,640
Speaker 3: had left Atlantic and went to E one, and you know,

671
00:33:04,720 --> 00:33:06,960
Speaker 3: I was still using a lot of the staff over

672
00:33:07,080 --> 00:33:10,200
Speaker 3: at Atlantic, just kind of independently to work my records

673
00:33:10,400 --> 00:33:12,920
Speaker 3: and things of that nature. And I started to make

674
00:33:13,040 --> 00:33:16,560
Speaker 3: like records that were having success, like on my like

675
00:33:17,160 --> 00:33:20,520
Speaker 3: my moment. And so when I was doing that, one

676
00:33:20,560 --> 00:33:22,200
Speaker 3: of the people, you know, I used to have Sam

677
00:33:22,280 --> 00:33:26,560
Speaker 3: Crespo work my records and my brother Sam, and Sam

678
00:33:26,680 --> 00:33:30,320
Speaker 3: was like, yeah, I should you should like think about

679
00:33:30,360 --> 00:33:32,240
Speaker 3: being an an R, Like, you know, I should bring

680
00:33:32,320 --> 00:33:35,760
Speaker 3: that idea to to to Julian Craig, like, you know,

681
00:33:35,840 --> 00:33:38,600
Speaker 3: you're putting together some real good records, like maybe it

682
00:33:38,680 --> 00:33:40,840
Speaker 3: could be opportunity for you to come in a building

683
00:33:40,880 --> 00:33:43,080
Speaker 3: and be an an R. And I was like, I'm down.

684
00:33:43,680 --> 00:33:47,800
Speaker 3: So he mentioned it to Julian Craig and you know clearly,

685
00:33:47,920 --> 00:33:50,080
Speaker 3: you know, they were like, drum, that's our guy, Like

686
00:33:50,240 --> 00:33:51,000
Speaker 3: we love drama.

687
00:33:51,440 --> 00:33:53,400
Speaker 2: So I flew to New York.

688
00:33:53,440 --> 00:33:55,719
Speaker 3: I had a meeting with Craig Julian Kaiser and they

689
00:33:55,760 --> 00:33:58,000
Speaker 3: were like, you know, are you interested in you know,

690
00:33:58,120 --> 00:33:59,880
Speaker 3: coming over here as an an R.

691
00:34:00,040 --> 00:34:00,640
Speaker 2: And I was like yeah.

692
00:34:00,680 --> 00:34:03,680
Speaker 3: And and then I was like, oh, yeah, by the way,

693
00:34:03,880 --> 00:34:06,920
Speaker 3: I'm building the studio in Atlanta that you know, you

694
00:34:07,040 --> 00:34:09,520
Speaker 3: guys might want a partner with me on And at

695
00:34:09,560 --> 00:34:13,520
Speaker 3: the time, Kowan Pray Third KP was was vice president

696
00:34:13,560 --> 00:34:16,239
Speaker 3: of Atlantic. He was working out of another studio. They

697
00:34:16,280 --> 00:34:19,799
Speaker 3: sent him over to my spot mean Streets to check

698
00:34:19,880 --> 00:34:22,200
Speaker 3: it out to see you know what he thought, and

699
00:34:22,280 --> 00:34:24,080
Speaker 3: he was like, oh yeah, this is dope like this

700
00:34:24,320 --> 00:34:27,600
Speaker 3: this this could be a thing for us. So part

701
00:34:27,640 --> 00:34:29,879
Speaker 3: of my deal when I came over as an an

702
00:34:30,040 --> 00:34:34,440
Speaker 3: R was also for Atlantic to be partners with me

703
00:34:34,520 --> 00:34:38,200
Speaker 3: on Mean Streets. So I literally, you know, took their

704
00:34:38,280 --> 00:34:41,080
Speaker 3: money and built the rest of Mean Streets up, you know,

705
00:34:41,360 --> 00:34:43,440
Speaker 3: from what I had already built from it. And when

706
00:34:43,480 --> 00:34:46,600
Speaker 3: I got there, I really was kind of trying to

707
00:34:46,640 --> 00:34:50,080
Speaker 3: find my way. They had put me with like artists

708
00:34:50,120 --> 00:34:53,920
Speaker 3: that were already on the label to try to work with,

709
00:34:54,239 --> 00:34:57,640
Speaker 3: and it just wasn't it wasn't meshing like it wasn't

710
00:34:57,880 --> 00:34:59,600
Speaker 3: you know. I would go to an R meetings and

711
00:34:59,680 --> 00:35:01,719
Speaker 3: things and you know, they were they would give me

712
00:35:01,840 --> 00:35:03,799
Speaker 3: artists to try to work with, and it just kind

713
00:35:03,840 --> 00:35:05,520
Speaker 3: of it wasn't.

714
00:35:05,640 --> 00:35:06,839
Speaker 2: Was they were trying to put you with it at

715
00:35:06,840 --> 00:35:08,239
Speaker 2: the time. Did anybody you can name?

716
00:35:09,040 --> 00:35:14,840
Speaker 3: So Spenzo Bossy cap G was KP's guy, and he

717
00:35:15,040 --> 00:35:17,360
Speaker 3: was there, he was around, but you know he was

718
00:35:18,120 --> 00:35:21,080
Speaker 3: those were those were some of their the artists that

719
00:35:21,280 --> 00:35:23,719
Speaker 3: you know, early on they kind of wanted me to

720
00:35:24,200 --> 00:35:26,360
Speaker 3: quote unquote I guess an R be a part of

721
00:35:26,840 --> 00:35:30,360
Speaker 3: and then also Thug was you know, I happened to

722
00:35:30,400 --> 00:35:33,480
Speaker 3: be the closest thing to Thug in those days that

723
00:35:33,880 --> 00:35:38,799
Speaker 3: they felt like could be of an assistance to help

724
00:35:39,719 --> 00:35:42,120
Speaker 3: with Thug and you know, getting music.

725
00:35:42,000 --> 00:35:44,520
Speaker 5: Or you know, young not slim. I'm sorry, so's a

726
00:35:44,560 --> 00:35:45,120
Speaker 5: few of them.

727
00:35:45,080 --> 00:35:49,799
Speaker 3: Young, yeah, young thug, not some thug again, shout out

728
00:35:49,800 --> 00:35:51,960
Speaker 3: to somethingg He's got a gangster girls too though, But

729
00:35:52,280 --> 00:35:54,400
Speaker 3: so yeah, Thug was working a lot of mean streets.

730
00:35:54,480 --> 00:35:57,080
Speaker 3: So you know, I was kind of in the mix

731
00:35:57,560 --> 00:36:00,960
Speaker 3: with Thug and Atlantic and you know, just trying to

732
00:36:01,400 --> 00:36:03,360
Speaker 3: make that whole thing kind of work out, and it

733
00:36:04,200 --> 00:36:08,640
Speaker 3: went out went. But we also you know, myself, Lake

734
00:36:08,719 --> 00:36:12,160
Speaker 3: and Cannon. You know, when Cannon was vice president of

735
00:36:12,280 --> 00:36:14,680
Speaker 3: Deaf Jam around the time I got my gig, and

736
00:36:14,800 --> 00:36:18,280
Speaker 3: then we had missed out on a couple opportunities of artists.

737
00:36:18,880 --> 00:36:22,000
Speaker 2: I took Migos to New York for the first.

738
00:36:21,840 --> 00:36:25,960
Speaker 3: Time and presented them to Alan Grumblack and he offered

739
00:36:26,000 --> 00:36:29,000
Speaker 3: them pennies, and you know, they they went and did

740
00:36:29,040 --> 00:36:32,480
Speaker 3: the right thing and went to QC. Shout to Coach

741
00:36:32,560 --> 00:36:34,560
Speaker 3: and p you know those are my guys. You know,

742
00:36:34,640 --> 00:36:36,879
Speaker 3: we kind of started our labels around the same time,

743
00:36:37,280 --> 00:36:39,759
Speaker 3: but me, Cannon and Lake were like, yo, we can't

744
00:36:39,800 --> 00:36:40,600
Speaker 3: miss nothing else.

745
00:36:40,719 --> 00:36:43,040
Speaker 2: Like, we're not missing nothing else. I was gonna say,

746
00:36:43,120 --> 00:36:45,520
Speaker 2: besides migos who so Tory.

747
00:36:45,400 --> 00:36:49,839
Speaker 3: Lane, I wanted to sign tory Ot Genesis, t Fly.

748
00:36:50,239 --> 00:36:52,880
Speaker 3: I actually wanted to sign tif Fly. So those are

749
00:36:53,000 --> 00:36:56,800
Speaker 3: a few that you know, we were in the midst

750
00:36:56,880 --> 00:36:59,440
Speaker 3: of us and you know when we were trying to

751
00:37:00,120 --> 00:37:04,280
Speaker 3: figure out the label thing or signing artists up around

752
00:37:04,320 --> 00:37:07,440
Speaker 3: the time. Cannon came back one day and just was like, Yo,

753
00:37:08,239 --> 00:37:10,719
Speaker 3: I heard this kid, little Luzy vert, and I was like,

754
00:37:11,239 --> 00:37:15,440
Speaker 3: let's do it. Get him sign unseen unseen. That is

755
00:37:15,520 --> 00:37:19,400
Speaker 3: crazy if you believe your man, let's go never.

756
00:37:19,360 --> 00:37:24,160
Speaker 2: Heard nothing, didn't know nothing, where's he at? What are

757
00:37:24,200 --> 00:37:24,600
Speaker 2: we doing?

758
00:37:25,200 --> 00:37:25,239
Speaker 6: Like?

759
00:37:25,480 --> 00:37:27,640
Speaker 2: And it was this is around what year? This was

760
00:37:27,719 --> 00:37:29,000
Speaker 2: two thousand.

761
00:37:31,320 --> 00:37:35,680
Speaker 3: Fourteen. Oh, in twenty fourteen. Wait, that's when, yeah, we

762
00:37:35,719 --> 00:37:37,719
Speaker 3: signed Uzzi twenty. I was about to say, I know

763
00:37:37,840 --> 00:37:40,040
Speaker 3: that we had uz on the Roots pick like way

764
00:37:40,120 --> 00:37:41,239
Speaker 3: before you had.

765
00:37:41,440 --> 00:37:42,239
Speaker 2: No you did him.

766
00:37:42,880 --> 00:37:47,400
Speaker 3: That was like when he was opening that he did

767
00:37:47,520 --> 00:37:50,640
Speaker 3: it was roots picnic okay, money law, it was money long.

768
00:37:50,800 --> 00:37:53,080
Speaker 3: It was before exul to our life it was money

769
00:37:53,120 --> 00:37:56,399
Speaker 3: longer days when he did Roots Picnic because I did

770
00:37:56,440 --> 00:37:57,640
Speaker 3: it in twenty seventeen.

771
00:37:58,160 --> 00:38:01,160
Speaker 2: Because when I brought Little Baby, yeah, y'all had that

772
00:38:01,480 --> 00:38:04,399
Speaker 2: stage that they were looking like, who is this guy?

773
00:38:06,000 --> 00:38:09,120
Speaker 3: Like I remember that I brought Baby to Boots Big Nick,

774
00:38:09,440 --> 00:38:12,120
Speaker 3: and I think that was right before the Drake record,

775
00:38:12,280 --> 00:38:14,560
Speaker 3: like or maybe the Drake record it just came out.

776
00:38:14,640 --> 00:38:19,560
Speaker 3: But literally I remember the crowd like not understanding, like

777
00:38:20,160 --> 00:38:22,279
Speaker 3: I just brought y'all Little Baby like here.

778
00:38:22,440 --> 00:38:24,239
Speaker 2: But so yeah, so we.

779
00:38:24,360 --> 00:38:29,080
Speaker 3: Signed, So we signed Scheme. Scheme actually was our first

780
00:38:29,160 --> 00:38:31,319
Speaker 3: artist that we signed. Shout the scheme. He's he's kind

781
00:38:31,360 --> 00:38:32,960
Speaker 3: of mad at me because I haven't brought his name

782
00:38:33,040 --> 00:38:35,560
Speaker 3: up when I talk about the label. So we signed Scheme,

783
00:38:36,080 --> 00:38:39,279
Speaker 3: and we signed Uzi, and we were signing to We

784
00:38:39,360 --> 00:38:41,480
Speaker 3: were trying to sign this group called the Wedding Crashers,

785
00:38:42,000 --> 00:38:46,160
Speaker 3: which Quentin Miller was part of. So we named a

786
00:38:46,280 --> 00:38:49,680
Speaker 3: Generation Now. Generation Now is actually a mixtape title that

787
00:38:49,840 --> 00:38:53,040
Speaker 3: I had used early on before the Little Brother and

788
00:38:53,200 --> 00:38:56,919
Speaker 3: the forar Real tapes. I had gotten drops from Kanye West.

789
00:38:57,640 --> 00:38:59,960
Speaker 3: He was opening up for Tile Lib Quality wound up

790
00:39:00,000 --> 00:39:02,879
Speaker 3: getting dropped from Kanye West. I also got some drops

791
00:39:02,920 --> 00:39:06,040
Speaker 3: from Joe Budden and it wasn't. It was like, damn,

792
00:39:06,080 --> 00:39:08,520
Speaker 3: this is not gangster grills. It doesn't feel gangster grills.

793
00:39:08,719 --> 00:39:12,160
Speaker 3: So I needed another title for another brand. So I

794
00:39:12,200 --> 00:39:15,120
Speaker 3: came up with Generation Now. Years later, we wound up

795
00:39:15,160 --> 00:39:17,080
Speaker 3: double backing when we were looking for a title for

796
00:39:17,160 --> 00:39:18,920
Speaker 3: the label, and I was like, what about Generation Now.

797
00:39:19,320 --> 00:39:20,760
Speaker 2: So the guys was like, yeah, that's fire.

798
00:39:20,960 --> 00:39:25,239
Speaker 3: So we Atlantic was on the verge of firing me,

799
00:39:25,760 --> 00:39:30,000
Speaker 3: like I was two years into my deal and they

800
00:39:30,040 --> 00:39:32,399
Speaker 3: were looking at it like, look, we just paid DJ

801
00:39:32,560 --> 00:39:34,480
Speaker 3: Drama all this money he brought us.

802
00:39:34,480 --> 00:39:35,239
Speaker 2: Shit, we done.

803
00:39:35,640 --> 00:39:38,560
Speaker 3: We put all this money into this studio, Like what

804
00:39:38,719 --> 00:39:42,960
Speaker 3: are we doing? What's going on? Like, where's our where's

805
00:39:43,000 --> 00:39:47,800
Speaker 3: our return? Craig Kalman came to Atlanta. We sat in

806
00:39:47,920 --> 00:39:51,920
Speaker 3: the radio room of the The of Mean Streets and

807
00:39:52,000 --> 00:39:55,320
Speaker 3: he said, look, Drama, I believe in you. You know,

808
00:39:55,880 --> 00:39:58,680
Speaker 3: I don't want to let you go. Like let's just

809
00:39:58,800 --> 00:40:02,040
Speaker 3: do a one year deal. We're gonna we'll stay partners

810
00:40:02,120 --> 00:40:04,919
Speaker 3: on the studio and we'll just you just you guys,

811
00:40:05,040 --> 00:40:07,479
Speaker 3: just focus on Uzzi. Like we'll just just you guys,

812
00:40:07,600 --> 00:40:10,319
Speaker 3: just focus on little Uzi. And I was like cool,

813
00:40:10,480 --> 00:40:14,680
Speaker 3: Like I'm with that, like okay cool. And next thing

814
00:40:14,719 --> 00:40:17,799
Speaker 3: you know, you know, love is Rage comes out. Mean

815
00:40:17,880 --> 00:40:22,680
Speaker 3: Streets becomes the go to studio in Atlanta and the

816
00:40:22,840 --> 00:40:26,880
Speaker 3: tables turned within six months in one eight and you

817
00:40:26,960 --> 00:40:31,040
Speaker 3: know it was like I told you not going.

818
00:40:31,239 --> 00:40:35,680
Speaker 4: Ancestors are watching you and guiding you. How did Jack

819
00:40:35,760 --> 00:40:38,400
Speaker 4: get on y'all's radar? Because for me, Jack, he was

820
00:40:38,760 --> 00:40:41,200
Speaker 4: the record and I don't think this was before Generation Now.

821
00:40:41,440 --> 00:40:44,800
Speaker 4: My record was Sundown, like that was the one that

822
00:40:44,920 --> 00:40:46,640
Speaker 4: I heard. I was like, it was on your generation now,

823
00:40:46,960 --> 00:40:49,279
Speaker 4: that was generation Oh then okay, he had put out

824
00:40:49,440 --> 00:40:51,239
Speaker 4: a record called Dark Knight. That was the one that

825
00:40:51,360 --> 00:40:53,560
Speaker 4: really forced our hand. But we had heard of him

826
00:40:53,560 --> 00:40:55,840
Speaker 4: before them. A friend of mine brought them to me

827
00:40:57,440 --> 00:41:02,360
Speaker 4: late twenty seventeen and put him on my radar. And

828
00:41:02,520 --> 00:41:06,920
Speaker 4: then you know Ky Engineering, who is based in Atlanta,

829
00:41:06,960 --> 00:41:10,240
Speaker 4: who had engineered for Wayne Tiger.

830
00:41:10,760 --> 00:41:14,720
Speaker 3: He mixed Dreams of Nightmares. He mixed that whole, mixed

831
00:41:14,920 --> 00:41:18,759
Speaker 3: the whole first album. He was Waka Flaka's engineer. He's

832
00:41:18,760 --> 00:41:22,239
Speaker 3: two changes engineer. He mixed my records. He did my

833
00:41:22,360 --> 00:41:25,080
Speaker 3: quality street music album. He's from His name is Kay

834
00:41:25,120 --> 00:41:26,080
Speaker 3: because he's from Kentucky.

835
00:41:26,520 --> 00:41:27,080
Speaker 2: So around the.

836
00:41:27,080 --> 00:41:32,040
Speaker 3: Same time he was telling right, okay, he was telling

837
00:41:32,160 --> 00:41:35,040
Speaker 3: Lake like, yo, I want to bring you something when

838
00:41:35,080 --> 00:41:39,160
Speaker 3: it's ready. So Jack wound up on my radar. I

839
00:41:39,239 --> 00:41:41,760
Speaker 3: went and followed him. He had like seven thousand followers.

840
00:41:42,239 --> 00:41:44,239
Speaker 3: He saw that I followed him, He followed me right back.

841
00:41:44,400 --> 00:41:47,040
Speaker 3: He then went on to tell me later on that

842
00:41:47,160 --> 00:41:49,680
Speaker 3: he told a friend of his like, damn, DJ Drama

843
00:41:49,760 --> 00:41:51,520
Speaker 3: just signed to me. I think I'm think I'm gonna

844
00:41:51,560 --> 00:41:55,520
Speaker 3: sign the drama. So we so he wounds up. He

845
00:41:55,600 --> 00:41:58,160
Speaker 3: winds up coming being in Atlanta and coming to mean

846
00:41:58,200 --> 00:42:01,680
Speaker 3: Streets and you know, that was our first time meeting,

847
00:42:01,719 --> 00:42:04,280
Speaker 3: and we like, you know, we sat down, we chopped

848
00:42:04,280 --> 00:42:04,480
Speaker 3: it up.

849
00:42:04,480 --> 00:42:04,959
Speaker 2: We were talking.

850
00:42:05,040 --> 00:42:06,000
Speaker 3: He was like, you know, what are you what are

851
00:42:06,000 --> 00:42:07,640
Speaker 3: you into? And I'm like, I'm in a movie, Like

852
00:42:07,840 --> 00:42:10,719
Speaker 3: I'm a movie buff, like I just love movies. And

853
00:42:10,840 --> 00:42:12,480
Speaker 3: he was like, tell me a movie that you think

854
00:42:12,600 --> 00:42:15,040
Speaker 3: that I would be shocked that you would know. And

855
00:42:15,160 --> 00:42:16,920
Speaker 3: I told him it was this movie called E two

856
00:42:17,080 --> 00:42:17,759
Speaker 3: My Time Bien.

857
00:42:18,120 --> 00:42:20,719
Speaker 2: Oh yeah yeah, and he was like wait what.

858
00:42:20,960 --> 00:42:28,080
Speaker 3: He was like, DJ Drama YouTube has watched YouTube the

859
00:42:28,160 --> 00:42:31,879
Speaker 3: ritz like, so I think that really blew his mind.

860
00:42:32,080 --> 00:42:35,279
Speaker 3: And then you know, we we had a meeting you know,

861
00:42:36,640 --> 00:42:40,000
Speaker 3: with Jack and you know, our staff, and he was

862
00:42:40,080 --> 00:42:44,160
Speaker 3: on you know, we we the opportunity was about signing

863
00:42:44,239 --> 00:42:47,680
Speaker 3: him was there, and and then we weren't one hundred percent.

864
00:42:48,520 --> 00:42:51,560
Speaker 3: We were like seventy five percent. And then he put

865
00:42:51,600 --> 00:42:53,720
Speaker 3: out Dark Night and we was like, okay, we gotta

866
00:42:53,760 --> 00:42:56,040
Speaker 3: do it, like we gotta we gotta sign this kid

867
00:42:56,160 --> 00:42:59,680
Speaker 3: before we miss out. So we went on to sign Jack,

868
00:43:01,200 --> 00:43:03,320
Speaker 3: and you know, again this is you know, when I

869
00:43:03,400 --> 00:43:07,279
Speaker 3: signed Jack, he looked like Napoleon Dynamite, So you know,

870
00:43:07,600 --> 00:43:10,120
Speaker 3: he's come along. The heart the sex symbol heart throb

871
00:43:10,239 --> 00:43:12,719
Speaker 3: that he is of today was you know, he's come

872
00:43:12,800 --> 00:43:14,640
Speaker 3: a long way. But I saw it in him, like,

873
00:43:15,000 --> 00:43:17,120
Speaker 3: you know, the same way I saw it in UZI

874
00:43:17,239 --> 00:43:19,920
Speaker 3: early on, Like you know, I saw like, these are

875
00:43:19,960 --> 00:43:24,360
Speaker 3: two guys that, for me, like, regardless of of us

876
00:43:24,480 --> 00:43:27,120
Speaker 3: being evolved, they would have made their way into hip

877
00:43:27,120 --> 00:43:30,200
Speaker 3: hop same way, regardless of however I would have been,

878
00:43:30,280 --> 00:43:31,919
Speaker 3: I was gonna, yeah, I was gonna.

879
00:43:32,000 --> 00:43:34,080
Speaker 2: I was gonna get here somehow, some way.

880
00:43:34,560 --> 00:43:37,360
Speaker 3: But again we allowed them to stand on our shoulders

881
00:43:37,440 --> 00:43:40,360
Speaker 3: to you know, go a little faster, you know, me

882
00:43:40,480 --> 00:43:43,359
Speaker 3: walking him in the sway and you know him being

883
00:43:43,400 --> 00:43:47,000
Speaker 3: able to you know, just move around, especially somebody like Jack,

884
00:43:47,320 --> 00:43:49,840
Speaker 3: who you know is a white rapper from Kentucky to

885
00:43:49,960 --> 00:43:53,080
Speaker 3: be able to say he signed to Generation Now and

886
00:43:53,520 --> 00:43:57,040
Speaker 3: DJ Drama who created Gangster Grills and the label that

887
00:43:57,200 --> 00:43:59,680
Speaker 3: you know, you know, little Uzi Vert was a part of.

888
00:44:00,040 --> 00:44:04,439
Speaker 3: And I think that brought a lot up, you know, yeah,

889
00:44:04,600 --> 00:44:12,239
Speaker 3: to the table, you know, all right before we we

890
00:44:12,600 --> 00:44:15,120
Speaker 3: gotta wrap up the episode.

891
00:44:15,239 --> 00:44:17,320
Speaker 5: This is damn we have to You don't even know

892
00:44:17,360 --> 00:44:18,200
Speaker 5: how long we've been sitting here.

893
00:44:19,760 --> 00:44:23,680
Speaker 2: We just started. We gotta go home.

894
00:44:24,040 --> 00:44:25,400
Speaker 5: I mean, you gotta invite us back and we'll come

895
00:44:25,440 --> 00:44:25,919
Speaker 5: to your spot.

896
00:44:26,000 --> 00:44:28,160
Speaker 3: But okay, but before we wrap like I don't I

897
00:44:28,200 --> 00:44:30,080
Speaker 3: don't know if like I don't know if you're aware

898
00:44:30,120 --> 00:44:31,719
Speaker 3: of this because I say it all the time, but

899
00:44:32,880 --> 00:44:35,839
Speaker 3: being sitting at this table, like I have to say,

900
00:44:36,320 --> 00:44:38,920
Speaker 3: even though I say it all the time, like like

901
00:44:39,320 --> 00:44:42,919
Speaker 3: you got to understand, I mean, like if it wasn't

902
00:44:43,640 --> 00:44:49,279
Speaker 3: for y'all, like I don't, I don't know that. I

903
00:44:49,360 --> 00:44:52,800
Speaker 3: don't know if I would be here like watching like

904
00:44:53,320 --> 00:44:53,719
Speaker 3: running in.

905
00:44:56,600 --> 00:45:02,840
Speaker 1: Thinking the joke of the show, watch me squirm.

906
00:45:02,760 --> 00:45:07,200
Speaker 3: Like bro listen, like I used to run into a

907
00:45:07,280 --> 00:45:10,200
Speaker 3: mirror playing video games on South Street and he would

908
00:45:10,280 --> 00:45:13,600
Speaker 3: like let he would like put his headphones on me

909
00:45:13,719 --> 00:45:19,319
Speaker 3: and let me hear fucking Tariq rapping like g rap

910
00:45:19,560 --> 00:45:21,640
Speaker 3: or like you know, like I used to go to

911
00:45:21,760 --> 00:45:25,200
Speaker 3: the Truck. I was at the Trocadero at their signing

912
00:45:25,560 --> 00:45:30,560
Speaker 3: celebration party like like for me, like I remember when

913
00:45:30,640 --> 00:45:34,719
Speaker 3: Distortion the Static first came on Rap City Like yes,

914
00:45:35,280 --> 00:45:37,840
Speaker 3: so like you got to understand for me, bro, like

915
00:45:39,080 --> 00:45:43,080
Speaker 3: the roots are the reason why I knew that you

916
00:45:43,200 --> 00:45:46,520
Speaker 3: could really do this ship, Like, oh, this ship can

917
00:45:46,640 --> 00:45:50,080
Speaker 3: really happen. Like I just watched this group in Philly.

918
00:45:50,320 --> 00:45:50,960
Speaker 3: Watch her face.

919
00:45:51,160 --> 00:45:53,520
Speaker 5: I'm just making him take it because it's hard, it's painful,

920
00:45:53,520 --> 00:45:54,200
Speaker 5: go ahead, keep going on.

921
00:45:55,000 --> 00:45:58,160
Speaker 3: Like I watched this group that I loved make this

922
00:45:58,320 --> 00:46:02,040
Speaker 3: album called Organics while I'm in high school and that's

923
00:46:02,160 --> 00:46:05,879
Speaker 3: all I'm listening to and then like get a record deal,

924
00:46:06,040 --> 00:46:08,360
Speaker 3: like get signed to Geff and like these guys that

925
00:46:08,480 --> 00:46:12,040
Speaker 3: were freestyling on my little mixtapes that probably only one

926
00:46:12,120 --> 00:46:16,480
Speaker 3: hundred copies exist didn't go on to become the fucking roots,

927
00:46:16,640 --> 00:46:20,319
Speaker 3: Like oh my god, this you can like this rap

928
00:46:20,400 --> 00:46:23,680
Speaker 3: shit is real, Like everything before that for me was

929
00:46:23,840 --> 00:46:28,320
Speaker 3: just seeing it on like watching the Box and seeing

930
00:46:28,719 --> 00:46:33,920
Speaker 3: Kine and KRS and Public Enemy and NWA is just

931
00:46:34,280 --> 00:46:37,799
Speaker 3: like me watching it on television like I knew y'all, like.

932
00:46:39,320 --> 00:46:40,160
Speaker 2: Like I was there.

933
00:46:40,400 --> 00:46:43,880
Speaker 3: So that for me was literally the reason like and

934
00:46:44,000 --> 00:46:46,320
Speaker 3: I say it all the time, like you are the

935
00:46:46,440 --> 00:46:50,200
Speaker 3: reason why I knew this shit could really happen, bro, Like,

936
00:46:50,320 --> 00:46:52,560
Speaker 3: and I have to give you your flowers by sitting

937
00:46:52,600 --> 00:46:55,600
Speaker 3: here next to you, thank you for a documentary.

938
00:46:55,840 --> 00:46:59,279
Speaker 5: For a documentary, It's gonna be great.

939
00:47:00,000 --> 00:47:01,359
Speaker 2: You know, I appreciate every word.

940
00:47:01,600 --> 00:47:05,520
Speaker 1: Yes, years ago, I would have definitely ended the episode

941
00:47:05,560 --> 00:47:06,920
Speaker 1: because I hate compliments.

942
00:47:07,160 --> 00:47:11,120
Speaker 5: No, but I really appreciate that this conversation was long overdue.

943
00:47:11,880 --> 00:47:14,160
Speaker 2: No, no, for real, I don't over on every song

944
00:47:14,239 --> 00:47:14,600
Speaker 2: even for me.

945
00:47:15,480 --> 00:47:18,920
Speaker 1: Yeah, and I'm very proud like again, like you know

946
00:47:19,120 --> 00:47:23,640
Speaker 1: the fact that you validated us as well, because it

947
00:47:23,800 --> 00:47:27,120
Speaker 1: meant a lot to me that like, wow, someone believes

948
00:47:27,160 --> 00:47:29,000
Speaker 1: in us enough to put us on a mixtape, Like

949
00:47:29,120 --> 00:47:30,320
Speaker 1: to me, that was important.

950
00:47:30,840 --> 00:47:33,000
Speaker 3: Black thought Gangster Girls is definitely on my bucket list

951
00:47:33,080 --> 00:47:36,120
Speaker 3: because it's full circle for me, like it has that's

952
00:47:36,160 --> 00:47:36,759
Speaker 3: one and I have.

953
00:47:36,920 --> 00:47:38,799
Speaker 2: Wow, that'd be amazing it has to happen.

954
00:47:38,840 --> 00:47:42,000
Speaker 1: I was going to say that eventually, one day you're

955
00:47:42,000 --> 00:47:45,400
Speaker 1: going to have to make a gangster Grizelda.

956
00:47:48,960 --> 00:47:52,279
Speaker 2: You gotta make that happens fire. This intro would make

957
00:47:52,320 --> 00:47:54,759
Speaker 2: that happen. No great idea. Wait, I have one last question.

958
00:47:55,640 --> 00:47:58,800
Speaker 1: I've been watching how things have been developing in the

959
00:47:59,200 --> 00:48:03,640
Speaker 1: last few weeks speaking of Griselda, and initially what started

960
00:48:03,680 --> 00:48:06,400
Speaker 1: out as something that could have gone ugly is actually

961
00:48:06,480 --> 00:48:11,359
Speaker 1: turned into kind of like a cool momentlex Yeah. Yeah,

962
00:48:11,520 --> 00:48:14,160
Speaker 1: where initially, you know, there are complaints that you're not

963
00:48:14,200 --> 00:48:17,799
Speaker 1: supporting Da Da Da Da, and you know, maybe once

964
00:48:17,840 --> 00:48:23,520
Speaker 1: every five years out here another generation coming that will

965
00:48:23,560 --> 00:48:27,279
Speaker 1: tell whoever the gatekeeper is like let somebody else in

966
00:48:27,840 --> 00:48:31,640
Speaker 1: and let someone But as a DJ and I usually

967
00:48:31,760 --> 00:48:34,440
Speaker 1: go through this kind of quasi depression period, maybe in

968
00:48:34,480 --> 00:48:37,800
Speaker 1: November and December or Okay, so twenty twenty three is

969
00:48:37,840 --> 00:48:42,440
Speaker 1: coming up, so instantly I'm like, all right, so someone

970
00:48:42,560 --> 00:48:45,640
Speaker 1: born in two thousand and two is now legally going

971
00:48:45,719 --> 00:48:48,800
Speaker 1: to be louder than the night club, right, and that

972
00:48:49,080 --> 00:48:53,640
Speaker 1: means when they're like fourteen years old and you know,

973
00:48:53,800 --> 00:48:57,200
Speaker 1: twenty sixteen or whatever. I mean, like I'm always doing

974
00:48:57,280 --> 00:49:02,680
Speaker 1: the math of reference points to me, I don't know,

975
00:49:03,040 --> 00:49:07,560
Speaker 1: Like for you, is there ever time where you're just like,

976
00:49:08,600 --> 00:49:10,680
Speaker 1: I don't know, it might be too old for this ship.

977
00:49:11,280 --> 00:49:12,920
Speaker 1: I don't want to just reduce it to as too

978
00:49:13,000 --> 00:49:14,919
Speaker 1: old for this ship, but like too old for this ship?

979
00:49:15,000 --> 00:49:19,279
Speaker 1: I mean right now, keep up like I legit was

980
00:49:19,360 --> 00:49:24,560
Speaker 1: on Wikipedia, like taking a crash course in drill because

981
00:49:24,640 --> 00:49:27,200
Speaker 1: I just like, all right, I gotta educate myself, Like

982
00:49:27,280 --> 00:49:29,239
Speaker 1: I hold a whole bunch of gigs coming up for

983
00:49:29,360 --> 00:49:33,040
Speaker 1: a bunch of kids, and I don't want to be

984
00:49:33,280 --> 00:49:33,880
Speaker 1: that person.

985
00:49:34,040 --> 00:49:36,279
Speaker 2: But it's like I feel like if you have to

986
00:49:36,360 --> 00:49:39,000
Speaker 2: be paint by numbers, like okay, what are the kids? Whatever?

987
00:49:39,120 --> 00:49:42,640
Speaker 2: But for you, like, is there ever a point where

988
00:49:42,680 --> 00:49:44,279
Speaker 2: you just get exhausted? It's just like.

989
00:49:45,880 --> 00:49:50,000
Speaker 1: Dog just throw Roriir's album warning, I'm calling it a day,

990
00:49:50,080 --> 00:49:54,960
Speaker 1: like I'm gonna I'm gonna take a nap whatever. So

991
00:49:55,000 --> 00:49:58,080
Speaker 1: there's never a point where you saw an act like Okay,

992
00:49:58,200 --> 00:50:01,680
Speaker 1: this is what the future is or no. So for you, like,

993
00:50:01,760 --> 00:50:04,640
Speaker 1: the more dangerous is the more you People my age

994
00:50:04,680 --> 00:50:06,480
Speaker 1: are talent in every generation.

995
00:50:06,680 --> 00:50:08,920
Speaker 3: Yeah, And I think that again, like I said, like

996
00:50:09,000 --> 00:50:12,839
Speaker 3: I'm from a mixtape culture, where it's like new shit,

997
00:50:13,000 --> 00:50:16,560
Speaker 3: new shit, new shit. So it's like my fascination is

998
00:50:17,040 --> 00:50:20,920
Speaker 3: is with like like what's next. Like my label is

999
00:50:20,960 --> 00:50:23,600
Speaker 3: called Generation Now, you know. So for me, it's like

1000
00:50:24,440 --> 00:50:28,480
Speaker 3: the fact that I've been able to navigate through fucking

1001
00:50:28,600 --> 00:50:32,600
Speaker 3: being in a Bahamad Dia video to Jack Harlowe, you know,

1002
00:50:33,239 --> 00:50:36,439
Speaker 3: or to Tyler Creator call me if you get lost,

1003
00:50:36,480 --> 00:50:40,480
Speaker 3: and winning a Grammy, Like my career has literally been

1004
00:50:40,760 --> 00:50:45,280
Speaker 3: an example of being able to surf through the erarors.

1005
00:50:45,520 --> 00:50:50,600
Speaker 3: So like, you know, I it's a young like I

1006
00:50:50,719 --> 00:50:52,600
Speaker 3: love where hip hop is today. Last night I went

1007
00:50:52,640 --> 00:50:54,920
Speaker 3: to the Wu Tang in Nas concert and I was

1008
00:50:55,000 --> 00:50:56,520
Speaker 3: like a kid in a candy store, you know.

1009
00:50:56,840 --> 00:50:58,040
Speaker 2: I mean, that's that's my era.

1010
00:50:58,239 --> 00:51:00,839
Speaker 3: Like that's when you know, when when you're I think

1011
00:51:00,880 --> 00:51:03,640
Speaker 3: when you're a teen, those are your pivotable moments, you

1012
00:51:03,680 --> 00:51:05,279
Speaker 3: know what I'm saying. So yeah, for me, I'm like

1013
00:51:06,280 --> 00:51:08,520
Speaker 3: as a forty four year old man, I'm I'm I'm

1014
00:51:08,560 --> 00:51:11,000
Speaker 3: in heaven, you know. But at the same time, I'm

1015
00:51:11,040 --> 00:51:16,239
Speaker 3: also a DJ who more likely plays for audiences in

1016
00:51:16,320 --> 00:51:19,080
Speaker 3: their twenties than I do for audiences in their forties.

1017
00:51:19,520 --> 00:51:23,920
Speaker 3: So it keeps me current and again, I just, I just,

1018
00:51:24,080 --> 00:51:26,960
Speaker 3: I just love the culture so much, so I love

1019
00:51:27,160 --> 00:51:29,799
Speaker 3: every diaspora of it, you know what I'm saying.

1020
00:51:29,880 --> 00:51:30,359
Speaker 2: So I don't.

1021
00:51:31,200 --> 00:51:33,960
Speaker 3: You know, this shit keeps me twenty one forever, like

1022
00:51:34,880 --> 00:51:38,399
Speaker 3: even now, having this resurgence of gangster grills, whether it's

1023
00:51:38,480 --> 00:51:42,400
Speaker 3: with Simba or whether it's Icewear Veso or Seti Hendrix

1024
00:51:42,520 --> 00:51:46,320
Speaker 3: or you know, it's like being able to still be

1025
00:51:46,480 --> 00:51:50,239
Speaker 3: in this space. And you know, I got to give

1026
00:51:50,320 --> 00:51:53,279
Speaker 3: Tyler his flowers for you know, in a sense kind

1027
00:51:53,320 --> 00:51:56,799
Speaker 3: of you know, bringing this resurgence of gangster grills back

1028
00:51:57,080 --> 00:51:57,719
Speaker 3: for what he did.

1029
00:51:58,239 --> 00:51:59,520
Speaker 2: Yeah, So no, I don't, I don't.

1030
00:51:59,600 --> 00:52:03,239
Speaker 3: I don't get in that space like I'm you know again,

1031
00:52:03,320 --> 00:52:06,520
Speaker 3: I'm to be a DJ and to to have the

1032
00:52:06,600 --> 00:52:09,680
Speaker 3: accolades that I have. It's like my goal was to

1033
00:52:09,719 --> 00:52:12,719
Speaker 3: get my name on a flyer. So the success that

1034
00:52:12,800 --> 00:52:15,040
Speaker 3: I've had, don't. I don't take none of it for granted.

1035
00:52:15,160 --> 00:52:18,600
Speaker 3: And as much as I've accomplished, the way my brain

1036
00:52:18,680 --> 00:52:20,640
Speaker 3: works is always like damn, what the fuck am I

1037
00:52:20,719 --> 00:52:23,080
Speaker 3: gonna do next? You know what I'm saying. So I

1038
00:52:23,160 --> 00:52:25,959
Speaker 3: think that's what keeps me in this space of still

1039
00:52:26,040 --> 00:52:29,560
Speaker 3: being excited about you know, tomorrow or not, you know,

1040
00:52:29,840 --> 00:52:32,359
Speaker 3: again being one of the whiz in Logic tour. When

1041
00:52:32,400 --> 00:52:35,719
Speaker 3: I'm out there, I'm asking you know, all my two

1042
00:52:35,760 --> 00:52:37,839
Speaker 3: thousands of babies make some noise, and it's they make

1043
00:52:37,880 --> 00:52:39,960
Speaker 3: a lot of fucking noise. Like, still a lot of

1044
00:52:40,080 --> 00:52:42,719
Speaker 3: nineties babies in there too, and the eighties babies are

1045
00:52:42,760 --> 00:52:45,239
Speaker 3: a little more quiet parents. I don't even ask about

1046
00:52:45,280 --> 00:52:48,919
Speaker 3: the seventies. I leave that alone. But you know, even

1047
00:52:48,960 --> 00:52:51,600
Speaker 3: when I walk out on stage, you know, having these

1048
00:52:51,719 --> 00:52:55,600
Speaker 3: kids like say my name and chant my name and

1049
00:52:55,719 --> 00:52:58,200
Speaker 3: be familiar with me because of Tyler or because of

1050
00:52:58,680 --> 00:53:02,239
Speaker 3: the Dreamville mixtape, Like, it's such a blessing, you know

1051
00:53:02,239 --> 00:53:03,480
Speaker 3: what I'm saying that you know.

1052
00:53:03,680 --> 00:53:07,120
Speaker 2: I'm still here and you're still finding a new audience.

1053
00:53:07,000 --> 00:53:09,400
Speaker 3: And I'm still finding a new audience and and I'm

1054
00:53:09,520 --> 00:53:12,200
Speaker 3: and I'm excited about it, you know, as much as

1055
00:53:12,200 --> 00:53:14,160
Speaker 3: I'm excited about being able to go to the fucking

1056
00:53:14,280 --> 00:53:17,520
Speaker 3: nas and Wu Tang show and you know, seeing that sell.

1057
00:53:17,360 --> 00:53:19,719
Speaker 1: Out and shout out to you guy who thought I

1058
00:53:19,800 --> 00:53:22,640
Speaker 1: was a stalker in the hotel lobby this morning.

1059
00:53:23,880 --> 00:53:27,440
Speaker 2: You got you got what, man, I was like, it's

1060
00:53:27,480 --> 00:53:31,160
Speaker 2: me quest that you, Oh man, I'm sorry.

1061
00:53:30,920 --> 00:53:32,840
Speaker 3: I thought you was like he thought, but you got

1062
00:53:32,960 --> 00:53:35,160
Speaker 3: to understand too, like even I hate I don't want

1063
00:53:35,200 --> 00:53:38,960
Speaker 3: to do this make you squirm again, but like bro, like, Bro,

1064
00:53:39,400 --> 00:53:41,400
Speaker 3: I saw you in the fucking like I used to.

1065
00:53:41,520 --> 00:53:45,359
Speaker 3: I was there past the popcorn. You're on television every night,

1066
00:53:45,560 --> 00:53:48,360
Speaker 3: like you have you have a fucking you have a

1067
00:53:48,480 --> 00:53:53,560
Speaker 3: fucking oscar. Bro, Like you have an oscar? Like like, well,

1068
00:53:53,960 --> 00:53:56,719
Speaker 3: those things to me are like, yo, there's the sky

1069
00:53:56,920 --> 00:53:58,840
Speaker 3: is not the limit. There's no limit.

1070
00:53:58,960 --> 00:54:01,719
Speaker 2: I'm gonna tell you this. This, this is I'm not

1071
00:54:01,800 --> 00:54:02,640
Speaker 2: even blowing smoke.

1072
00:54:03,440 --> 00:54:06,719
Speaker 1: Today was a teachable lesson because every time you say something,

1073
00:54:06,760 --> 00:54:09,120
Speaker 1: I'm like, wait a minute, how are you just yes

1074
00:54:09,719 --> 00:54:12,520
Speaker 1: and jumping into some shit without light seeing who's going

1075
00:54:12,600 --> 00:54:13,200
Speaker 1: to be there first?

1076
00:54:13,560 --> 00:54:16,279
Speaker 3: Yeah, I'm like, and I need to be more so

1077
00:54:16,640 --> 00:54:18,360
Speaker 3: this is a will talk. You're a little more bougie

1078
00:54:18,400 --> 00:54:18,759
Speaker 3: than I am.

1079
00:54:18,880 --> 00:54:21,600
Speaker 2: I'm very much. I'm guarded. I'm protected. I'm guarded. I

1080
00:54:21,760 --> 00:54:23,880
Speaker 2: want to know that. I want the formula work. I

1081
00:54:23,920 --> 00:54:25,600
Speaker 2: wanted to break down the scientific.

1082
00:54:26,080 --> 00:54:28,120
Speaker 3: So if you run into somebody in the street right

1083
00:54:28,160 --> 00:54:30,440
Speaker 3: now and they're like, yo, I'm inspiring artists over the

1084
00:54:30,520 --> 00:54:33,560
Speaker 3: street street, can I get your number.

1085
00:54:33,920 --> 00:54:41,239
Speaker 1: Five people, five people, Blow slum Village, Jill Scott, Blow

1086
00:54:41,360 --> 00:54:46,440
Speaker 1: Slum Village, Jill Scott little brother. I'm five and oh,

1087
00:54:47,000 --> 00:54:52,080
Speaker 1: but I'm probably five and forty thousand those five I

1088
00:54:52,160 --> 00:54:56,040
Speaker 1: came to you. Yeah, I was in the position where

1089
00:54:56,080 --> 00:54:58,319
Speaker 1: I was like I felt in my heart like right, oh,

1090
00:54:58,400 --> 00:55:00,920
Speaker 1: this is oh Cody Testa, that was my five Oh.

1091
00:55:01,000 --> 00:55:04,880
Speaker 3: I remember he was on automatic relaxation. Yes, definitely was

1092
00:55:05,120 --> 00:55:07,080
Speaker 3: definitely more definitely all.

1093
00:55:07,040 --> 00:55:09,080
Speaker 1: Right, give all right, we gotta wrap up, but please

1094
00:55:09,239 --> 00:55:11,800
Speaker 1: give like another automatic relaxation.

1095
00:55:12,520 --> 00:55:13,200
Speaker 5: A whole bunch of people.

1096
00:55:13,320 --> 00:55:17,719
Speaker 3: You know, it's a few of y'all, Like, can I

1097
00:55:17,800 --> 00:55:20,279
Speaker 3: just give you copies of the old ones? I think

1098
00:55:20,880 --> 00:55:24,120
Speaker 3: like there's like it's not I mean, we we when

1099
00:55:24,200 --> 00:55:26,120
Speaker 3: it when it was what it was like now that

1100
00:55:26,560 --> 00:55:30,000
Speaker 3: there's a lot of that out now there's playlist, but

1101
00:55:30,080 --> 00:55:30,600
Speaker 3: it ain't nothing.

1102
00:55:31,000 --> 00:55:31,920
Speaker 2: But I've been coming from you.

1103
00:55:32,080 --> 00:55:35,160
Speaker 4: I think now at this point in your style, I

1104
00:55:35,200 --> 00:55:36,880
Speaker 4: don't think it would be that for you now, Like

1105
00:55:37,000 --> 00:55:41,719
Speaker 4: if you did now, it's gonna be probably yeah, you

1106
00:55:41,800 --> 00:55:42,920
Speaker 4: know it's gonna be And I'll.

1107
00:55:42,800 --> 00:55:44,560
Speaker 5: Be listening now now you don't have to go, well

1108
00:55:45,280 --> 00:55:45,960
Speaker 5: where they went.

1109
00:55:46,640 --> 00:55:48,920
Speaker 4: They're gonna check for DJ Dramma regardless. So if you

1110
00:55:49,040 --> 00:55:50,719
Speaker 4: win in that lane, that would be it would be

1111
00:55:50,800 --> 00:55:51,279
Speaker 4: something new.

1112
00:55:51,280 --> 00:55:51,880
Speaker 2: To that audience.

1113
00:55:52,840 --> 00:55:57,359
Speaker 1: No, I'm respecting when you said relaxations and gangster Grizzeld.

1114
00:55:57,760 --> 00:56:01,040
Speaker 1: There you go, all right on behalf of Quest Left Supreme, Yo,

1115
00:56:01,239 --> 00:56:06,920
Speaker 1: Fante and Sugar, Steve and Steve say anything he was.

1116
00:56:07,480 --> 00:56:10,640
Speaker 2: I'm learning, except about the skateboarder.

1117
00:56:10,080 --> 00:56:15,600
Speaker 1: In phillyre you know he's he's Steve's here. Trust me anyway, No,

1118
00:56:15,719 --> 00:56:17,840
Speaker 1: thank you for doing this man, man, I really appreciate

1119
00:56:17,920 --> 00:56:21,439
Speaker 1: that you school in the nation.

1120
00:56:21,560 --> 00:56:26,200
Speaker 2: Sho. Thank you to the staff everyone, fam you, thank you,

1121
00:56:26,320 --> 00:56:27,600
Speaker 2: and I thank you. Thank you.

1122
00:56:28,239 --> 00:56:30,279
Speaker 1: Uh and I am going to break that misspac Man

1123
00:56:30,360 --> 00:56:32,799
Speaker 1: record all my time. Yeah, shout the exit shout.

1124
00:56:34,600 --> 00:56:37,080
Speaker 3: One day if somebody comes, just give him me a number, bro,

1125
00:56:37,280 --> 00:56:40,120
Speaker 3: you never know he's not You don't have to answer,

1126
00:56:40,600 --> 00:56:44,000
Speaker 3: like they text me all the time. Like if I

1127
00:56:44,040 --> 00:56:45,800
Speaker 3: don't want to answer, I don't have to. You know,

1128
00:56:46,120 --> 00:56:48,120
Speaker 3: random people have. Just when I was on tour, this

1129
00:56:48,239 --> 00:56:50,440
Speaker 3: guy just called me out of nowhere. I was like, Hey,

1130
00:56:50,920 --> 00:56:52,600
Speaker 3: this is a drama. I like, yeah, where'd you get

1131
00:56:52,600 --> 00:56:54,840
Speaker 3: my number? He's like my manager gave it to me

1132
00:56:55,440 --> 00:56:57,000
Speaker 3: and he was like, Yo, I'm a new artist, and

1133
00:56:57,080 --> 00:56:59,239
Speaker 3: I said, listen, bro, I'm a jewel you real quick.

1134
00:56:59,400 --> 00:57:02,080
Speaker 3: Like when I was coming up, I couldn't just call

1135
00:57:02,239 --> 00:57:05,719
Speaker 3: Jay z or funk Master Flex like I'm like, and

1136
00:57:05,920 --> 00:57:07,640
Speaker 3: most people aren't going to be as nice as me.

1137
00:57:07,760 --> 00:57:09,840
Speaker 3: But I'm telling you, before you try to get on

1138
00:57:09,920 --> 00:57:12,080
Speaker 3: my radar, look to your left and look to your

1139
00:57:12,160 --> 00:57:14,720
Speaker 3: right and try to create a movement with the people

1140
00:57:14,800 --> 00:57:17,280
Speaker 3: around you, and then before you know it, you'll be

1141
00:57:17,400 --> 00:57:17,960
Speaker 3: on my radar.

1142
00:57:18,120 --> 00:57:22,520
Speaker 1: Like, don't just call the the big wigs and think

1143
00:57:22,640 --> 00:57:25,640
Speaker 1: you can get on like. It's not that easy, Connecticutt. Yeah,

1144
00:57:25,640 --> 00:57:26,040
Speaker 1: I couldn't.

1145
00:57:26,120 --> 00:57:28,840
Speaker 3: I couldn't call jay z or Flex and say hey,

1146
00:57:28,840 --> 00:57:31,960
Speaker 3: I'm DJ Drama like I'm dope like and I was,

1147
00:57:32,160 --> 00:57:34,280
Speaker 3: but I didn't have the right to them.

1148
00:57:34,320 --> 00:57:35,160
Speaker 2: I didn't have the right to.

1149
00:57:35,160 --> 00:57:37,800
Speaker 1: Do that yet, you know what I'm saying. So there's

1150
00:57:37,840 --> 00:57:40,760
Speaker 1: a teachable that's the jewel right there. All right, We'll

1151
00:57:40,760 --> 00:57:42,560
Speaker 1: see you in the next go round. Thank you very much,

1152
00:57:42,600 --> 00:57:58,760
Speaker 1: thank you. Quest Love Supreme is a production of iHeartRadio.

1153
00:58:03,280 --> 00:58:07,680
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1154
00:58:08,120 --> 00:58:09,840
Speaker 1: or wherever you listen to your favorite shows,