00:00:00 Speaker 1: Quest Love Supreme is a production of iHeartRadio, Good People. 00:00:09 Speaker 2: What's Up? 00:00:10 Speaker 1: Of course, in part one we talked to our good friend DJ Drama live from t I Studio actually formerly Dart Studio dart As in Dallas, Austin Record Productions. I don't know what RP stands for. That's what I assume it was for you roots fans out there. Uh, this is the same studio that we recorded the song Panic for our ill Adelf Half Life record. 00:00:38 Speaker 2: But yeah, you know, in part one we talked about. 00:00:41 Speaker 1: His early days in Philly, have come to college and you know, really like trying to find himself as a DJ. And now this is part two of DJ Drama. All right, QLs, thank you. As a mixtape, DJ, you're locking it down. But as far as now when you're in clubs, if I'm hiring you to DJ a party in two thousand and six, two thousand and seven, how long, like how long is your set? And are you doing just exclusive stuff that is exclusive to you or are you still just like doing regularly DJ stuff? 00:01:22 Speaker 3: And so really what wound up happening was around that time, I actually wasn't doing a lot of gigs because I then became DJ Drama, and I went literally from getting paid three hundred dollars from doing parties in Atlanta to them not being able to afford me. And then I was also tips DJ, so I was on the road, so I didn't really I wasn't doing a lot of my own gigs. 00:01:52 Speaker 2: I would I would here and there, I would I would get hired. 00:01:56 Speaker 3: But I would probably do like a two hour set and I would you know, but this is still a time when like so I guess Serrato was already out, so I would do like big gigs like I remember when Vibe had like the Vibe something down. 00:02:11 Speaker 2: Here and outcasts perform, like. 00:02:13 Speaker 3: They will book me for that, or like BT would book me, and you know, I was just I was playing like I would mix it up. I mean, I would do what was hot, but I would also, you know, kind of play some gangster grol ship. 00:02:26 Speaker 1: So are you a business in terms of like now you have a manager and an agent and. 00:02:34 Speaker 2: A staff. 00:02:35 Speaker 3: Yeah. The office space, like definitely, we had a Walker Street. 00:02:39 Speaker 2: Was our was our was our office. 00:02:42 Speaker 3: Denise Denise Denise worked for us. We had I had Jason Brown was was handling all the distribution Orlando McGee was my first manager, and yeah, because then I got, you know, the opportunity to get an album there. I mean I literally he met with every label at one point as far as like their interest in signing me as a DJ to do a Gangster Girls album, you know, and based upon my loyalty, and I hadn't known the building, I signed to Ground Hustle Atlantic, but but yeah, I definitely had staff and a manager and you know, the whole nine. So with dedication, Like how did that come to? I was on the I was on the bus with Tip. We were on the Urban Legend tour. He was on the phone with Wayne. I heard him talking to Wayne and I was like, Yo, let me holler at him. So I remember being on my bunk and I just got on the phone with him and I was like, what's up. 00:03:38 Speaker 2: I was like, you know, And at that. 00:03:40 Speaker 3: Time, Wayne was was doing his squad up. Yeah, so I was using a lot of those songs on Gangster Grills, so I knew he was kind of in his mixtape bag. And I was like, yo, you know, we got to get one, and he was like yeah, you know. I mean he was already familiar with me and I remember coming off tour for a time and I went to Stankonia and met with Wayne and Tez and we just kind of like went over. I brought on a bunch of instrumentals, just options and things to wrap on and things of that nature, and I literally just came up with the name Dedication, just like let's call it Dedication, and he was like, all right, cool. 00:04:17 Speaker 2: And Rob Petroso, who used. 00:04:19 Speaker 3: To do all my artwork, came up with the cover, which was you know, legendary. And you know, because by that point, Gangster Grills was a brand, Like you know, when I was moving them throughout the southeast or up north or what have you, people were already like okay, if it's a Gangster Grills, like we need it, we want it. And the Wayne tape, you know, I remember when he sent me to music and listening and I was like, Yo, this shit is different. This is not the wobbledy wobbley dropping like his hot kid, like he's on some shit, like some real bars on here. And you know, when I did the tape and I kind of I had known like, yeah, this this is this is a moment, you know what I'm saying, And then it really turned into a moment, and so it was like it was like back to back from me because I had just did Trap or Die and then Dedication happened and it was like Wayne was on fire from you know, Carter to Dedication to you know, coming into his own and so here I am again, this kid from Philly went to school in Atlanta, who's now the king of the mixtapes with Tip, Gez and Wayne or like who were the hottest guys not only in the South but now in hip hop. And it was like I'm in the mix, like I'm the platform for you know, what's what's getting these niggas hot? 00:05:40 Speaker 2: In your mind? 00:05:42 Speaker 1: And this is before you know the fans and Rico stuff, but like in your mind, what. 00:05:49 Speaker 2: Was the end game? Are you? Like a great question? Let me start, like when do you do? 00:05:57 Speaker 1: You're like, hey, I need to be puffy or I need to start my label or I need like because in your mind, you're like, whoa, I'm was just in college, you know, in fact seven years ago now, like I determined what the future. 00:06:10 Speaker 3: You know what it really was when when I first got hot or got popular or became that guy. The only thing that I told myself is yo, okay, you got here like from ninety two to zero five, like there was a lot of legwork to get here. You gotta stay here, dram like. I didn't know how or what it was going to be, but I just told myself like, yo, like you gotta stay relevant, like somehow, some way, and it happened in a lot of forms. I mean, my brother over here, like when at the time when Gangster Grills was known for trap music and southern hip hop to an extent, you know, at the same time, like they they were performing it was at Apache Cafe or yin Yank Cafe. It was Apache and they Little Brother had a show and the bus was outside of the venue and I came on a bus and we sat down and I told them like, yo, I'm a huge fan. 00:07:17 Speaker 2: I have been for some time. 00:07:19 Speaker 3: And then you know, they told me the same in return, and they were like, what do you think about doing a Gangster Grills? And I was like, what what are we waiting on? But around the same time, I was getting pushback from various people like wait, you're gonna do a tape with who Little Brother and Pharrell like that's not Gangster Grills, Like how does that make sense? And you know, I've always looked at myself like John Singleton and Martin Scorsese like I make I can make boys in the hood, but then I can go and make poetic justice, and I can make higher learning, and I can make baby boys. So that was how I approached it, so that the fact that people were like pushing against this is not a platform for Little Brother was like so like. 00:08:11 Speaker 2: Not only like what are y'all saying? 00:08:13 Speaker 3: My ship's and I say on the table, yeah, you thought it wasn't gonna sound good on this yeah, Like, And that. 00:08:19 Speaker 4: Was our mentality going into it too, because hence the name Separate but equal. 00:08:23 Speaker 2: It's so iconic in so many ways, like how. 00:08:27 Speaker 1: Are you talking Wayne into because you know, to be it was kind of perplexing. 00:08:32 Speaker 2: That he chose that beat. Really he chose that. You didn't even know I was going to ask you first. He chose that beat, all right, Wayne chose And that just shows Wayne rhym Over loving it. 00:08:42 Speaker 4: Well no, no, no, I'm sorry. Well yeah, like he. 00:08:48 Speaker 1: Round of a Star and I'm like, god, damn, like he's killing our ship more than our ship. 00:08:54 Speaker 5: I was so anti Wayne back then. None of it. 00:08:56 Speaker 2: It's crazy you missed dedication I was. 00:08:59 Speaker 5: I was on the y'a was very anti all these things, and that's what I was known for. So but I heard that Little Brother. 00:09:08 Speaker 2: But you listen to a little brother was front on. So you wasn't a gangst girl? 00:09:13 Speaker 3: Oh yeah, she's one of the ones like when are you gonna do another automatic? 00:09:18 Speaker 1: So what like because that's exactly exactly like but I'm saying, like, like the for my mind, I was like, did you? I was like, man, maybe helped Wayne to gunpoint, like you been around over this Philly track like he was just big giant Yan is. 00:09:37 Speaker 2: A head hip hop? Yeah you know. 00:09:40 Speaker 3: And and then and then for me it was my like again also coming from making automatic relaxations or coming from wanting to do this because if y'all like when Little Brother approached me and when Farrell approached me, it was so exciting for me because it was one, it was an opportunity to brand shout, and then two it was an opportunity to like feel like I was giving back to my roots, no pun intended, but like like what like I can make a little brother gangster girls or for real gangster girls like oh man, once I open this door, that just opens the floodgates for you know, for it to go in so many directions and. 00:10:19 Speaker 4: For us doing that when we did Separate equal like because my whole thing was, like I hated mixed. Well, I love listening to mixtapes, but I didn't want to make a mixtape. You know what I'm saying. Like my thing was, if I'm going to take time to write these original rhymes, I'm not putting them ships over somebody else tracks, you know what I'm saying, Like I can take them new rhymes, I can put over a new beat. You know what I'm saying, that's a new jan I loved it. I love that our tape was like that. Yeah, we only rhymed of like maybe one in shrement. The rest of that shit was all original joints. 00:10:45 Speaker 2: Can we discuss the no drama version though, Like you know, I've had a yeah you saw yeah, well yeah, but yeah, so we we did. We did. 00:10:57 Speaker 4: We did the tape and that was in like we did some it was like six it was six. Yeah, so maybe like what like two years later, like we did uh, we called drama free version because at the time when we were out it was a drama free version because we had the mixtape. 00:11:16 Speaker 2: But like all your drops on this stuff. 00:11:18 Speaker 4: But then if if if I'm not if I remember this correctly, I think who we were putting it out, we were putting the project out with they just didn't want Yeah, I mean it was straight up you know what I mean, because retail wouldn't they wouldn't put it in like you couldn't get in certain stories, like it was a mixtape exact. So we were just like, all right, well here's the records. They was original records and they was our fucking records, So you know what I mean. 00:11:39 Speaker 2: I mean, I get it. 00:11:40 Speaker 3: I mean the fact that it was called drama free was definitely kind of made me sad. 00:11:44 Speaker 4: But oh but it wasn't no, like that wasn't a shot and it was just like it was just like free. 00:11:53 Speaker 6: It's kind of catchy. It's catchy as a motherfucker's shape. 00:11:59 Speaker 2: I got it. 00:12:00 Speaker 3: I mean, they're not the you know, they're not the first person to do a version of the Tabe without me. I mean, Crenshaw exists on on streaming platforms without me on that one hurts too, like, you know, like that was I was part of it. That was part of Crenshaw, aren't you the spice and the bells and the whistles. Yeah, like like that that was the thing about that was one. I mean hence why because when I did the table with Geezy, like, the music didn't exist without me on it, so all the DJs had to play the versions with me on it, and he didn't give it out without me on it. So you would go to the club and hear gangster grills all over because the music didn't exist without me on it. 00:12:38 Speaker 5: Sounds like a do over. It sounds like, I. 00:12:40 Speaker 1: Don't know, it's like almost hearing a Dela jouring without the siren and the Dila dila beats beats. Yeah, like he thought he was sucking shit up, like nobody will rhyme over this shit to that made it better? 00:12:50 Speaker 3: I mean yeah, I mean you know, I like, to me, it would hurt like I've never listened to the separate but equal drama free version, Like I don't even it. 00:12:59 Speaker 4: Would hurt my sold to me this, I think the separate legal drummer fee version. So and it's crazy. I thought it just me and you have never talked about none of this shit. So man, when we did that, we did that record, and I always just want to thank you, man, because I sent you those records. Like when I manager at the time, Dough, me and Poot finished everything and I just put the records in a sequence. I put all the songs in the sequence, skits like everything, and I was like, I think this worked. But whatever, I'm sure Drama do his thing. He'll change it up whatever. I trust him. And so when they sent it back, we were on tour and Doe was like, yo, Drama just sent the joint and I was like, all right, cool, and I opened it up because this is you know, MP three's, so you will open it and see the track listing first before you loaded the shit up, and you kept the track listening the exact same way I did it. 00:13:46 Speaker 2: And I was like, holy shit, you know what I mean, Like that was just a. 00:13:49 Speaker 3: Big when I listened to it. When I listened to it and I heard it and then I heard it in the way that the skits were and everything, like I'm not like, you know, I know, part of my job is, you know, there's people that want me to put it in an order or or however to do my thing. But I'm not going to mess with something that's already dope, you know what I'm saying. So for me, it was already like okay, here's my bells and my whistles. But if this ship flows the way it flows, like watch watch change perfection. 00:14:22 Speaker 2: So that's always appreciated that man, bro. 00:14:25 Speaker 3: Like I mean, you like the Little Brother and the Pharaal tape like came out at a time, and it came out literally like back to back, and those tapes are so important to me because again, like you know, from where I come from, from the cloth that I come from, and for what I was being known for at the time, and not that I was fighting against it, but it was like, yo, like I want to show the world like I am hip hop like to it's full, like I am from the cloth, you know what I mean. And to be able to do those two projects were liked. 00:14:57 Speaker 4: A point because you had we both had a point to be for you, you know, you said it was proven like we were from that cloth for us at that time, you know, we were coming off the Minstrel Show and it was just like ah, them niggas, they just some backpack hate niggas. It was like, no, we fucking wrapped, you know what I mean. And it was just like, look, it don't matter if it's trapshit whatever, like. 00:15:16 Speaker 2: And just beat the South. 00:15:17 Speaker 3: I mean, so it was like even that in that sense of what people were looking at was Southern hip hop. And then you know us doing that tape and separate but equal like as a title and y'all being from the South, like it all it all just made it was It was great. 00:15:32 Speaker 2: It was a great moment. 00:15:33 Speaker 4: Now it really was, man, And that was just I'm so thankful that you know our pass like crossing the way he did that shit was amazing, amazing. 00:15:38 Speaker 1: I know that you rehashed the story over and over and over and over and over again, so I'm trying not to beat an already dead horse that you moved past. I mean, the question is basically, like in two thousand and seven, I'm trying to figure out how an industry that utilizes you to break open their artists like and again, I'm a stornch East Coast head. You know, Tarik himself listen to nothing but your mixtapes. So this is how I'm learning about Wayne, Like, this is how I'm getting my education on what I need to learn about the rest of America except my niece. And I'm trying to like, and I understand that there was a period between two thousand and three in two thousand and eight, especially like with record labels not knowing like if they're going to survive now that streaming culture, like you know, we already had. 00:16:39 Speaker 2: The sign napster. 00:16:42 Speaker 1: Yeah, yeah, like around two thousand and three whatever like that just starts. But I'm trying to figure out how like, like you were definitely utilized and used to break open people, Like so just in general and not like from a one to ten, how shocked were you when you came home and like, wait. 00:17:03 Speaker 2: What the fuck is this? Like did you did you have an inkling of a clue? 00:17:08 Speaker 1: Like none, or even even when the ship was selling like hotcakes? 00:17:12 Speaker 2: Twelve, even when she was selling like hotcakes? 00:17:16 Speaker 1: Was there any person that was sort of like, have you ever received pushback from anyone that like you rhymed an instrumental over. 00:17:22 Speaker 2: And like Jame's like, hey, why'd you use fronting or why never? 00:17:28 Speaker 4: It wasn't on the artists like that was a badge of honor to have someone like wrap over, you know, it wasn't. 00:17:32 Speaker 3: That so I mean, we there's a there's a there's a lot to unpack here. 00:17:37 Speaker 2: And again, I know I've told the story. 00:17:39 Speaker 3: One part about it is, first off, it shows the disconnect within the labels. Right, So as much as the marketing departments loved me, or the mix show departments, or you know, the promotion department, how much I meant to them, the legal department of a label didn't un stand. 00:18:00 Speaker 2: They have a clue. 00:18:01 Speaker 3: They don't get it, Like what wait, what like that that's not cleared? Like we're not you know, we hold on. So they're you know, I was friends with the promotions in the marketing side, but yeah, the legal department didn't. It didn't make sense to them, why are we giving this free music out? And then this is also a time where outside of my mixtapes, there were hundreds of other mixtapes that weren't sanctioned that people were, you know however, getting MP three's hacking for whatever way they were getting them. Music was coming out that people didn't give permission for. And then on top of that, around this time, these mixtapes Minds and others started to show up in best buys and then targets and in walmarts with barcodes on it and so in that, you know, and that made it confusing. And I just spoke about this on math Hafa because they brought up, you know, after I got raided. One of the people they asked about what do you think about what happened to drama was Wayne? And Wayne said, drama needs to Drama needs to play the games fair or smarter like Clue or Kalid or something of that. But is it the same? I mean, the reason why I never took offence to it is because you know, when these when these because there's all there was a street code that went along with mixtapes for promotional use only right, everybody knew that we were making money, and you know, that's how I was supporting myself. But when they started, when the mixtape started to show up in the stores with bar codes, as an artist, I could understand how one could fill the type of way promotional because they're like, wait, hold on, why is this? Why is my ship in Target with a bar code? And I'm not seeing a dollar from it? 00:19:55 Speaker 6: So they're okay, not seeing a dollar if you just selling it the way you're selling it, Like from to. 00:19:59 Speaker 3: An extent, I mean again, now, looking looking back on it, if at the wise age of forty four that I am now in my twenties, the type of money that I was making, and I would you know, I would have easily thrown someone at twenty five or fifty if I'm making X amount of dollars, like just as a quick thank you, It would have It would have been a nice gesture. 00:20:20 Speaker 2: Like. 00:20:21 Speaker 3: But you know, on the on the other end, these guys are going and doing shows for one hundred and fifty two hundred thousand dollars off of what we've built together. So you know, I don't count anyone's pockets, nor did I feel like anyone can. 00:20:34 Speaker 2: To be fair and just. 00:20:35 Speaker 4: I mean again, we just talked of it now, but you know I never felt you know, me and I could speak you know, for my brother Pool as well for us. 00:20:41 Speaker 2: It was never that like we did our show up with a barcode. No, it didn't. 00:20:46 Speaker 4: I was gonna shove on a bar code. I remember like watching it on the news and seeing like when they was taking like shit out and they separate videos there, bro I was like, what the fuck. 00:21:02 Speaker 2: Outside? I don't remember that. 00:21:03 Speaker 4: Yeah, y'all's was there bruh, That shit was nuts. So but yeah, but for us, like you said, it was just a code of honor. It was just understood. It's like, okay, we do to take you know, drum, he gonna move it on our end. We'll do whatever on our end, We'll do press it, shows whatever. Like it was just you know what I mean, it was a mutually beneficial thing, and it was like that for most people. 00:21:22 Speaker 3: But yeah, I think all those things came into play. I think the fact that you know, two thousand and seven was a very pivotal year for the music business, where you know, it was a transition, and you know, the the bottom line wasn't wasn't adding up for them, And there's there's many theories or conspiracy theories or you know, let's take the big guy out to shut this down. However, you know, hence I don't you know, I do know that for a fact that people were told, artists were told like yo, if when when DRAMs situation comes up, don't speak on it, like leave that alone, you know what I'm saying, Or you know, nobody necessarily people used to ask me in interviews like did you feel the type of way when nobody spoke up for you, and I was like, honestly not really like you know, like there were a couple of people behind the scenes I talked to, you know, just that that that reached out or what have you. 00:22:16 Speaker 4: And then yeah, well us when you got when when they happened for us specifically, So yeah, that was like oh six o seven we did the and Justice for All? 00:22:24 Speaker 2: What was it seven? 00:22:25 Speaker 3: We did just January. It was January seven when my should happened. 00:22:29 Speaker 4: Okay, it was January seventh, so I think maybe it's the next year, maybe it was or later that year. Anyway, we did Mike Boogie tape uh and Justice for All? I mean yeah, and I hit uh. I was telling me, I said, ya, I did that before the raid or after the ring? That was after the raid got you that was after the raid, because I was telling me, I was like, yo, bro, like, we gotta get drums speaking on this, because. 00:22:48 Speaker 2: The first record on that tape was Can't Stop. 00:22:50 Speaker 4: As a record called Can't Stop as well, we was talking about that ship and it was just like I said, nah, bru, like we got to get drum talking because they not they're not gonna We're not letting them shut this ship down, like fuck y'all. 00:23:00 Speaker 3: I mean I felt the type of way like I felt a lot of guilt at the time because I'm like, damn, like this is a culture like I grew up loving, you know what I'm saying, like, and I can't let this shit die on my shoulders, like like damn, you felt like you killed the mixtape game for a moment, for a moment, literally, yeah, Like I felt like, damn, the downfall of the fucking mixtape game is going to happen when I become the top of the food chain. And like, you know, I spent a lot of time, like you know, I still went and put tapes out right after that, and. 00:23:33 Speaker 1: How long was it until you look both ways where you cross the street, and like, oh, I put a tape by like a month too after like I did like Gangster Grills sixteen and was just talking crazy on there, like you know, and I remember the first big the first big mixtape that I probably did was Dedication three and then I remember, you know, that was after you know, Wayne had went and said like fuck mixtape DJs or fuck DJs or something and then called in my radio show and we cleared that up and then you know, we went on to do Dedication three, but yeah, I mean again, I was like, you know, I had a point to prove, like yo, I'm not first, you know. 00:24:12 Speaker 3: And then Atlantic Records called literally the next day, like, oh my god, how fast can we get your album done? 00:24:18 Speaker 2: Like we can't pay for this. 00:24:19 Speaker 3: Type of publicity because the record Riggs Riggs actually did all the skits on my first album. So Riggs did the I mean it was it was literally Julie and Craig and I think Kevin was still there at the time, and and Kuys and then they all called like, yo, we can't play for this type publicity. 00:24:37 Speaker 2: How soon can you turn your album in? 00:24:38 Speaker 3: So you know, my first single actually was titled Fed's Taking Pictures. 00:24:43 Speaker 2: Taking Pictures. Yeah, so you know I beneath the Diamonds. I love that ship. 00:24:51 Speaker 6: For some reason, when that happened to you, I feel like a lot of people who knew you, we felt like it couldn't have happened to some better person who had resources were prepared for you. In a way, I don't know how to explain it to you, but we felt like we knew you were going to be okay because you were smart, as fuck right and because it But is that another reason as to why it felt like it kind of came and went and away? 00:25:15 Speaker 3: Resource well for me, I mean you know again, I mean it literally made me more famous than I ever was. 00:25:20 Speaker 2: I mean, next thing, I know. 00:25:21 Speaker 5: So you never had a crying moment, you was like, the only. 00:25:24 Speaker 3: Crime moment I had is the next day I got out and I wasn't familiar with what the RICO was and then I called Tip and Tip was like, bro, they hit you with the RICO, Like, check your bank account. My bank account said zero point zero zero after having six figures in it, So I definitely shed a tear. 00:25:41 Speaker 1: But after that, like where you know they kept? So I had we had two accounts for a museum's sake, like where is that stuff? 00:25:50 Speaker 3: Well, they gave back what did they gave back the equipment, They gave back one of our accounts. They gave back the account that ironically was like the label budget account, but the drama like the d or the DJ drama account that I had with where most of the money was. They kept that because they they said they couldn't differentiate what was what was what? So we're keeping all of this? How long did it take to replace I started making money? I mean, you know I got it back and got I got back up, you know, to take me too long? 00:26:24 Speaker 1: Obviously it was a performative actually, like what was the end results learned? 00:26:30 Speaker 3: Like yeah, I mean the story the I I Double A, you know, and around that Timmy and Cannon had kind of had a falling out and you know we went our separate ways for a moment. But the R I Double A made us do this like p s A where it was like, hey, kids like music, Yeah, like they're chilling. Yeah, Like it never came. They never put it out, but they made it. We shot it at Tree Sounds and they literally, like you know, gave us a script like if you make music, do. 00:27:02 Speaker 2: You have a copy of it? I wish I did. 00:27:04 Speaker 1: Yo, Man, you gotta put on your Instagram. 00:27:07 Speaker 3: I know it exists, it has to be. And this this was literally the first time me and Cannon had seen each other in a while, and we had to do it. 00:27:14 Speaker 2: You know. 00:27:14 Speaker 3: Part of the agreement was us doing that ps A that they never put out. But it's like, you know, like for me, LIKEAH said, like when I was doing interviews, I remember saying like, yo, this is not the end of my story, Like this is one chapter, like you know, for me, it was like, yeah, this is just you know, everybody, anybody who's anybody gets hit with some type of adversity and this is just my my first, you know, my first real challenge. And you know, I'm a I'm a I'm anna be here like I've been here and at the time, I had, you know, been here to up to that extent, not knowing what life had in in uh in mind for me up to this point. But it was like, yeah, like this is just one chapter in my story. 00:27:56 Speaker 2: This is not the last chapter. Like watch what I do? Man. 00:28:04 Speaker 4: I always wanted to ask you about the ARTI stories telling three. I was just about to bring that up, all man, how did how did that three? 00:28:11 Speaker 2: Or four? Four? Oh? Four? I'm sorry, Yeah, there's a three. Yeah, there is a three. That's why it's four. 00:28:17 Speaker 3: Big boy has to tell you where the three exists because he told me, because that's why we artist story telling four. 00:28:22 Speaker 2: But I was supposed to do it Idle Wild Gangster Grills. 00:28:26 Speaker 3: Oh wow, okay, really yeah, I was supposed to do a tape around that time were they were gonna go we were gonna do a tape pre Idle Wild going into the project me uh stacks Big and their manager Blue got on the phone and they came to me like, yo, we want to do a Gangster Grills and I was like, hell motherfucker yeah. And then a few months later they called and was like, listen, bro, we're just buckled down with the movie and the soundtrack and we you know, we apologize, but we don't have time to do the tape. 00:28:59 Speaker 2: And they were like, but how about we offer you a song for your album? And I was like hell yeah, Like of course. 00:29:07 Speaker 3: So I started the process of literally sending three thousand beats from every big known name producer out at the time, you know, because this is the time when I was doing the first Gang Squirrel album. Gangster Grills was the biggest thing going, so everybody was pretty much giving me beats and I would send them to three thousand and he would be like nah, nah nah. He would pretty much turn everything down. One of the last tapes I made before the raid was Jim Jones seven Day Theory tape. Set the trends no, well no, no, I mean yeah that Jim Jones. Yeah, with the tape our first tape was called the Seven Day Theory, which was a fire tape. 00:29:48 Speaker 2: Max b is all over there. Recipe stack was on there. You know. 00:29:54 Speaker 3: That was when that was when he created a bird Gang. And there was a beat on that tape, and I ask Cannon, like, make me a beat similar to that beat. So Cannon made the beat, and then we had gotten the raid had happened, and Lake was actually managing Marcia at the time. 00:30:15 Speaker 2: Oh okay. 00:30:16 Speaker 3: So I sent the beat to Marcia and I told Marcia. I was like, yo, like, look like, man, they just locked us up, like people saying this this is the end for me, Like I need something like nothing's gonna stop us, like I'm gonna be here, like you can't stop us. And she literally like took what I said and turned it into the hook. And I sent the record to three thousand, and he said, I'm gonna call you tomorrow. Twenty four hours later, he sends me back his verse of art the storytelling part four, and I just was like, I couldn't believe it that I had an Andre three thousand verse like and on top of a Don Cannon beat like. So then I went to Stankonia and I played it for Big. I think at the time, I was like, I was still trying to figure out what record Big had wanted to be on. I played him a couple records, and then when I played him then he was like, oh, what are we talking about? Like I'm doing this, so he did his verse and then Big was like, Yo, we should call it an artist storytelling part four. And then hence, you know, I literally have a fucking outcast record on my album. 00:31:24 Speaker 2: And then, you know, I wish I would have knew then. 00:31:26 Speaker 3: I wish I would have knew now what I knew then because three thousand offered to do the video and he was just like, yo, I just need one hundred thousand from the label and me not me, not as knowledgeable as I was, then I kind of let the opportunity like pass, And looking back on it, I would have told the label give me fucking one hundred grand to give this man for this record, Like we probably could have got a Grammy nomination out of that, you know what I'm saying if it would have literally happened. But I mean, it's still an amazing record. You know how many DJs can say they have an outcast record like it's one of my proudest moments in my career. 00:32:06 Speaker 2: Still, yeah, I still wund up gett a Grammy. 00:32:09 Speaker 4: Well, how did you approach making the transition from DJ to executive? 00:32:13 Speaker 2: Naturally? 00:32:14 Speaker 3: Honestly, I mean it was just like, you know, again, relevancy has always been very key for me in my career, and like staying on a cusp, and I think a lot of that comes from being a mixtape DJ, and like just like my addiction to new shit, like my fascination of like what's next, you know what I'm saying and not kind of letting myself get boxed into one thing. You know, Like there was a tweet somebody put out was like yo, DJ Drama literally went from the roots in Bahamadia to Tip Cheezy and Wayne to Little Uzi and Jack Harlowe like give this man this, Yeah, and that's exactly what it is. So, you know, just a round I had when I was making my albums. I had left Atlantic and went to E one, and you know, I was still using a lot of the staff over at Atlantic, just kind of independently to work my records and things of that nature. And I started to make like records that were having success, like on my like my moment. And so when I was doing that, one of the people, you know, I used to have Sam Crespo work my records and my brother Sam, and Sam was like, yeah, I should you should like think about being an an R, Like, you know, I should bring that idea to to to Julian Craig, like, you know, you're putting together some real good records, like maybe it could be opportunity for you to come in a building and be an an R. And I was like, I'm down. So he mentioned it to Julian Craig and you know clearly, you know, they were like, drum, that's our guy, Like we love drama. 00:33:51 Speaker 2: So I flew to New York. 00:33:53 Speaker 3: I had a meeting with Craig Julian Kaiser and they were like, you know, are you interested in you know, coming over here as an an R. 00:34:00 Speaker 2: And I was like yeah. 00:34:00 Speaker 3: And and then I was like, oh, yeah, by the way, I'm building the studio in Atlanta that you know, you guys might want a partner with me on And at the time, Kowan Pray Third KP was was vice president of Atlantic. He was working out of another studio. They sent him over to my spot mean Streets to check it out to see you know what he thought, and he was like, oh yeah, this is dope like this this this could be a thing for us. So part of my deal when I came over as an an R was also for Atlantic to be partners with me on Mean Streets. So I literally, you know, took their money and built the rest of Mean Streets up, you know, from what I had already built from it. And when I got there, I really was kind of trying to find my way. They had put me with like artists that were already on the label to try to work with, and it just wasn't it wasn't meshing like it wasn't you know. I would go to an R meetings and things and you know, they were they would give me artists to try to work with, and it just kind of it wasn't. 00:35:05 Speaker 2: Was they were trying to put you with it at the time. Did anybody you can name? 00:35:09 Speaker 3: So Spenzo Bossy cap G was KP's guy, and he was there, he was around, but you know he was those were those were some of their the artists that you know, early on they kind of wanted me to quote unquote I guess an R be a part of and then also Thug was you know, I happened to be the closest thing to Thug in those days that they felt like could be of an assistance to help with Thug and you know, getting music. 00:35:42 Speaker 5: Or you know, young not slim. I'm sorry, so's a few of them. 00:35:45 Speaker 3: Young, yeah, young thug, not some thug again, shout out to somethingg He's got a gangster girls too though, But so yeah, Thug was working a lot of mean streets. So you know, I was kind of in the mix with Thug and Atlantic and you know, just trying to make that whole thing kind of work out, and it went out went. But we also you know, myself, Lake and Cannon. You know, when Cannon was vice president of Deaf Jam around the time I got my gig, and then we had missed out on a couple opportunities of artists. 00:36:18 Speaker 2: I took Migos to New York for the first. 00:36:21 Speaker 3: Time and presented them to Alan Grumblack and he offered them pennies, and you know, they they went and did the right thing and went to QC. Shout to Coach and p you know those are my guys. You know, we kind of started our labels around the same time, but me, Cannon and Lake were like, yo, we can't miss nothing else. 00:36:40 Speaker 2: Like, we're not missing nothing else. I was gonna say, besides migos who so Tory. 00:36:45 Speaker 3: Lane, I wanted to sign tory Ot Genesis, t Fly. I actually wanted to sign tif Fly. So those are a few that you know, we were in the midst of us and you know when we were trying to figure out the label thing or signing artists up around the time. Cannon came back one day and just was like, Yo, I heard this kid, little Luzy vert, and I was like, let's do it. Get him sign unseen unseen. That is crazy if you believe your man, let's go never. 00:37:19 Speaker 2: Heard nothing, didn't know nothing, where's he at? What are we doing? 00:37:25 Speaker 6: Like? 00:37:25 Speaker 2: And it was this is around what year? This was two thousand. 00:37:31 Speaker 3: Fourteen. Oh, in twenty fourteen. Wait, that's when, yeah, we signed Uzzi twenty. I was about to say, I know that we had uz on the Roots pick like way before you had. 00:37:41 Speaker 2: No you did him. 00:37:42 Speaker 3: That was like when he was opening that he did it was roots picnic okay, money law, it was money long. It was before exul to our life it was money longer days when he did Roots Picnic because I did it in twenty seventeen. 00:37:58 Speaker 2: Because when I brought Little Baby, yeah, y'all had that stage that they were looking like, who is this guy? 00:38:06 Speaker 3: Like I remember that I brought Baby to Boots Big Nick, and I think that was right before the Drake record, like or maybe the Drake record it just came out. But literally I remember the crowd like not understanding, like I just brought y'all Little Baby like here. 00:38:22 Speaker 2: But so yeah, so we. 00:38:24 Speaker 3: Signed, So we signed Scheme. Scheme actually was our first artist that we signed. Shout the scheme. He's he's kind of mad at me because I haven't brought his name up when I talk about the label. So we signed Scheme, and we signed Uzi, and we were signing to We were trying to sign this group called the Wedding Crashers, which Quentin Miller was part of. So we named a Generation Now. Generation Now is actually a mixtape title that I had used early on before the Little Brother and the forar Real tapes. I had gotten drops from Kanye West. He was opening up for Tile Lib Quality wound up getting dropped from Kanye West. I also got some drops from Joe Budden and it wasn't. It was like, damn, this is not gangster grills. It doesn't feel gangster grills. So I needed another title for another brand. So I came up with Generation Now. Years later, we wound up double backing when we were looking for a title for the label, and I was like, what about Generation Now. 00:39:19 Speaker 2: So the guys was like, yeah, that's fire. 00:39:20 Speaker 3: So we Atlantic was on the verge of firing me, like I was two years into my deal and they were looking at it like, look, we just paid DJ Drama all this money he brought us. 00:39:34 Speaker 2: Shit, we done. 00:39:35 Speaker 3: We put all this money into this studio, Like what are we doing? What's going on? Like, where's our where's our return? Craig Kalman came to Atlanta. We sat in the radio room of the The of Mean Streets and he said, look, Drama, I believe in you. You know, I don't want to let you go. Like let's just do a one year deal. We're gonna we'll stay partners on the studio and we'll just you just you guys, just focus on Uzzi. Like we'll just just you guys, just focus on little Uzi. And I was like cool, Like I'm with that, like okay cool. And next thing you know, you know, love is Rage comes out. Mean Streets becomes the go to studio in Atlanta and the tables turned within six months in one eight and you know it was like I told you not going. 00:40:31 Speaker 4: Ancestors are watching you and guiding you. How did Jack get on y'all's radar? Because for me, Jack, he was the record and I don't think this was before Generation Now. My record was Sundown, like that was the one that I heard. I was like, it was on your generation now, that was generation Oh then okay, he had put out a record called Dark Knight. That was the one that really forced our hand. But we had heard of him before them. A friend of mine brought them to me late twenty seventeen and put him on my radar. And then you know Ky Engineering, who is based in Atlanta, who had engineered for Wayne Tiger. 00:41:10 Speaker 3: He mixed Dreams of Nightmares. He mixed that whole, mixed the whole first album. He was Waka Flaka's engineer. He's two changes engineer. He mixed my records. He did my quality street music album. He's from His name is Kay because he's from Kentucky. 00:41:26 Speaker 2: So around the. 00:41:27 Speaker 3: Same time he was telling right, okay, he was telling Lake like, yo, I want to bring you something when it's ready. So Jack wound up on my radar. I went and followed him. He had like seven thousand followers. He saw that I followed him, He followed me right back. He then went on to tell me later on that he told a friend of his like, damn, DJ Drama just signed to me. I think I'm think I'm gonna sign the drama. So we so he wounds up. He winds up coming being in Atlanta and coming to mean Streets and you know, that was our first time meeting, and we like, you know, we sat down, we chopped it up. 00:42:04 Speaker 2: We were talking. 00:42:05 Speaker 3: He was like, you know, what are you what are you into? And I'm like, I'm in a movie, Like I'm a movie buff, like I just love movies. And he was like, tell me a movie that you think that I would be shocked that you would know. And I told him it was this movie called E two My Time Bien. 00:42:18 Speaker 2: Oh yeah yeah, and he was like wait what. 00:42:20 Speaker 3: He was like, DJ Drama YouTube has watched YouTube the ritz like, so I think that really blew his mind. And then you know, we we had a meeting you know, with Jack and you know, our staff, and he was on you know, we we the opportunity was about signing him was there, and and then we weren't one hundred percent. We were like seventy five percent. And then he put out Dark Night and we was like, okay, we gotta do it, like we gotta we gotta sign this kid before we miss out. So we went on to sign Jack, and you know, again this is you know, when I signed Jack, he looked like Napoleon Dynamite, So you know, he's come along. The heart the sex symbol heart throb that he is of today was you know, he's come a long way. But I saw it in him, like, you know, the same way I saw it in UZI early on, Like you know, I saw like, these are two guys that, for me, like, regardless of of us being evolved, they would have made their way into hip hop same way, regardless of however I would have been, I was gonna, yeah, I was gonna. 00:43:32 Speaker 2: I was gonna get here somehow, some way. 00:43:34 Speaker 3: But again we allowed them to stand on our shoulders to you know, go a little faster, you know, me walking him in the sway and you know him being able to you know, just move around, especially somebody like Jack, who you know is a white rapper from Kentucky to be able to say he signed to Generation Now and DJ Drama who created Gangster Grills and the label that you know, you know, little Uzi Vert was a part of. And I think that brought a lot up, you know, yeah, to the table, you know, all right before we we gotta wrap up the episode. 00:44:15 Speaker 5: This is damn we have to You don't even know how long we've been sitting here. 00:44:19 Speaker 2: We just started. We gotta go home. 00:44:24 Speaker 5: I mean, you gotta invite us back and we'll come to your spot. 00:44:26 Speaker 3: But okay, but before we wrap like I don't I don't know if like I don't know if you're aware of this because I say it all the time, but being sitting at this table, like I have to say, even though I say it all the time, like like you got to understand, I mean, like if it wasn't for y'all, like I don't, I don't know that. I don't know if I would be here like watching like running in. 00:44:56 Speaker 1: Thinking the joke of the show, watch me squirm. 00:45:02 Speaker 3: Like bro listen, like I used to run into a mirror playing video games on South Street and he would like let he would like put his headphones on me and let me hear fucking Tariq rapping like g rap or like you know, like I used to go to the Truck. I was at the Trocadero at their signing celebration party like like for me, like I remember when Distortion the Static first came on Rap City Like yes, so like you got to understand for me, bro, like the roots are the reason why I knew that you could really do this ship, Like, oh, this ship can really happen. Like I just watched this group in Philly. Watch her face. 00:45:51 Speaker 5: I'm just making him take it because it's hard, it's painful, go ahead, keep going on. 00:45:55 Speaker 3: Like I watched this group that I loved make this album called Organics while I'm in high school and that's all I'm listening to and then like get a record deal, like get signed to Geff and like these guys that were freestyling on my little mixtapes that probably only one hundred copies exist didn't go on to become the fucking roots, Like oh my god, this you can like this rap shit is real, Like everything before that for me was just seeing it on like watching the Box and seeing Kine and KRS and Public Enemy and NWA is just like me watching it on television like I knew y'all, like. 00:46:39 Speaker 2: Like I was there. 00:46:40 Speaker 3: So that for me was literally the reason like and I say it all the time, like you are the reason why I knew this shit could really happen, bro, Like, and I have to give you your flowers by sitting here next to you, thank you for a documentary. 00:46:55 Speaker 5: For a documentary, It's gonna be great. 00:47:00 Speaker 2: You know, I appreciate every word. 00:47:01 Speaker 1: Yes, years ago, I would have definitely ended the episode because I hate compliments. 00:47:07 Speaker 5: No, but I really appreciate that this conversation was long overdue. 00:47:11 Speaker 2: No, no, for real, I don't over on every song even for me. 00:47:15 Speaker 1: Yeah, and I'm very proud like again, like you know the fact that you validated us as well, because it meant a lot to me that like, wow, someone believes in us enough to put us on a mixtape, Like to me, that was important. 00:47:30 Speaker 3: Black thought Gangster Girls is definitely on my bucket list because it's full circle for me, like it has that's one and I have. 00:47:36 Speaker 2: Wow, that'd be amazing it has to happen. 00:47:38 Speaker 1: I was going to say that eventually, one day you're going to have to make a gangster Grizelda. 00:47:48 Speaker 2: You gotta make that happens fire. This intro would make that happen. No great idea. Wait, I have one last question. 00:47:55 Speaker 1: I've been watching how things have been developing in the last few weeks speaking of Griselda, and initially what started out as something that could have gone ugly is actually turned into kind of like a cool momentlex Yeah. Yeah, where initially, you know, there are complaints that you're not supporting Da Da Da Da, and you know, maybe once every five years out here another generation coming that will tell whoever the gatekeeper is like let somebody else in and let someone But as a DJ and I usually go through this kind of quasi depression period, maybe in November and December or Okay, so twenty twenty three is coming up, so instantly I'm like, all right, so someone born in two thousand and two is now legally going to be louder than the night club, right, and that means when they're like fourteen years old and you know, twenty sixteen or whatever. I mean, like I'm always doing the math of reference points to me, I don't know, Like for you, is there ever time where you're just like, I don't know, it might be too old for this ship. I don't want to just reduce it to as too old for this ship, but like too old for this ship? I mean right now, keep up like I legit was on Wikipedia, like taking a crash course in drill because I just like, all right, I gotta educate myself, Like I hold a whole bunch of gigs coming up for a bunch of kids, and I don't want to be that person. 00:49:34 Speaker 2: But it's like I feel like if you have to be paint by numbers, like okay, what are the kids? Whatever? But for you, like, is there ever a point where you just get exhausted? It's just like. 00:49:45 Speaker 1: Dog just throw Roriir's album warning, I'm calling it a day, like I'm gonna I'm gonna take a nap whatever. So there's never a point where you saw an act like Okay, this is what the future is or no. So for you, like, the more dangerous is the more you People my age are talent in every generation. 00:50:06 Speaker 3: Yeah, And I think that again, like I said, like I'm from a mixtape culture, where it's like new shit, new shit, new shit. So it's like my fascination is is with like like what's next. Like my label is called Generation Now, you know. So for me, it's like the fact that I've been able to navigate through fucking being in a Bahamad Dia video to Jack Harlowe, you know, or to Tyler Creator call me if you get lost, and winning a Grammy, Like my career has literally been an example of being able to surf through the erarors. So like, you know, I it's a young like I love where hip hop is today. Last night I went to the Wu Tang in Nas concert and I was like a kid in a candy store, you know. 00:50:56 Speaker 2: I mean, that's that's my era. 00:50:58 Speaker 3: Like that's when you know, when when you're I think when you're a teen, those are your pivotable moments, you know what I'm saying. So yeah, for me, I'm like as a forty four year old man, I'm I'm I'm in heaven, you know. But at the same time, I'm also a DJ who more likely plays for audiences in their twenties than I do for audiences in their forties. So it keeps me current and again, I just, I just, I just love the culture so much, so I love every diaspora of it, you know what I'm saying. 00:51:29 Speaker 2: So I don't. 00:51:31 Speaker 3: You know, this shit keeps me twenty one forever, like even now, having this resurgence of gangster grills, whether it's with Simba or whether it's Icewear Veso or Seti Hendrix or you know, it's like being able to still be in this space. And you know, I got to give Tyler his flowers for you know, in a sense kind of you know, bringing this resurgence of gangster grills back for what he did. 00:51:58 Speaker 2: Yeah, So no, I don't, I don't. 00:51:59 Speaker 3: I don't get in that space like I'm you know again, I'm to be a DJ and to to have the accolades that I have. It's like my goal was to get my name on a flyer. So the success that I've had, don't. I don't take none of it for granted. And as much as I've accomplished, the way my brain works is always like damn, what the fuck am I gonna do next? You know what I'm saying. So I think that's what keeps me in this space of still being excited about you know, tomorrow or not, you know, again being one of the whiz in Logic tour. When I'm out there, I'm asking you know, all my two thousands of babies make some noise, and it's they make a lot of fucking noise. Like, still a lot of nineties babies in there too, and the eighties babies are a little more quiet parents. I don't even ask about the seventies. I leave that alone. But you know, even when I walk out on stage, you know, having these kids like say my name and chant my name and be familiar with me because of Tyler or because of the Dreamville mixtape, Like, it's such a blessing, you know what I'm saying that you know. 00:53:03 Speaker 2: I'm still here and you're still finding a new audience. 00:53:07 Speaker 3: And I'm still finding a new audience and and I'm and I'm excited about it, you know, as much as I'm excited about being able to go to the fucking nas and Wu Tang show and you know, seeing that sell. 00:53:17 Speaker 1: Out and shout out to you guy who thought I was a stalker in the hotel lobby this morning. 00:53:23 Speaker 2: You got you got what, man, I was like, it's me quest that you, Oh man, I'm sorry. 00:53:30 Speaker 3: I thought you was like he thought, but you got to understand too, like even I hate I don't want to do this make you squirm again, but like bro, like, Bro, I saw you in the fucking like I used to. I was there past the popcorn. You're on television every night, like you have you have a fucking you have a fucking oscar. Bro, Like you have an oscar? Like like, well, those things to me are like, yo, there's the sky is not the limit. There's no limit. 00:53:58 Speaker 2: I'm gonna tell you this. This, this is I'm not even blowing smoke. 00:54:03 Speaker 1: Today was a teachable lesson because every time you say something, I'm like, wait a minute, how are you just yes and jumping into some shit without light seeing who's going to be there first? 00:54:13 Speaker 3: Yeah, I'm like, and I need to be more so this is a will talk. You're a little more bougie than I am. 00:54:18 Speaker 2: I'm very much. I'm guarded. I'm protected. I'm guarded. I want to know that. I want the formula work. I wanted to break down the scientific. 00:54:26 Speaker 3: So if you run into somebody in the street right now and they're like, yo, I'm inspiring artists over the street street, can I get your number. 00:54:33 Speaker 1: Five people, five people, Blow slum Village, Jill Scott, Blow Slum Village, Jill Scott little brother. I'm five and oh, but I'm probably five and forty thousand those five I came to you. Yeah, I was in the position where I was like I felt in my heart like right, oh, this is oh Cody Testa, that was my five Oh. 00:55:01 Speaker 3: I remember he was on automatic relaxation. Yes, definitely was definitely more definitely all. 00:55:07 Speaker 1: Right, give all right, we gotta wrap up, but please give like another automatic relaxation. 00:55:12 Speaker 5: A whole bunch of people. 00:55:13 Speaker 3: You know, it's a few of y'all, Like, can I just give you copies of the old ones? I think like there's like it's not I mean, we we when it when it was what it was like now that there's a lot of that out now there's playlist, but it ain't nothing. 00:55:31 Speaker 2: But I've been coming from you. 00:55:32 Speaker 4: I think now at this point in your style, I don't think it would be that for you now, Like if you did now, it's gonna be probably yeah, you know it's gonna be And I'll. 00:55:42 Speaker 5: Be listening now now you don't have to go, well where they went. 00:55:46 Speaker 4: They're gonna check for DJ Dramma regardless. So if you win in that lane, that would be it would be something new. 00:55:51 Speaker 2: To that audience. 00:55:52 Speaker 1: No, I'm respecting when you said relaxations and gangster Grizzeld. There you go, all right on behalf of Quest Left Supreme, Yo, Fante and Sugar, Steve and Steve say anything he was. 00:56:07 Speaker 2: I'm learning, except about the skateboarder. 00:56:10 Speaker 1: In phillyre you know he's he's Steve's here. Trust me anyway, No, thank you for doing this man, man, I really appreciate that you school in the nation. 00:56:21 Speaker 2: Sho. Thank you to the staff everyone, fam you, thank you, and I thank you. Thank you. 00:56:28 Speaker 1: Uh and I am going to break that misspac Man record all my time. Yeah, shout the exit shout. 00:56:34 Speaker 3: One day if somebody comes, just give him me a number, bro, you never know he's not You don't have to answer, like they text me all the time. Like if I don't want to answer, I don't have to. You know, random people have. Just when I was on tour, this guy just called me out of nowhere. I was like, Hey, this is a drama. I like, yeah, where'd you get my number? He's like my manager gave it to me and he was like, Yo, I'm a new artist, and I said, listen, bro, I'm a jewel you real quick. Like when I was coming up, I couldn't just call Jay z or funk Master Flex like I'm like, and most people aren't going to be as nice as me. But I'm telling you, before you try to get on my radar, look to your left and look to your right and try to create a movement with the people around you, and then before you know it, you'll be on my radar. 00:57:18 Speaker 1: Like, don't just call the the big wigs and think you can get on like. It's not that easy, Connecticutt. Yeah, I couldn't. 00:57:26 Speaker 3: I couldn't call jay z or Flex and say hey, I'm DJ Drama like I'm dope like and I was, but I didn't have the right to them. 00:57:34 Speaker 2: I didn't have the right to. 00:57:35 Speaker 1: Do that yet, you know what I'm saying. So there's a teachable that's the jewel right there. All right, We'll see you in the next go round. Thank you very much, thank you. Quest Love Supreme is a production of iHeartRadio. For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever you listen to your favorite shows,