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Speaker 1: Yeah, man, the hit past episodes of the Wrap Right

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Speaker 1: Up podcast. What do they have to do? Beat that?

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Speaker 1: It's easy? Sign up for Title at Title dot com

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Speaker 1: backslash on their receive a three month complimentary membership. You

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Speaker 1: get access to over forty eight million songs, a hundred

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Speaker 1: seventy five thousand videos, don't forget the exclusive concert live streams,

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Speaker 1: to ticket giveaways, and so much more. Go to Title

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Speaker 1: dot com on their want to respect it so strong,

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Speaker 1: Like you kid, you got you gotta think about the marathon.

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Speaker 1: You gotta think about the biggest, biggest, biggest picture. And

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Speaker 1: I think that's what we did. You didn't want to

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Speaker 1: like sue him or sue him to kill him. That's

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Speaker 1: how you feel, you know. But the perception was that

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Speaker 1: you got paid and then that with that made things

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Speaker 1: cool somewhat. And you guys have made up fast. But

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Speaker 1: you're saying it took a long process to get it

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Speaker 1: took no, it took years years. There's no trust. By

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Speaker 1: the way, he'll tell you the kind of person he

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Speaker 1: was back then, he wasn't the man he is today,

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Speaker 1: you know. But by the way, young hotheads a lot

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Speaker 1: of energy. Young had a lot of energy. This that

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Speaker 1: in the third and you know what, Blazing New trails

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Speaker 1: changing the world, but didn't affect your relationship with dogs

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Speaker 1: because I like a song. It affected my relationship and

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Speaker 1: nods definitely, m and what sense I didn't I didn't

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Speaker 1: know who was supporting me. I didn't know who. When

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Speaker 1: you go through that type of thing, you don't know

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Speaker 1: who on your side, who's against you. You know, you

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Speaker 1: gotta you gotta go through that process and like yeah, yeah, yeah,

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Speaker 1: and like that, we went through that and you know, guys,

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Speaker 1: I'm just telling you, man, I don't know how. You know,

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Speaker 1: nobody has to reveal their age but too young. In

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Speaker 1: five years, you're not even remember who you are today. Man,

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Speaker 1: I don't remember. I ain't for breakfast. I know five years,

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Speaker 1: five years from now. That's just the way growth works.

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Speaker 1: It's like the ship that you were thinking that twelve

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Speaker 1: when you were sixteen. You'd be like, I can't believe

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Speaker 1: I thought that. Like it's just so we thought we

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Speaker 1: knew it all back then, and you think you know

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Speaker 1: it all. That's the problem with majority. You think you

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Speaker 1: know it all. You don't even know ship. You don't

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Speaker 1: even know what you're talking about. But you have all

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Speaker 1: the words to sound like you know what you're talking about.

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Speaker 1: So was that around the time you and not first separated,

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Speaker 1: like because it seemed like that it wasn't as much

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Speaker 1: as it was great and you guys are in a

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Speaker 1: great place now looking back at everything. There were ups

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Speaker 1: and downs. Right when when did they get like to

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Speaker 1: the point where you guys weren't on the same page

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Speaker 1: and it was time to move in different direction directions

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Speaker 1: from your advantage points. Oh, I forgot whatever because the

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Speaker 1: perception was that now, all of a sudden, you're doing

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Speaker 1: business with j right like like I was doing. I

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Speaker 1: was doing business with both of them, like I was

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Speaker 1: making nass music. I wanted to move forward. My goal

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Speaker 1: was always to move forward. It wasn't picking ju I'm

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Speaker 1: I'm four. I didn't even know this, okay, but I'm

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Speaker 1: for the culture going forward. I am a champion of

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Speaker 1: the culture. So I didn't realize and I'm not saying

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Speaker 1: I'm the champion of the culture like everybody running around

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Speaker 1: saying that bullshit. I'm sorry, guys are moving in on

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Speaker 1: my on the real work. It's like ship. If you say,

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Speaker 1: if people start you abusing the word, that's the culture. Man.

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Speaker 1: You're fucking crazy. That's why, like anybody tells me anything like, oh,

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Speaker 1: Steve's a culture of man, shut the funk. Are you crazy?

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Speaker 1: You're crazy? J Nas thinks started what position were you?

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Speaker 1: Were you still managing Nazi? You had already separated with

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Speaker 1: him when the conflict first started. I was making I

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Speaker 1: wasn't nass manager. I was making his album. I was

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Speaker 1: making that album still maddic, but I wasn't his manager.

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Speaker 1: So I was the executive producer of the album. But

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Speaker 1: I wasn't the manager. But takeover I came out still

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Speaker 1: like all the battle stuff that started, and he was

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Speaker 1: already still do a minutes with JA because that made

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Speaker 1: not uncomfortable to Yeah, why wouldn't it be? I? And

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Speaker 1: I ain't And I am a very As i've gotten old,

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Speaker 1: I've become better at it. But like I'm a very um,

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Speaker 1: I'm an emotional guy, but in business, I'm very not

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Speaker 1: emotional law And I didn't even think about that, Like

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Speaker 1: that was just and and that's really stupid in hindsight.

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Speaker 1: But I'm like sneakers, I'm making your record. You guys

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Speaker 1: don't like each other, okay, But the perception was to

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Speaker 1: some people with if you Supposi nonside is that Jay's ambition,

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Speaker 1: of Jay's entrepreneurship, but business acumen was different than someone

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Speaker 1: like Nas. Maybe you have an artist, so does NAS?

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Speaker 1: Does J end up taking the opportunities that maybe you

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Speaker 1: would have given Nods and Nods would have had if

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Speaker 1: Nas didn't have that My stateful But back then, Nas,

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Speaker 1: we can't show up in time, Remember, I mean, what

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Speaker 1: are you supposed to do? I mean, that's not what

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Speaker 1: he was doing. He wasn't there yet. He's there now huge,

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Speaker 1: but he wasn't there at the time. And like you

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Speaker 1: don't if you really accept people for who they are

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Speaker 1: and let them be who they are and then put

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Speaker 1: circumstances around them. You see it in sports all the time,

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Speaker 1: like this quarterback ain't mobile. Get a great offensive line,

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Speaker 1: keep him in the pocket so he can throw the ball.

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Speaker 1: You know what I'm saying, except when you are built

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Speaker 1: around it. So at that time, Na's great artist. He

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Speaker 1: that's not what his thing was. He wanted the trappings

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Speaker 1: of the money of the business, but he was his

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Speaker 1: mind wasn't there. He also didn't have that drive. I'm

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Speaker 1: the best, I'm the number one rapper in the game,

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Speaker 1: and but like, he's not that type of person. But

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Speaker 1: as we found out, he is a dangerous man with

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Speaker 1: a pen. Oh he is. He's super talent. He's his father,

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Speaker 1: he's the real deal. He's saying, somebody we understood him

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Speaker 1: because there was something at Quincy Jones house where oh

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Speaker 1: ship so as father, I'm at Quincy's house and I'm

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Speaker 1: name with Chris Talker one night and Quincy goes and

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Speaker 1: he shows us the fucking reading for the color purple.

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Speaker 1: I mean, listen to this, and Steven Spielberg is using

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Speaker 1: a fucking VHS take camp holding it and I remember

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Speaker 1: looking at uh Whoopie Goldberg goes on, this is the

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Speaker 1: first time I've ever seen this. I think I've ever

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Speaker 1: seen this since then WHOOPI Woger goes on, WHOOPI Goldberg,

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Speaker 1: whoopy this that in the third and she goes, ready

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Speaker 1: you ready, think think Steven Spielberg's talking to Hut and

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Speaker 1: then she's shooting in himself. He's shooting himself, right, you're ready,

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Speaker 1: You're ready like this thing, and then crying like that.

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Speaker 1: I never seen acting like whoop. She just cried and

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Speaker 1: went right on command. He didn't even say that. He

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Speaker 1: said the scenario like she comes in and starting you

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Speaker 1: got beat by your husband. You couldn't see it, you've

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Speaker 1: seen it, then go cry, wow, that was that was

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Speaker 1: like a fond memory that evening it didn't. We start

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Speaker 1: talking about NAS and I said, oh, lou uh Nas.

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Speaker 1: He goes man, I played with Nas and Miles NAS's

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Speaker 1: dad and Miles Davis. And he goes off and comes

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Speaker 1: back with a picture and an album of them in

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Speaker 1: Central Pay in the sixties, old Lou Dara. Wow, Like,

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Speaker 1: I'm not bugging out anymore. Nas could do whatever he wants.

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Speaker 1: He comes from music. A Wow, that's crazy. That's why

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Speaker 1: he is like that. He's the real deal. It's still

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Speaker 1: waiting for a NAS album right now. He makes a

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Speaker 1: song with Calicorn's NAS album done, and then he never

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Speaker 1: gives He doesn't surprise you right now. It's just out no, no, no.

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Speaker 1: The guy is the real deal. He's the real, real, real, real,

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Speaker 1: real deal musician artists. So, as a rap fan, we

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Speaker 1: should appreciate the greateness of NAS and the greatest of

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Speaker 1: jay Z because they're so very solely unique in a sense. Right,

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Speaker 1: you should appreciate them because they changed every a lot

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Speaker 1: of people's lives. M They're icons there are there. They're

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Speaker 1: the symbols of our generation. In the Breakfast plub, you

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Speaker 1: were saying that, I think you're saying that certain people

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Speaker 1: you feel because they've helped us as business people a

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Speaker 1: certain levels. I'm sitting here, like you know, Charlemagne and

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Speaker 1: envying all these guys like you can't says Kanye puff

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Speaker 1: jns like those type of are you shoot on them?

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Speaker 1: You don't have a fucking job. If you shoot on

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Speaker 1: them except for them, you don't have a job. It's

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Speaker 1: like you remember, Motherfucker's came to you because you have

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Speaker 1: journalistic ability. We need stars. The stars, aren't the stars

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Speaker 1: are the ones that have given us the life? Because

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Speaker 1: I'm saying that. If I'm saying that, you definitely need

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Speaker 1: to fall in line and understand that. Like, come on, man,

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Speaker 1: no ship on this guy? Go shoot on Kanye West?

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Speaker 1: Are you crazy? You know what? And and and Stiff

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Speaker 1: right now you want to shoot on Kanye West? You

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Speaker 1: know what? He was right when he told fucking sway,

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Speaker 1: look what happened. He's out selling all these motherfuckers with

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Speaker 1: sneakers as soon as he got the resources. His ship

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Speaker 1: is the hottest ship He's changed the way motherfucker's even

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Speaker 1: wear sneakers. All right, he look what he did with Adidas.

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Speaker 1: They put come on, guys, come on, we're living it.

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Speaker 1: So we're like, are we taking for granted? Kanye West,

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Speaker 1: he's fucked up the way he explains his ship. But

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Speaker 1: when you talk about what he's done, look at Ol.

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Speaker 1: Look with everybody walking around Virgil work with him. Fucking

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Speaker 1: fair of God, they work with him. These are all

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Speaker 1: his under studies. They did their thing. They've come up

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Speaker 1: under him and they did that. They they've done their thing.

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Speaker 1: But like all that sweatshirt with the thing that that's period, comfortable, period,

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Speaker 1: that's him. That's that man's vision years before everybody. And

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Speaker 1: he went to Adidas and turn that ship around. Look

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Speaker 1: at the Didas stock price when he joined All Star

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Speaker 1: Game when it was in New York. That must have

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Speaker 1: been two or three years ago. You take that moment.

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Speaker 1: Look at the Didas. That's when he was giving everybody

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Speaker 1: the boost. He was showing up, giving everybody the boost.

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Speaker 1: If you look at the Didas stock price that day

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Speaker 1: to today and Nikes stock price growth percentage wise, it's

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Speaker 1: not even close. He's that good. Are we taking for granted,

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Speaker 1: because he's fucking Kanye and he talks a lot of ship.

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Speaker 1: Forget the music, Forget everything he's done musically, forget doc

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Speaker 1: twisted fantasy being, how did you do that? Yeah? Are

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Speaker 1: you in fifty good? These days? There was that picture

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Speaker 1: that circulated around internet if you guys at the nick game,

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Speaker 1: and he was like he was a confrontation So it

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Speaker 1: was it was it was, it was confrontational. I mean

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Speaker 1: I think that, um, he's an extremely talented guy, not

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Speaker 1: necessarily at riding rhymes, but like like like Vince McMahon,

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Speaker 1: Vince McMahon, um from wrestling, he's super the understanding how

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Speaker 1: to create characters, understanding how the whole story looks. Great storyteller. Now,

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Speaker 1: obviously get Richard Trying as a classic album period, top

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Speaker 1: to bottom, ridiculous, undisputed classic period. And as soon as

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Speaker 1: he decided to become an actor and find other ways

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Speaker 1: to express himself outside of just right, and look how

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Speaker 1: big he is like to this day. It like artists.

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Speaker 1: Sometimes artists don't necessarily have to express themselves through They

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Speaker 1: have to cress himself through painting, through writing, through singing,

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Speaker 1: through the different ways of expression, and it doesn't necessarily

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Speaker 1: mean that because you are considered a rap artist, that

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Speaker 1: you can't find all these different ways of expressing yourself

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Speaker 1: and you're dope. I mean, Will Smith is clearly a

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Speaker 1: better act than he is a rapper. He's still a

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Speaker 1: great artist, right, and LIKEFT is a great storyteller. And

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Speaker 1: that's the part about him that I respect tremendously. Um,

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Speaker 1: we don't have any problems. Yeah, you've done so much business.

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Speaker 1: I mean the people that don't know, we've never did.

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Speaker 1: We know, we've done business in the beginning and the

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Speaker 1: early beginning. And signed him and did this, and you know,

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Speaker 1: I did not want him to sign uh. I thought

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Speaker 1: that he should sign directly with Aftermath because I didn't

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Speaker 1: want I thought that his image, that guy who got

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Speaker 1: shot nine times and that thing may have gotten diluted

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Speaker 1: by the D twelve, the whole shady thing. So like,

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Speaker 1: of course him and that would work. M worked, But

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Speaker 1: I thought that that that his label mates and that

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Speaker 1: he would not be taken seriously. And I was wrong.

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Speaker 1: I was wrong. And you had done business with him

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Speaker 1: obviously in Rosenbergen and yeah, I love Paul love M

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Speaker 1: got M to giving exclusive for the Tan of America book.

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Speaker 1: We know how hard that is, Yes, it is, you know,

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Speaker 1: there's all that stuff. Uh you know, but like there's

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Speaker 1: there's no problem with mutual respect. We've we we all

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Speaker 1: went through stupid dumb ship. We grew up and learned.

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Speaker 1: We grew up and learned. But I will. I want

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Speaker 1: to make it super clear, man, like I'm blessed to

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Speaker 1: be around the most talented motherfucker's Dr Dre making NAS

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Speaker 1: is coming first, and then I made the Firm album

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Speaker 1: with Dre. Wanna talk about the talented people man? Right?

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Speaker 1: Then fifty and and Jay writing still d r E

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Speaker 1: like that's me man, you know, and then NAS and

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Speaker 1: then track Mass. It's like this is working all these

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Speaker 1: great talented people and and I've been fortunate and blessed

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Speaker 1: to work with talented people my whole career. So problems

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Speaker 1: and issues always gonna gonna come, but doesn't mean you

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Speaker 1: have real problems. I just still d are you happen?

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Speaker 1: Like because I always always feel I want to hear

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Speaker 1: a version of JA, like laying down the vocals, let

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Speaker 1: me I was in, I was that I was at.

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Speaker 1: It was in Jimmy's office and uh dre plays the

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Speaker 1: album and Jimmy is like, I don't know. I think

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Speaker 1: we don't have the first single. Pretty good, Jimmy, Well,

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Speaker 1: I am is the best. I don't think we have

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Speaker 1: the first single. What does Eminem think? That's what he said,

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Speaker 1: what does Eminem think? So Dre. I spoke to Dre

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Speaker 1: after the heat and he has a tape of beats,

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Speaker 1: like five beats on the ship and he gives it

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Speaker 1: to me, and I come back to New York and

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Speaker 1: I'm like, I can't believe I have drey beats on me.

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Speaker 1: This is crazy. I'm flying back to New York on

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Speaker 1: the Red Eyeland. I can't believe this ship, and I

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Speaker 1: show off. I played a shift for Timberland. Timberland is like,

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Speaker 1: oh God, but I'm really asking these guys. I asked Semblan,

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Speaker 1: what beat do you think should be Dre's for a single?

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Speaker 1: Which because you could pick Drey's for a single off

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Speaker 1: the beat five huh five five ridiculous joints. And he

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Speaker 1: liked that one track. And then I played it for Ja.

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Speaker 1: I said, Jimmy, I can get Jay. I'm gonna ask

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Speaker 1: Jay to write it bright and j wrote those ride

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Speaker 1: he wrote snoop Spot. I couldn't believe he wrote the

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Speaker 1: low Lows and this and that, and then Nig is

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Speaker 1: trying to be the king, but the aces back. It's

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Speaker 1: like this guys these out of This guy's out of bounds.

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Speaker 1: His talent is just out of bounds. He's writing dr

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Speaker 1: dre and sloops puts Snoop had no issues. Split the

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Speaker 1: round as is just like Foxy spit the rhyme as

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Speaker 1: is like when nas Roll getting jiggy with it, will

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Speaker 1: Smith spit the rhymes. He said Nasle was tight though

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Speaker 1: when he was tight, you know, like I was forcing

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Speaker 1: him to make money, Like why are you forcing to like, well,

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Speaker 1: listen to the hook we just did Men in Black.

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Speaker 1: I know we're gonna saw some units here. This is

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Speaker 1: the big Willie style. So J later down, like did

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Speaker 1: you see J lay it down? And he said you

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Speaker 1: like he cut the vocals DJ Mormal DJ worked for

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Speaker 1: me at the time. UM and DJ was in there

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Speaker 1: when he was laying it down. He came in, started it,

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Speaker 1: left and then came back and then laid and then

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Speaker 1: laid it down and I got it that night. And

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Speaker 1: then the other thing I did during the exact same

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Speaker 1: time was I gott king after hard Knock Life to

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Speaker 1: make Stand for Eminem and I went and got the

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Speaker 1: beat for Stand. Well, how did that happen? You knew

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Speaker 1: he wanted that beat or he that life. I'm like,

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Speaker 1: this is more, this more because Ty five King is

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Speaker 1: a really talented producer and like he had a UM.

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Speaker 1: He would record guys in a real telephone booth, old

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Speaker 1: school telephone booths. Was the vocal like yeah in Jersey.

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Speaker 1: And he you know, he had he had a lot

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Speaker 1: of issues, but when you called him at the right time,

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Speaker 1: you would get it. And he had just made a

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Speaker 1: hard knock life and I'm like, fucking go there, DJ,

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Speaker 1: go there, and he came back with a bunch of things,

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Speaker 1: and it was I didn't know who the girl was died.

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Speaker 1: I didn't know who she was. That song had just

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Speaker 1: come out. I thought it was an old joint. Oh yeah,

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Speaker 1: thank you. I thought it was. I didn't know what

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Speaker 1: that was, but it was just crazy Gatty B two

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Speaker 1: M boom. I was as a as A, as A,

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Speaker 1: as A, as an executive. I would make records man. Yeah.

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Speaker 1: Fortunate for Maxwell had all Kelly writed for him, you know,

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Speaker 1: had Mariah Right shipped for Faith Hill. I love doing,

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Speaker 1: I love I love watching artists um prosper I love

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Speaker 1: watching artists be the best they can be. I love it,

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Speaker 1: you like almost armed them with the tools and then

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Speaker 1: watching and then get out the way. I'm not the

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Speaker 1: extra guy. That's like part of the reasons why I

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Speaker 1: wasn't doing music videos because I didn't even want anybody

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Speaker 1: to think I was that I was in the way.

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Speaker 1: I didn't want to be in the way. I want

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Speaker 1: to I want to see it for you and then

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Speaker 1: give you the tools for you to be the best

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Speaker 1: you can What do you think you add this missing

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Speaker 1: for these artis like what what? What is it that

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Speaker 1: you add that the baby they need to put them

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Speaker 1: in that position to get the best out of them?

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Speaker 1: What what? What's your action? A lot of it is

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Speaker 1: trust um resources. A lot of artists are not the

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Speaker 1: greatest business people. They're great at being artists, and they

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Speaker 1: need business people around him that's not trying to rob

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Speaker 1: them steal from him, you know, and always and if

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Speaker 1: I felt like if I was really good at what

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Speaker 1: I do, like I can make more money because of

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Speaker 1: you than off of you, I don't have to take

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Speaker 1: it from you. Like me and what I do plus

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Speaker 1: you and the you allowed me to work with you.

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Speaker 1: I'll get it, you know, I'll get the bag. And

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Speaker 1: that's how it works. You talk about donuts a lot. Yeah,

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Speaker 1: that's the old school right there, to make the donuts.

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Speaker 1: Get up in the morning time to make the donuts.

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Speaker 1: Um and um, I've been doing that. I'm forty seven,

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Speaker 1: so I've been doing that since I was twenty four. Yeah. Well,

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Speaker 1: one thing with Dre and j you' putting something I

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Speaker 1: g about going to a Laker game or something that

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Speaker 1: he was riding with. Uh fuck yeah, man for saying that.

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Speaker 1: Ship man I had. I lived in l a for

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Speaker 1: six months and I can't fucking stand like living Tell

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Speaker 1: them Steve, I just couldn't. I don't know why. I

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Speaker 1: just didn't like living there. I had a Lawrenz tad

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Speaker 1: and just talk. These guys are my friends, but I

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Speaker 1: just could not stand living in anything. I have to

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Speaker 1: live there. When I was going back and forth, when

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Speaker 1: I was running in the Scope black music and Scope

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Speaker 1: black music that sounds so crazy, Black music that was

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Speaker 1: like cool? Let say that like that? What do you

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Speaker 1: on the head of black music? What nigga? Who? Um?

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Speaker 1: And so I'm up there and I got four seats

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Speaker 1: on the floor and the knicks of playing the Lakers,

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Speaker 1: and I'm like, Dre, hop, let's go to the game.

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Speaker 1: I think I was going to give the other seat

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Speaker 1: to Fred Durst. He was hot at the time. I

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Speaker 1: forgot who. Anyhow, we go to the game and m

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Speaker 1: Drake eat to me, drops off the car at the building.

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Speaker 1: I was staying in the Wilshire Corridor at least his

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Speaker 1: car and I got like a lemo probably was white. Well,

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Speaker 1: I know, um. When we get in the Lemo and

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Speaker 1: we go to the game and Dre starts playing beats

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Speaker 1: in the car again, this is original Drey beats, original

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Speaker 1: Dray beats. Now this is me, j and Dre in

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Speaker 1: the car m and Jays listened to the beats doing

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Speaker 1: his rain Man and then he spits the intro two

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Speaker 1: h the Dynasty. The only the only problems that ms.

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Speaker 1: I think his arms like, it's the only songs I've

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Speaker 1: ever read was the Arms and Arms never read the

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Speaker 1: Book of Krawn. Something we don't have to say. And

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Speaker 1: it was just like, oh God, he said that he

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Speaker 1: had laid it down, yet it wasn't. And he started

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Speaker 1: spitting these rhymes and you've seen this is the best feeling, man,

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Speaker 1: this ship, Andre said at the end of when when

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Speaker 1: Jake killed that ship, he's just man, that's my R

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Speaker 1: and B ship. Wow, hen't have to get up veracious

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Speaker 1: on this ship that he had to be like and

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Speaker 1: that's just my R and B ship because he couldn't

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Speaker 1: even he was just so vicious. By the way, that's

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Speaker 1: one of Jay's best rhyme. That's ever one of the

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Speaker 1: best intros of all time. Arguably, it's not arguing how

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Speaker 1: many classic albums at jay Z is the big debate.

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Speaker 1: It's one of the biggest debates and whether let me

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Speaker 1: tell you one that's not there's not even there's nothing

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Speaker 1: to debate about. American Gangster is a classic. Disputes that

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Speaker 1: he doesn't care what you gotta said these cameras, Man,

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Speaker 1: did you did you think that in real life at

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Speaker 1: the time that year, I can't believe those rhymes and

387
00:24:05,280 --> 00:24:07,639
Speaker 1: we was at accession. You know what, doesn't think it

388
00:24:07,760 --> 00:24:11,080
Speaker 1: was a classic? Yeah, he doesn't think it's a classic.

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00:24:11,240 --> 00:24:14,120
Speaker 1: I think you and you're wrong. That is a classic,

390
00:24:14,320 --> 00:24:19,480
Speaker 1: not definitely classic. I'm gonna make a shirt and his

391
00:24:19,960 --> 00:24:23,359
Speaker 1: his his rhymes on it are just so you know

392
00:24:23,400 --> 00:24:25,760
Speaker 1: what's funny though ridiculous. Here's what reminds me of I

393
00:24:25,840 --> 00:24:28,840
Speaker 1: just feel like to another generation, he found a way

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Speaker 1: to do a modern version of reasonable doubt, the same

395
00:24:31,960 --> 00:24:34,760
Speaker 1: way that some kids still matic is better than allmatic

396
00:24:34,760 --> 00:24:36,520
Speaker 1: because it was a modern day version of the same

397
00:24:36,600 --> 00:24:41,520
Speaker 1: kind of principle. Some people generation nomadic. Yeah, okay, there's

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Speaker 1: younger generica still madics bettermatic, and they think that all this,

399
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Speaker 1: all this young generation version of this that in the

400
00:24:50,600 --> 00:24:57,960
Speaker 1: third no, no, listen, he said he thinks still madic

401
00:24:58,080 --> 00:25:02,120
Speaker 1: is better nomadic. This ship is called aumatic stumatic part

402
00:25:02,240 --> 00:25:06,560
Speaker 1: automatic part two. Okay, it all mad you like the

403
00:25:06,720 --> 00:25:09,600
Speaker 1: first of all? How could it be better when the

404
00:25:09,720 --> 00:25:13,840
Speaker 1: whole ship is referenced off of the original scriptures because

405
00:25:13,920 --> 00:25:18,879
Speaker 1: the rhymes are better. He's advanced, which is that's how

406
00:25:18,920 --> 00:25:21,880
Speaker 1: I look at a g compared to reasonable. The same thing.

407
00:25:22,400 --> 00:25:25,240
Speaker 1: I didn't say, stillmatics a classic and allmatic is a classic.

408
00:25:25,640 --> 00:25:31,600
Speaker 1: I am not saying that American Gangster is better than

409
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Speaker 1: reasonable doubt. You said, jay Z classics, Like, that's all

410
00:25:35,359 --> 00:25:37,840
Speaker 1: I said. Sodic can never be better than automatic, is

411
00:25:37,880 --> 00:25:39,800
Speaker 1: what he's saying. That's no, I'm not I'm saying. I'm

412
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Speaker 1: saying Hey, it's not in the cane you made, it

413
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Speaker 1: was written. I still don't understand how American American Gangster.

414
00:25:51,000 --> 00:25:56,240
Speaker 1: American Gangster is not um better than reasonable doubt, But

415
00:25:56,400 --> 00:26:00,359
Speaker 1: American Gangster is a classic. So how many did we have? Print?

416
00:26:01,320 --> 00:26:03,480
Speaker 1: You're giving him a G. That's real? At least I

417
00:26:03,560 --> 00:26:06,280
Speaker 1: might count seven that as you're going to seven out

418
00:26:06,480 --> 00:26:11,240
Speaker 1: after with you think the Dinosting is a classic. No? Oh,

419
00:26:12,280 --> 00:26:17,560
Speaker 1: I know he likes Volume one recently, No anniversary. I

420
00:26:17,600 --> 00:26:19,600
Speaker 1: don't think the album has to be flawless to be

421
00:26:19,640 --> 00:26:21,560
Speaker 1: a classic. Like you can have a floor you have

422
00:26:21,760 --> 00:26:24,280
Speaker 1: you have different standards, bro, Like this is a good

423
00:26:24,320 --> 00:26:26,760
Speaker 1: bottle of one. It's not a classic. We're talking about

424
00:26:31,160 --> 00:26:34,800
Speaker 1: liquor run. The Black album is a classic album. The

425
00:26:34,920 --> 00:26:38,640
Speaker 1: Black Class. You have to think about it. Giving reasonable doubt,

426
00:26:38,800 --> 00:26:42,600
Speaker 1: giving reasonable doubt in blueprint right at least right, and

427
00:26:42,640 --> 00:26:44,520
Speaker 1: you're getting them a G. Oh you were that rare

428
00:26:44,600 --> 00:26:47,080
Speaker 1: breathe that thinks a G is the greatest j album?

429
00:26:48,000 --> 00:26:51,720
Speaker 1: No r D reasonable doubt blueprint? How many we have?

430
00:26:52,200 --> 00:26:55,879
Speaker 1: Yeahs are crazy? Reasonable? That's the best album is made. Man,

431
00:26:56,480 --> 00:27:00,480
Speaker 1: m Come on, I like blueper Come on to listen

432
00:27:00,520 --> 00:27:03,560
Speaker 1: to the rhymes. Listen to the rhymes? How do you rhyme? Like?

433
00:27:03,600 --> 00:27:06,080
Speaker 1: I think you know it bugs me out that it

434
00:27:06,240 --> 00:27:09,320
Speaker 1: bugs me out, Like I'll listen to the rhymes. I'm like,

435
00:27:10,280 --> 00:27:11,960
Speaker 1: like when I listened to the Evils, I'm like, how

436
00:27:12,040 --> 00:27:16,720
Speaker 1: the fuck did you do that? How did you say

437
00:27:17,119 --> 00:27:20,159
Speaker 1: and put those words together? How did you do that

438
00:27:20,280 --> 00:27:23,240
Speaker 1: with dead presidents? How do you like? To me? Man,

439
00:27:23,880 --> 00:27:27,120
Speaker 1: it's like looking at a young basketball player like young

440
00:27:27,200 --> 00:27:31,600
Speaker 1: Kobe Bryant, like, right, not when he was young missing shots,

441
00:27:31,680 --> 00:27:36,840
Speaker 1: buck Wallan, but when he first had maximum athleticism plus

442
00:27:37,000 --> 00:27:39,960
Speaker 1: understood the game. And that's what reasonable doubt feels like

443
00:27:40,040 --> 00:27:44,880
Speaker 1: to me, like the verbal athleticism, Like I think it's

444
00:27:46,640 --> 00:27:48,560
Speaker 1: how are you saying these things? And you know what,

445
00:27:48,760 --> 00:27:51,480
Speaker 1: that's probably what the thing about me that's older is

446
00:27:51,520 --> 00:27:55,800
Speaker 1: that I that lyrics to me? Are I pay attention

447
00:27:55,840 --> 00:27:57,440
Speaker 1: to those? But is that the thing that people Again,

448
00:27:57,480 --> 00:27:59,920
Speaker 1: it's almost purest like when people viewed you like the

449
00:28:00,040 --> 00:28:01,440
Speaker 1: Q tips of the world, you do you as this

450
00:28:01,520 --> 00:28:05,680
Speaker 1: person who's like pushing commercialism, right, but you and in

451
00:28:05,760 --> 00:28:09,520
Speaker 1: the core saying a lot of hip hop purist principles

452
00:28:09,560 --> 00:28:12,359
Speaker 1: in a sense that that almost bothers you of today's

453
00:28:12,400 --> 00:28:15,320
Speaker 1: music because it doesn't have that. You're not here for

454
00:28:15,359 --> 00:28:19,840
Speaker 1: the mumble wrap. Basically, well, you you put me in

455
00:28:19,880 --> 00:28:24,359
Speaker 1: that conversation just now. I didn't say that. What I

456
00:28:24,480 --> 00:28:29,480
Speaker 1: said was I appreciate lyrics and those things of classics.

457
00:28:29,520 --> 00:28:31,840
Speaker 1: We're not we're not. You're not asking me. I think

458
00:28:31,880 --> 00:28:35,520
Speaker 1: it's unfit and fortunate that these guys growing up in

459
00:28:35,560 --> 00:28:40,720
Speaker 1: today's society, all they have is it's the singles driven business,

460
00:28:41,320 --> 00:28:45,240
Speaker 1: right and in a single business driven business you're in,

461
00:28:45,400 --> 00:28:49,440
Speaker 1: you gotta get attention, and you know what, that forces

462
00:28:49,480 --> 00:28:53,440
Speaker 1: you to do things that not aren't necessarily respectful of

463
00:28:53,480 --> 00:28:57,680
Speaker 1: a body of work. Back then, we appreciated albums, so

464
00:28:57,800 --> 00:29:00,480
Speaker 1: of course everybody worked hard, even wrapping is that weren't

465
00:29:00,520 --> 00:29:05,360
Speaker 1: that great? We're working on making great albums. You're doing

466
00:29:05,400 --> 00:29:07,640
Speaker 1: everything when you're going, but right now you're putting out

467
00:29:07,640 --> 00:29:09,280
Speaker 1: a record. You're put out a record you're you're trying

468
00:29:09,320 --> 00:29:13,800
Speaker 1: to get you're trying to get something that catches. They're

469
00:29:13,840 --> 00:29:17,200
Speaker 1: incentivized to do that. Back then, they were incentivized to

470
00:29:17,240 --> 00:29:21,960
Speaker 1: make great albums. The society and culture is gonna go

471
00:29:22,120 --> 00:29:29,880
Speaker 1: where it's incentivized. You're incentivized to do this twenty years ago,

472
00:29:29,920 --> 00:29:35,280
Speaker 1: you'll be writing for the sauce because you would have

473
00:29:35,320 --> 00:29:40,560
Speaker 1: been incentivized to do that. That's true, that's all. It's not.

474
00:29:40,680 --> 00:29:42,040
Speaker 1: He didn stunt on me. I'll tell you a story

475
00:29:42,040 --> 00:29:43,880
Speaker 1: about the source Texic style thing. And I kind of

476
00:29:43,960 --> 00:29:45,640
Speaker 1: regret this because this was kind of very much of

477
00:29:45,680 --> 00:29:48,160
Speaker 1: a cheat code. What happened was we were getting this

478
00:29:48,360 --> 00:29:51,360
Speaker 1: m J fifty cover and then I remember we end

479
00:29:51,440 --> 00:29:53,720
Speaker 1: up doing a sidebar where basically, you know, the whole

480
00:29:53,760 --> 00:29:55,960
Speaker 1: thing they were trying to paint was that Eminem is

481
00:29:56,000 --> 00:29:58,440
Speaker 1: bad for the culture and like he's gonna bluh. So

482
00:29:58,560 --> 00:30:00,560
Speaker 1: the whole thing was somehow I don't remember high because

483
00:30:00,560 --> 00:30:02,280
Speaker 1: again I'm young. You might remember more than me, Steve,

484
00:30:02,360 --> 00:30:08,000
Speaker 1: but you might remember more than me. I had to

485
00:30:08,040 --> 00:30:11,240
Speaker 1: meet with Steve and Steve was helping me get quotes

486
00:30:11,320 --> 00:30:14,360
Speaker 1: for the sidebar of the piece. And with Steve was

487
00:30:14,680 --> 00:30:16,440
Speaker 1: was flawssed because he was like, you know, you come in.

488
00:30:16,480 --> 00:30:19,160
Speaker 1: He's the commissioner. He's always the commissioner. He's like watch this,

489
00:30:19,240 --> 00:30:21,239
Speaker 1: and he kiss on the phone and he calls Ja,

490
00:30:21,920 --> 00:30:24,200
Speaker 1: like just co calls Ja, gets a quote and that's

491
00:30:24,200 --> 00:30:25,920
Speaker 1: you know, Jay, how do you feel about Eminem is

492
00:30:26,000 --> 00:30:28,400
Speaker 1: Jimminem bad for the culture. Look at stop Space and

493
00:30:28,560 --> 00:30:32,280
Speaker 1: James like, nah, ja gets this quote blah blah. He's like, okay, cool.

494
00:30:32,360 --> 00:30:35,280
Speaker 1: He hangs up, but he's like, now watch this and

495
00:30:35,400 --> 00:30:37,520
Speaker 1: he calls NAS and he has to say that your NAS.

496
00:30:37,560 --> 00:30:41,000
Speaker 1: What do you think of Eminem's bad for He gets like,

497
00:30:41,120 --> 00:30:42,800
Speaker 1: no one could do that, No one could do that, right, No,

498
00:30:46,960 --> 00:30:49,400
Speaker 1: And I regret that because that was dope journalism. But

499
00:30:49,520 --> 00:30:52,040
Speaker 1: that was that shouldn't have used Steve Stout to get that.

500
00:30:52,240 --> 00:30:54,320
Speaker 1: That was the cheek code. But you know, I felt

501
00:30:54,320 --> 00:30:57,000
Speaker 1: like a certain point, you know everything remember now you

502
00:30:57,080 --> 00:30:59,880
Speaker 1: remember I don't remember. I remember I was doing it.

503
00:31:00,240 --> 00:31:02,840
Speaker 1: Paul Rosenberg. It was like a favorite for Paul. I

504
00:31:02,960 --> 00:31:06,480
Speaker 1: was I was up doing Paul of favorite wasn't about um,

505
00:31:07,960 --> 00:31:09,480
Speaker 1: but she was kind of been a little because you

506
00:31:09,560 --> 00:31:12,400
Speaker 1: were cool with Benzino and those guys. Certain point like houses,

507
00:31:12,720 --> 00:31:16,280
Speaker 1: helping up with houses and all that house. It brought

508
00:31:16,320 --> 00:31:20,000
Speaker 1: your house. But I would say I think also part

509
00:31:20,040 --> 00:31:22,440
Speaker 1: of why he ran up on me was because he

510
00:31:22,520 --> 00:31:26,080
Speaker 1: was at the office because he knew the NAS cover

511
00:31:26,280 --> 00:31:28,440
Speaker 1: was coming with the Burnt issue. And I think Stuard's

512
00:31:28,520 --> 00:31:30,440
Speaker 1: camp has sort of leaked that out that that was coming.

513
00:31:31,560 --> 00:31:33,600
Speaker 1: That's what I had heard. No, No, it was a

514
00:31:33,640 --> 00:31:36,719
Speaker 1: little tight at you and I was like, no, no, bro,

515
00:31:36,880 --> 00:31:39,320
Speaker 1: I didn't know. And they thought NAS was just gonna

516
00:31:39,360 --> 00:31:42,440
Speaker 1: hold a burning source, not Exxel on the source, that

517
00:31:42,520 --> 00:31:44,600
Speaker 1: it was just a full scale attack on the source

518
00:31:44,680 --> 00:31:46,960
Speaker 1: and not the state of the game. So basically the

519
00:31:47,000 --> 00:31:49,520
Speaker 1: whole source Exxel thing. People don't notice Steve Style was

520
00:31:49,600 --> 00:31:52,000
Speaker 1: somewhat involved in it. What was you at the game?

521
00:31:52,120 --> 00:31:54,080
Speaker 1: I felt like you also have relationship with Benzino at

522
00:31:54,120 --> 00:31:56,560
Speaker 1: the time, Like, just for clarity, we haven't spoken. We're

523
00:31:56,560 --> 00:32:04,160
Speaker 1: gonna listen. The thing that I knew Dave May's extremely well,

524
00:32:05,640 --> 00:32:11,120
Speaker 1: and Dave May's was a friend Dave May's. What rayven

525
00:32:11,200 --> 00:32:15,200
Speaker 1: Zeno had over Dave May's, that's a movie all within itself.

526
00:32:16,480 --> 00:32:20,200
Speaker 1: Like the fact that that whole thing went into the

527
00:32:20,280 --> 00:32:25,520
Speaker 1: toilet bowl bankrupt, whatever happened to it between Dave May's

528
00:32:25,600 --> 00:32:29,320
Speaker 1: and Ray. I would love Ray. Between Dave Mayson ben Zino,

529
00:32:29,960 --> 00:32:32,240
Speaker 1: I would love to figure out how that took place.

530
00:32:32,560 --> 00:32:37,440
Speaker 1: I sold my house ben Zino, Like Ray, I really

531
00:32:37,560 --> 00:32:41,640
Speaker 1: liked him, but then he bugged out. He bugged out,

532
00:32:42,200 --> 00:32:46,240
Speaker 1: But you know what money young and money is a

533
00:32:46,360 --> 00:32:50,920
Speaker 1: concoction to bug out. New money bug you bug out,

534
00:32:50,960 --> 00:32:53,160
Speaker 1: and like in the time you'd be like, yo, you're

535
00:32:53,200 --> 00:32:55,440
Speaker 1: bugging out, but you never when you look back on it,

536
00:32:55,560 --> 00:32:59,840
Speaker 1: you're like, of course money and bugged out. So then

537
00:32:59,880 --> 00:33:05,280
Speaker 1: you got almost like but we took it real personally, Yeah, yeah, yeah,

538
00:33:06,040 --> 00:33:08,200
Speaker 1: everything was personal. But when I look back on it,

539
00:33:08,280 --> 00:33:10,880
Speaker 1: I'm like, you know what, fucking hello coo J man,

540
00:33:11,000 --> 00:33:14,200
Speaker 1: all that money at seventeen ship and he's not bugged out.

541
00:33:14,600 --> 00:33:18,880
Speaker 1: That's fucking dope, you know. And you see guys like

542
00:33:19,120 --> 00:33:24,000
Speaker 1: like Bobby Brown, like why wouldn't he That's gonna happen. Man,

543
00:33:24,240 --> 00:33:27,880
Speaker 1: young being drugs, you get fucked up, like guys are

544
00:33:27,880 --> 00:33:32,280
Speaker 1: getting money with no instructions. Of course, Like that's gonna happen.

545
00:33:34,320 --> 00:33:36,640
Speaker 1: So what you're gonna do like make them a bad

546
00:33:36,760 --> 00:33:38,880
Speaker 1: person as a result of it. Not at the time

547
00:33:38,880 --> 00:33:40,640
Speaker 1: when you're young, you're like, yeah, I think it's crazy,

548
00:33:40,800 --> 00:33:42,440
Speaker 1: But when you look back on it in life, like

549
00:33:43,520 --> 00:33:45,880
Speaker 1: funk it was twenty four years old, was the biggest star,

550
00:33:46,520 --> 00:33:49,760
Speaker 1: the thing whatever, whatever, like he did crazy ship. No

551
00:33:50,080 --> 00:33:54,600
Speaker 1: fucking of course. Of course, you gotta have a sense

552
00:33:54,640 --> 00:33:58,760
Speaker 1: of empathy, and with that it's actually called damon dash.

553
00:33:59,400 --> 00:34:01,680
Speaker 1: But three weeks ago and I said, you look, man,

554
00:34:01,800 --> 00:34:04,000
Speaker 1: you know what, I realized what you were trying to do.

555
00:34:04,120 --> 00:34:08,200
Speaker 1: In fact, you were right. Everything, Yes, everything you fought

556
00:34:08,280 --> 00:34:11,480
Speaker 1: for was right. You were right. The major labels was

557
00:34:11,520 --> 00:34:14,280
Speaker 1: trying to take advantage of artists. They were trying to steal.

558
00:34:14,800 --> 00:34:17,720
Speaker 1: You was letting having it. You went about it crazy

559
00:34:17,800 --> 00:34:22,080
Speaker 1: in a loud, ridiculous way, and you threw you knew

560
00:34:22,160 --> 00:34:24,680
Speaker 1: hip hop was international, You knew the clothing and the

561
00:34:24,719 --> 00:34:27,680
Speaker 1: culture was international. You knew it. You knew it, and

562
00:34:27,760 --> 00:34:31,239
Speaker 1: you believed it. Now, the way you articulated it may

563
00:34:31,239 --> 00:34:33,440
Speaker 1: have rubbed people the wrong way, pasted a lot of

564
00:34:33,520 --> 00:34:38,759
Speaker 1: people off. Didn't mean that you were wrong. Kanye the

565
00:34:38,880 --> 00:34:42,320
Speaker 1: same ship in a different way. He wasn't wrong. He

566
00:34:42,640 --> 00:34:44,120
Speaker 1: what he told Sway, Sway is a good guy. He

567
00:34:44,160 --> 00:34:46,360
Speaker 1: should have talked to Sway like that and they're friends.

568
00:34:47,200 --> 00:34:50,480
Speaker 1: He was right, Swaye. How did Sway of the answers

569
00:34:50,560 --> 00:34:53,919
Speaker 1: about clothing lines? Fun? The Sway know about clothing lines?

570
00:34:55,320 --> 00:34:57,319
Speaker 1: I mean, Sway is a smart guy, but the fun

571
00:34:57,440 --> 00:35:01,040
Speaker 1: do you know about clothing lines? That's what I'm saying. Like, so,

572
00:35:01,440 --> 00:35:04,359
Speaker 1: that's what he was saying. What made you reach out today?

573
00:35:04,440 --> 00:35:06,680
Speaker 1: You personally called him like because I think about all

574
00:35:06,719 --> 00:35:09,840
Speaker 1: that man, you you you you don't no, No, I

575
00:35:09,880 --> 00:35:12,840
Speaker 1: don't care about that part. You the truth? Man, like

576
00:35:13,280 --> 00:35:15,239
Speaker 1: you just start You're sitting around like, man, this guy

577
00:35:15,360 --> 00:35:18,520
Speaker 1: is He was right. I don't like him because he

578
00:35:18,640 --> 00:35:20,640
Speaker 1: was young and the way he handled it. A lot

579
00:35:20,680 --> 00:35:22,480
Speaker 1: of people were young and handled it the wrong way.

580
00:35:22,719 --> 00:35:25,480
Speaker 1: They didn't mean they were wrong. He was right. So

581
00:35:25,560 --> 00:35:30,600
Speaker 1: how did damn receive that about time? You didn't care?

582
00:35:31,440 --> 00:35:33,200
Speaker 1: You got to say, Yeah, I gotta wanted to say

583
00:35:33,239 --> 00:35:37,440
Speaker 1: it like I'm saying, like like I said, let me

584
00:35:37,480 --> 00:35:41,239
Speaker 1: saying that he's talented. He's talented. She you know coming

585
00:35:41,280 --> 00:35:45,440
Speaker 1: off that first album, look, man, you made a classic album. Congratulations.

586
00:35:45,719 --> 00:35:47,800
Speaker 1: Now you gotta follow it up. He didn't do it.

587
00:35:48,320 --> 00:35:51,759
Speaker 1: You couldn't follow that up. It wasn't easy. But but

588
00:35:51,840 --> 00:35:54,280
Speaker 1: if you would to take coming off of that first album,

589
00:35:54,719 --> 00:35:58,960
Speaker 1: Power followed it up. That articulation of his art followed

590
00:35:59,000 --> 00:36:03,080
Speaker 1: it up. You know, Candy Shop didn't, but Power did,

591
00:36:04,040 --> 00:36:06,160
Speaker 1: like and like, That's what great artists it needs to

592
00:36:06,200 --> 00:36:09,080
Speaker 1: sometimes you need to find their lane. That's what I'm saying.

593
00:36:09,160 --> 00:36:13,040
Speaker 1: Like in the time, everybody gets personal and it's a

594
00:36:13,520 --> 00:36:16,440
Speaker 1: it's a setting, and you know, maybe I shouldn't be

595
00:36:16,560 --> 00:36:20,080
Speaker 1: so harsh with my point of view, like I've I've

596
00:36:20,160 --> 00:36:22,560
Speaker 1: been through ship, but I really do expect the best

597
00:36:22,600 --> 00:36:25,160
Speaker 1: from the best, and I'm not kind of Vince Lombardi,

598
00:36:25,680 --> 00:36:30,560
Speaker 1: Bill Prussels kind of like kind of coach kind of

599
00:36:30,640 --> 00:36:36,080
Speaker 1: guy like, and it rubs people the wrong way. I

600
00:36:36,200 --> 00:36:37,959
Speaker 1: think that's why me and Jay have been good friends

601
00:36:38,000 --> 00:36:40,560
Speaker 1: for so long. I come down very like, what the

602
00:36:40,680 --> 00:36:46,920
Speaker 1: fund did you say? What? You know? He does that

603
00:36:47,000 --> 00:36:50,840
Speaker 1: to himself. He managed infice of with DJ Clue. What

604
00:36:51,040 --> 00:36:54,440
Speaker 1: was that? That was early? That was that was there?

605
00:36:55,040 --> 00:36:58,880
Speaker 1: DJ Clue signed, except that he wasn't signed. Then they

606
00:36:58,920 --> 00:37:03,360
Speaker 1: don't fucking say six months go by and there's no

607
00:37:03,480 --> 00:37:08,800
Speaker 1: contract on Clue Clue asked me to help him with

608
00:37:08,920 --> 00:37:10,719
Speaker 1: his Rocket Feller deal. I said, fine, I was at

609
00:37:11,520 --> 00:37:13,719
Speaker 1: at Sony at the time, because you know him from

610
00:37:13,800 --> 00:37:15,320
Speaker 1: him helping you back in the day. It was he

611
00:37:15,760 --> 00:37:19,360
Speaker 1: was my assistant. So now he's DJ Clue and my

612
00:37:19,560 --> 00:37:23,080
Speaker 1: and my younger brother was his manager. So like that's

613
00:37:23,080 --> 00:37:27,520
Speaker 1: the whole ship. So this guy goes and say, Steve,

614
00:37:27,719 --> 00:37:29,000
Speaker 1: like they want to have a meeting with me, but

615
00:37:29,040 --> 00:37:30,920
Speaker 1: I don't want to sign with him no more, and

616
00:37:31,040 --> 00:37:33,640
Speaker 1: like he's gotten bigger, but they want to still sign

617
00:37:33,680 --> 00:37:35,880
Speaker 1: him to the terms the six months Pride, but they

618
00:37:35,920 --> 00:37:40,960
Speaker 1: have no deal. So whatever Clue tells them like I'm

619
00:37:41,000 --> 00:37:43,719
Speaker 1: gonna sign them or whatever he said to get them

620
00:37:43,760 --> 00:37:46,440
Speaker 1: to move forward. I don't know what he said. But

621
00:37:47,640 --> 00:37:50,400
Speaker 1: all I got was a phone call from Jay. And

622
00:37:50,680 --> 00:37:53,440
Speaker 1: in the phone call was why are you gonna make?

623
00:37:53,680 --> 00:37:56,919
Speaker 1: The phone call was sucked up, sting out. I said,

624
00:37:56,920 --> 00:38:00,160
Speaker 1: you guys should come up to my office. It was night.

625
00:38:00,320 --> 00:38:03,680
Speaker 1: Why are you gonna white? It was whatever. So he

626
00:38:03,840 --> 00:38:08,040
Speaker 1: come to my office, nine thirty at night, six seven

627
00:38:08,080 --> 00:38:10,440
Speaker 1: guys coming to the office. I'm there walking around with

628
00:38:10,520 --> 00:38:17,520
Speaker 1: no fucking shoes on, you know. And they walk in

629
00:38:17,680 --> 00:38:22,840
Speaker 1: and like nobody everybody's ice crell tight, like you know,

630
00:38:24,080 --> 00:38:26,560
Speaker 1: we'll fuck you up, not but pray everything. I got

631
00:38:26,600 --> 00:38:28,080
Speaker 1: a gun on me, Like why the funk would he

632
00:38:28,160 --> 00:38:30,239
Speaker 1: have all of us in their office? And then like

633
00:38:30,480 --> 00:38:33,439
Speaker 1: is this him by himself? What's wrong with him? Something?

634
00:38:34,239 --> 00:38:37,040
Speaker 1: They're waiting for the other thing to drop, but there

635
00:38:37,080 --> 00:38:42,400
Speaker 1: really is nothing to drop. It's me And I said, look, guys,

636
00:38:43,640 --> 00:38:46,440
Speaker 1: I don't even funk with anybody unless they're about big houses.

637
00:38:47,280 --> 00:38:51,280
Speaker 1: And I just went like this big houses starts crying,

638
00:38:51,440 --> 00:38:57,520
Speaker 1: laughing and literally that's how Yeah. I'm like, I don't

639
00:38:57,520 --> 00:38:59,879
Speaker 1: even I don't guys, I'm not even having this comp

640
00:39:00,080 --> 00:39:03,800
Speaker 1: station if it's not about big houses. And that was

641
00:39:04,040 --> 00:39:06,080
Speaker 1: you remember at the time, like you know, we just

642
00:39:06,600 --> 00:39:09,239
Speaker 1: a reference with like money, like the funk are we

643
00:39:09,280 --> 00:39:13,120
Speaker 1: talking about? Small house is a big house? It is

644
00:39:13,239 --> 00:39:16,160
Speaker 1: like they started laughing and Clue they got the ship

645
00:39:16,239 --> 00:39:20,960
Speaker 1: and Clue got a deal and the thing came out

646
00:39:21,080 --> 00:39:27,319
Speaker 1: and you know, the professional pros these confrontational type of situations. Though,

647
00:39:28,480 --> 00:39:30,719
Speaker 1: why do you think that is? I don't know, But

648
00:39:30,840 --> 00:39:33,239
Speaker 1: you know what I'm I I walk with God. I'm

649
00:39:33,280 --> 00:39:36,200
Speaker 1: not afraid. I'm not afraid of what's right. If I

650
00:39:36,280 --> 00:39:39,000
Speaker 1: do what's right, I don't care. I walk into projects

651
00:39:39,040 --> 00:39:41,680
Speaker 1: I'm looking for no os. I'll say what I think

652
00:39:41,719 --> 00:39:44,200
Speaker 1: it's the truth. I don't care. I'll tell the true.

653
00:39:44,239 --> 00:39:47,080
Speaker 1: I I say with what I believe, and like whatever

654
00:39:47,120 --> 00:39:50,000
Speaker 1: the outcome is, the outcome is. That's how I feel

655
00:39:50,000 --> 00:39:53,120
Speaker 1: about it. Speaking outcome back to the firm thing, like

656
00:39:53,239 --> 00:39:54,879
Speaker 1: there was so much hype on that, like I mean,

657
00:39:55,239 --> 00:39:56,759
Speaker 1: I think that was the first time I actually met you.

658
00:39:56,920 --> 00:39:59,080
Speaker 1: Like they Mace had us all come by and like

659
00:39:59,120 --> 00:40:02,239
Speaker 1: we're gonna go meet Mission the Steve. You worked at

660
00:40:02,239 --> 00:40:05,000
Speaker 1: Double XL and The Source, The Source from ninety eight.

661
00:40:05,040 --> 00:40:07,399
Speaker 1: I was a music editor. So when the Firm came out.

662
00:40:07,640 --> 00:40:09,360
Speaker 1: You remember also you had to split the cover with

663
00:40:09,480 --> 00:40:11,799
Speaker 1: Jay z And that's because Jay and Dan came up

664
00:40:11,840 --> 00:40:14,279
Speaker 1: to the Source and put them under pressure because the

665
00:40:14,320 --> 00:40:16,560
Speaker 1: firm was getting the cover because you guys were in

666
00:40:16,600 --> 00:40:18,800
Speaker 1: a better relationship with David at the time. So the

667
00:40:19,120 --> 00:40:22,200
Speaker 1: holy do were you there when the whole thing turned

668
00:40:23,040 --> 00:40:26,000
Speaker 1: when the magazine just started doing crazy Benzino ship? No,

669
00:40:26,200 --> 00:40:28,799
Speaker 1: I was against him. I caused that craziness. I was six.

670
00:40:29,360 --> 00:40:31,120
Speaker 1: But were you there when the other guys when his

671
00:40:31,239 --> 00:40:33,000
Speaker 1: when the partners from the Source pulled out? No, No,

672
00:40:33,080 --> 00:40:35,840
Speaker 1: I wasn't that check then that I was there, that

673
00:40:35,960 --> 00:40:41,239
Speaker 1: was the first regime. But Ray wasn't involved. That's Ray

674
00:40:41,320 --> 00:40:45,080
Speaker 1: bugged out when I was off about ninety eight. Before that,

675
00:40:45,280 --> 00:40:54,200
Speaker 1: you've seen a lot of sexual harassment of them coming back. No,

676
00:40:54,320 --> 00:40:56,120
Speaker 1: but I remember go meet conversions. He started, he was

677
00:40:56,160 --> 00:40:58,400
Speaker 1: getting a haircut, and you started playing these firm Records,

678
00:40:58,600 --> 00:40:59,920
Speaker 1: and I remember they gave me the thing of the

679
00:41:00,040 --> 00:41:02,120
Speaker 1: US be a ship shot single on those fucking firm bills,

680
00:41:02,160 --> 00:41:03,920
Speaker 1: and I was like, this is terrible. This is like

681
00:41:04,400 --> 00:41:08,560
Speaker 1: fucking square bills. This isn't I was so irritated and

682
00:41:08,600 --> 00:41:10,880
Speaker 1: I had to give it a shot shot single. And

683
00:41:10,960 --> 00:41:13,080
Speaker 1: I was so the purest in me and the young

684
00:41:13,320 --> 00:41:17,080
Speaker 1: twenty six year old music oether was all that pressure

685
00:41:17,239 --> 00:41:20,160
Speaker 1: on the should have played you phone top? Yeah, yeah, exactly.

686
00:41:24,239 --> 00:41:32,239
Speaker 1: You maga brought in nature? Why stout? Why? I don't know.

687
00:41:32,320 --> 00:41:34,520
Speaker 1: Talk about that firm record. I like it, But first

688
00:41:34,520 --> 00:41:37,840
Speaker 1: of all, let's talk about me taking Azy who was

689
00:41:37,880 --> 00:41:40,120
Speaker 1: signed the e M I a record company at the time.

690
00:41:40,760 --> 00:41:44,439
Speaker 1: Then NAS was on Columbia Foxy, who's on Deaf Jam

691
00:41:45,000 --> 00:41:49,040
Speaker 1: and signing them all to Interscope. You know, everybody wants

692
00:41:49,040 --> 00:41:51,560
Speaker 1: to know, why are you and Jimmy Ivan so tight?

693
00:41:52,280 --> 00:41:54,920
Speaker 1: Why does it like I did that? That's how we

694
00:41:55,000 --> 00:41:59,080
Speaker 1: launched Aftermath. That was the first album released on Aftermath.

695
00:42:01,360 --> 00:42:04,479
Speaker 1: Why did those labels let them sign? Also because because

696
00:42:04,520 --> 00:42:06,840
Speaker 1: I told that's the type of ship that I do,

697
00:42:10,480 --> 00:42:12,880
Speaker 1: This type of ship I do. Bro we gotta we

698
00:42:13,040 --> 00:42:16,160
Speaker 1: we you know, well, um, we gotta do we gotta

699
00:42:16,200 --> 00:42:18,239
Speaker 1: do this, we gotta get So was it about the

700
00:42:18,320 --> 00:42:20,440
Speaker 1: idea that Dre and Nas needed to join forces to

701
00:42:20,520 --> 00:42:23,560
Speaker 1: make this kind of big talk. Masses produced half that album,

702
00:42:26,239 --> 00:42:28,120
Speaker 1: but it was it was Rapp's first super group in

703
00:42:28,160 --> 00:42:30,040
Speaker 1: a sense, right, the Firm like you to talk about

704
00:42:30,200 --> 00:42:36,279
Speaker 1: like the whole of it. Nas had this idea and

705
00:42:36,400 --> 00:42:42,279
Speaker 1: Fox he would write, She'd write like themes. She would

706
00:42:42,320 --> 00:42:44,520
Speaker 1: really right, like as a young girl. She'd write these

707
00:42:44,600 --> 00:42:49,799
Speaker 1: themes like Scarlett or Harra comes through with the blah

708
00:42:50,440 --> 00:42:53,279
Speaker 1: kick frames on and and she'd write these things and

709
00:42:53,320 --> 00:42:55,520
Speaker 1: it would be like themes. And then they'd write these

710
00:42:55,640 --> 00:42:58,439
Speaker 1: rhymes against it. It was crazy, it was really really

711
00:42:59,160 --> 00:43:01,080
Speaker 1: it was. It was a great It was a great process.

712
00:43:01,160 --> 00:43:05,560
Speaker 1: And we we sat down and um we we recorded

713
00:43:05,560 --> 00:43:10,080
Speaker 1: a lot of in Miami Stefan Studio and we were

714
00:43:10,120 --> 00:43:12,359
Speaker 1: recording Will Smith's album at the same time down there.

715
00:43:12,960 --> 00:43:15,239
Speaker 1: It was great time, you know what I made. I

716
00:43:15,280 --> 00:43:18,360
Speaker 1: wish I had pictures of all that ship, you know,

717
00:43:18,440 --> 00:43:21,680
Speaker 1: recording Will Smith on one flaw the Firm mom here

718
00:43:22,440 --> 00:43:24,959
Speaker 1: you know other ship. It was just then it became

719
00:43:25,000 --> 00:43:26,640
Speaker 1: like a thing, well of a sudden, like it sounds

720
00:43:26,640 --> 00:43:31,839
Speaker 1: like a very old it was a long time ago. Um,

721
00:43:33,760 --> 00:43:35,560
Speaker 1: I think a lot of it is still relevant today,

722
00:43:36,040 --> 00:43:40,840
Speaker 1: like just the learnings from it. Definitely, Nori was you know,

723
00:43:41,719 --> 00:43:44,800
Speaker 1: Nori was a relentless motherfucker trying to get in. I

724
00:43:44,880 --> 00:43:48,719
Speaker 1: wanted to get on. We were giving him. He was

725
00:43:48,800 --> 00:43:51,480
Speaker 1: just hanging around the basket. You're like a guy who

726
00:43:51,520 --> 00:43:57,880
Speaker 1: gets like a Dennis Rodman. Dennis Rodman's the Dennis Rodman.

727
00:44:00,080 --> 00:44:02,160
Speaker 1: But when you can sign on that when you disappointed

728
00:44:02,200 --> 00:44:06,640
Speaker 1: that record, wasn't that like super faminal? Yeah, a little better.

729
00:44:07,440 --> 00:44:09,080
Speaker 1: But now you know what's funny about those records. I

730
00:44:09,120 --> 00:44:10,960
Speaker 1: feel like even the area we were like hyper critical

731
00:44:11,040 --> 00:44:13,759
Speaker 1: of us critics, be that those of you this classics firms,

732
00:44:13,800 --> 00:44:16,440
Speaker 1: I was using a classic. Well, no, it's not somewhat

733
00:44:16,920 --> 00:44:19,000
Speaker 1: it's like a cult class. It's a cult class. You

734
00:44:19,080 --> 00:44:22,800
Speaker 1: guys are reading really nice. Yeah. First of all, you

735
00:44:22,960 --> 00:44:27,840
Speaker 1: really like commercial records, which is pretty small. No. No,

736
00:44:27,920 --> 00:44:32,840
Speaker 1: I just said that's cool. That's cool. Um, commercial records

737
00:44:32,880 --> 00:44:35,160
Speaker 1: to me have to work really hard lyrically to get

738
00:44:35,239 --> 00:44:40,120
Speaker 1: me there, to make me ignore the fact that you

739
00:44:40,360 --> 00:44:42,520
Speaker 1: kinda once you put the singing hook and you know

740
00:44:42,600 --> 00:44:45,400
Speaker 1: you're gonna get to the finish line. But to me,

741
00:44:45,520 --> 00:44:48,759
Speaker 1: you gotta, like I pay attention to the lyrics even

742
00:44:48,840 --> 00:44:51,000
Speaker 1: on those things, Like you can't just be writing some

743
00:44:51,080 --> 00:44:54,399
Speaker 1: bullshit just because you're trying to make a radio record.

744
00:44:54,440 --> 00:44:58,799
Speaker 1: You gotta really go all out. Um and like when

745
00:44:58,840 --> 00:45:01,560
Speaker 1: you listen to big pimping, like Jay didn't take no

746
00:45:01,680 --> 00:45:06,360
Speaker 1: motherfucking lines off, no lines off, and that was a smash.

747
00:45:06,480 --> 00:45:08,360
Speaker 1: That's why I think I like hard Licked Life so

748
00:45:08,520 --> 00:45:10,439
Speaker 1: much is because he had commercial records and the street

749
00:45:10,440 --> 00:45:16,319
Speaker 1: records became uh, commercial hits, and it's really hard, by

750
00:45:16,360 --> 00:45:18,160
Speaker 1: the way, that's the hardest thing to do. You know,

751
00:45:18,440 --> 00:45:21,000
Speaker 1: nobody ever wants to ask somebody to go you know,

752
00:45:21,160 --> 00:45:24,160
Speaker 1: guys cannot make. Very few records fall into this space.

753
00:45:26,480 --> 00:45:35,360
Speaker 1: Fucking hardest fun in commercial. Same time, those Quiet Storm favorites,

754
00:45:35,440 --> 00:45:40,120
Speaker 1: the Benjamin's hard to make. They come around. They're like miracles.

755
00:45:41,000 --> 00:45:43,960
Speaker 1: It's like you got you did what, Like you made

756
00:45:44,040 --> 00:45:48,520
Speaker 1: the rhymes do that and yeah you got that shipped

757
00:45:48,520 --> 00:45:53,320
Speaker 1: off what. Those are very very, very very tough songs.

758
00:45:53,760 --> 00:45:58,839
Speaker 1: In fact, if that that's a category that everybody wants

759
00:45:58,880 --> 00:46:03,359
Speaker 1: to get into and everything, it's extremely difficult to get

760
00:46:03,400 --> 00:46:07,240
Speaker 1: into to make those songs where it's hard it's fun

761
00:46:07,920 --> 00:46:10,839
Speaker 1: and it's pop. Ye you play shook ones right now

762
00:46:11,560 --> 00:46:15,640
Speaker 1: and it works and so that classics but that popular,

763
00:46:16,440 --> 00:46:19,919
Speaker 1: Like you know, it's hard who had the better rhymes

764
00:46:19,960 --> 00:46:26,480
Speaker 1: of renegade? You know the thing that's that that that

765
00:46:28,760 --> 00:46:35,480
Speaker 1: I don't know why Earth said that Renegade existed. Eminem

766
00:46:35,560 --> 00:46:39,520
Speaker 1: made Renegade. People don't realize that, Yeah, those verses already

767
00:46:39,600 --> 00:46:42,080
Speaker 1: laid in. People don't realize that no one even knows

768
00:46:42,200 --> 00:46:45,560
Speaker 1: that it exists, though you can find you still find

769
00:46:45,600 --> 00:46:50,800
Speaker 1: it online. Henry had the song. It was a record

770
00:46:50,840 --> 00:46:53,680
Speaker 1: for Royce and he took it and he put over

771
00:46:53,760 --> 00:46:56,200
Speaker 1: on it. I don't I don't know if Eminem, if

772
00:46:56,320 --> 00:47:01,080
Speaker 1: Jay's versus better something time times Jay would do things

773
00:47:01,160 --> 00:47:03,480
Speaker 1: like he'd rap on these records with other artists and

774
00:47:03,640 --> 00:47:09,239
Speaker 1: he would make it like a song in which they

775
00:47:09,360 --> 00:47:11,879
Speaker 1: kind of like they worked in tandem with each other.

776
00:47:12,200 --> 00:47:15,279
Speaker 1: Like he wasn't he would play to the guy like

777
00:47:15,400 --> 00:47:18,200
Speaker 1: he wasn't he wasn't spitting like jay Z. He was

778
00:47:18,600 --> 00:47:20,719
Speaker 1: trying to make the better rap, better, make the better

779
00:47:20,800 --> 00:47:23,879
Speaker 1: thing with Eminem and like they would so it wasn't

780
00:47:23,920 --> 00:47:26,080
Speaker 1: like he wasn't trying to kill the record already existed,

781
00:47:26,440 --> 00:47:28,640
Speaker 1: if the record of the recordar it existed, If James

782
00:47:29,000 --> 00:47:31,680
Speaker 1: point was to i'mombody this guy in the record, that's

783
00:47:31,680 --> 00:47:34,080
Speaker 1: what he would have did. He was trying to make

784
00:47:34,120 --> 00:47:35,840
Speaker 1: the song, but didn't eat to change that, eat to

785
00:47:35,920 --> 00:47:37,239
Speaker 1: change that because he said, you got murdered on your

786
00:47:37,280 --> 00:47:38,960
Speaker 1: own ship. Like that changed the way. Now even now

787
00:47:39,040 --> 00:47:41,759
Speaker 1: today people view me because like, oh, that person have

788
00:47:41,840 --> 00:47:44,759
Speaker 1: the best verse. That person, but because people would still know.

789
00:47:44,840 --> 00:47:48,680
Speaker 1: People started doing that since a symphony put according you

790
00:47:48,760 --> 00:47:52,800
Speaker 1: ask and you played just yeah when and it was

791
00:47:53,160 --> 00:47:59,840
Speaker 1: like who was on that record? The g rap but

792
00:48:00,040 --> 00:48:02,160
Speaker 1: g wrap g rap That was the argument back then,

793
00:48:02,239 --> 00:48:05,480
Speaker 1: like who's that g rapper thing? And g rap came

794
00:48:05,520 --> 00:48:08,880
Speaker 1: in my voice is prices a hard fine? It's vincent price?

795
00:48:10,200 --> 00:48:13,279
Speaker 1: You count sheet with g rap rocks to Mike like

796
00:48:13,480 --> 00:48:16,440
Speaker 1: he g rap ship was so dope. I wish I

797
00:48:16,480 --> 00:48:19,840
Speaker 1: could remember that rhyme. He would he would never and

798
00:48:20,040 --> 00:48:22,520
Speaker 1: he was just like bang bang bang. And then Kane

799
00:48:22,600 --> 00:48:24,960
Speaker 1: came in with the smooth ship. But like everybody was

800
00:48:25,040 --> 00:48:29,040
Speaker 1: saying it since back then then, you know, oh he

801
00:48:29,200 --> 00:48:35,440
Speaker 1: was doing um you know he they'd get on those

802
00:48:35,480 --> 00:48:40,640
Speaker 1: ciphers and then they female rappers too, I don't he should. Yeah,

803
00:48:40,719 --> 00:48:43,200
Speaker 1: it's like you can't even he like, everybody's taking these

804
00:48:43,239 --> 00:48:45,800
Speaker 1: things away too seriously. So it's always been like that.

805
00:48:46,280 --> 00:48:48,600
Speaker 1: It's not that might have been a jap towards Foxy

806
00:48:48,760 --> 00:48:50,720
Speaker 1: at that point, but why would he say female rappers

807
00:48:50,760 --> 00:48:53,920
Speaker 1: too book because I had to be on top and

808
00:48:54,000 --> 00:48:56,520
Speaker 1: everybody's yeah, like why would you do that? And I

809
00:48:56,600 --> 00:48:59,160
Speaker 1: think probably five three to win there was ship like that.

810
00:48:59,320 --> 00:49:01,640
Speaker 1: You could if you listen to those records now you'd

811
00:49:01,640 --> 00:49:04,080
Speaker 1: be like, yo, he's thinkings just said that. Isn't that

812
00:49:04,120 --> 00:49:09,640
Speaker 1: the auto wrap though? That the subliminal, subliminal, the battle,

813
00:49:10,880 --> 00:49:13,840
Speaker 1: the whole thing is definitely, uh, you know, part of

814
00:49:13,880 --> 00:49:16,680
Speaker 1: the art form. It's what makes it special. But sometimes

815
00:49:16,719 --> 00:49:18,719
Speaker 1: you get it, like the whole nas pocketing. Things get

816
00:49:18,760 --> 00:49:21,759
Speaker 1: real though, like the MTV Awards that night, Like you

817
00:49:21,880 --> 00:49:24,520
Speaker 1: was there when they had a conversation, right yeah, well

818
00:49:24,719 --> 00:49:28,400
Speaker 1: and it didn't get real. What got real was the

819
00:49:28,480 --> 00:49:33,839
Speaker 1: respect you I'm telling you man, Like everybody, I don't

820
00:49:33,840 --> 00:49:35,880
Speaker 1: want to say the media make blows out of proportion,

821
00:49:35,960 --> 00:49:40,680
Speaker 1: but when you see the ship in real life, the guys,

822
00:49:40,760 --> 00:49:46,320
Speaker 1: the real guys, when they confront each other, it's respect. Respect, winds.

823
00:49:47,120 --> 00:49:49,399
Speaker 1: It's not like when Pocket Nas ran up on each

824
00:49:49,400 --> 00:49:52,920
Speaker 1: other when they confront when they there was a confrontation,

825
00:49:53,040 --> 00:49:56,000
Speaker 1: it was just like they can fuck you. It's a no.

826
00:49:56,360 --> 00:50:01,840
Speaker 1: It was like, yeah, you're the king in New York, bro,

827
00:50:02,680 --> 00:50:06,120
Speaker 1: and we got Death Row East, and it's that's the problem.

828
00:50:06,719 --> 00:50:09,120
Speaker 1: Like you're as king of New York. You got these

829
00:50:09,200 --> 00:50:11,839
Speaker 1: niggers from your neighborhood shipping on us. We're doing death

830
00:50:11,920 --> 00:50:16,520
Speaker 1: Row East and we're here right now, so and and

831
00:50:16,680 --> 00:50:21,040
Speaker 1: and that starts the conversation. It's not like treating him

832
00:50:21,080 --> 00:50:23,040
Speaker 1: like ship if I was sure if it was, if

833
00:50:23,080 --> 00:50:25,960
Speaker 1: it wasn't, not as if it was somebody else, you know,

834
00:50:26,160 --> 00:50:30,440
Speaker 1: Mike Geronimo or somebody. He knows it's not treating him.

835
00:50:30,480 --> 00:50:33,920
Speaker 1: He's treating him like motherfucking king, like a pair like.

836
00:50:35,600 --> 00:50:39,080
Speaker 1: That's mutual respect. And that's and it's always that, it's

837
00:50:39,200 --> 00:50:42,520
Speaker 1: always that, it's always gonna be that. That's the best

838
00:50:42,600 --> 00:50:47,520
Speaker 1: part of the whole thing. The mutual respect. That is

839
00:50:47,600 --> 00:50:52,040
Speaker 1: bigger than like the war and the fighting. And you know,

840
00:50:52,160 --> 00:50:55,000
Speaker 1: could have happened that night they were in New York.

841
00:50:55,840 --> 00:51:00,880
Speaker 1: They had a lot of guys, everybody new Nas coming up.

842
00:51:00,920 --> 00:51:03,960
Speaker 1: There was the worst stude to deal with. Nobody wants

843
00:51:03,960 --> 00:51:06,560
Speaker 1: to be around those guys. Too many guys on stage,

844
00:51:07,320 --> 00:51:09,239
Speaker 1: too many guys who stage, too many guys doing too

845
00:51:09,280 --> 00:51:11,359
Speaker 1: many things. You know, it would have been a very

846
00:51:11,480 --> 00:51:16,080
Speaker 1: ugly thing, but nothing happened. That's why we can tell

847
00:51:16,120 --> 00:51:19,799
Speaker 1: the story in life and that pushes culture forward, right,

848
00:51:20,840 --> 00:51:23,000
Speaker 1: and that's what you guys do here at rap Radar.

849
00:51:23,320 --> 00:51:26,359
Speaker 1: I'm really happy for you, man, like I really wanted

850
00:51:26,400 --> 00:51:31,120
Speaker 1: to do this with you because, like you know, whatever

851
00:51:31,239 --> 00:51:34,000
Speaker 1: you promote or whatever, that's cool. I don't mind sharing

852
00:51:34,040 --> 00:51:37,360
Speaker 1: my stories with you. I respect you. I respect everything

853
00:51:37,840 --> 00:51:41,000
Speaker 1: that you've done in your career and what and you

854
00:51:41,160 --> 00:51:43,640
Speaker 1: have the right to ask me any question that you

855
00:51:43,760 --> 00:51:46,719
Speaker 1: want because I believe you understand the answer. You can

856
00:51:46,800 --> 00:51:49,560
Speaker 1: respect the time period, and you can put it in context.

857
00:51:50,360 --> 00:51:54,160
Speaker 1: And you, obviously is a young man, have grown up

858
00:51:54,200 --> 00:51:56,239
Speaker 1: loving the art for him, and you guys work with

859
00:51:56,320 --> 00:51:59,040
Speaker 1: one of the because obviously you respect him. And that's

860
00:51:59,120 --> 00:52:01,719
Speaker 1: how it all happened. And as long as we keep

861
00:52:01,800 --> 00:52:04,840
Speaker 1: doing this, we'll keep educating the people out there. It

862
00:52:04,960 --> 00:52:08,200
Speaker 1: helps hip and that's our job. At the end of

863
00:52:08,239 --> 00:52:10,799
Speaker 1: the day, we gotta feed our families. But that really

864
00:52:10,960 --> 00:52:13,719
Speaker 1: is our job. We should never ever forget that, do

865
00:52:13,840 --> 00:52:18,759
Speaker 1: not let that get lost and bullshit that and still

866
00:52:18,800 --> 00:52:23,360
Speaker 1: do that. You can do good and do good simultaneously.

867
00:52:23,800 --> 00:52:26,960
Speaker 1: That's what I stand for. That's why I started United Masters,

868
00:52:27,400 --> 00:52:29,880
Speaker 1: That's why I'm here today. That's what I've done my

869
00:52:30,040 --> 00:52:32,280
Speaker 1: entire career, and I'm gonna continue to do that. Before

870
00:52:32,320 --> 00:52:34,279
Speaker 1: we get out of United Masters, artists are gonna be

871
00:52:34,320 --> 00:52:35,680
Speaker 1: hitting you up. They want to get on Like, is

872
00:52:35,719 --> 00:52:38,399
Speaker 1: it about getting new artists evolved or do you see

873
00:52:38,440 --> 00:52:41,800
Speaker 1: existing artists that existing artists existing artists I want to

874
00:52:41,800 --> 00:52:45,800
Speaker 1: work with getting new artists involved. Um, putting advertising and

875
00:52:45,920 --> 00:52:50,839
Speaker 1: music together at scale, at a scale like big boom, Um,

876
00:52:50,960 --> 00:52:54,399
Speaker 1: that's what I want to do, and like we're gonna crawl,

877
00:52:54,520 --> 00:52:57,520
Speaker 1: walk and run and get there. We got definitely got money,

878
00:52:58,440 --> 00:53:04,480
Speaker 1: you know, um, And we have um the know how

879
00:53:04,640 --> 00:53:07,600
Speaker 1: and the will to work hard and putting together a

880
00:53:07,680 --> 00:53:10,160
Speaker 1: team of people who want to fight their good fight

881
00:53:11,680 --> 00:53:16,400
Speaker 1: and you still do it. That's what it is. Thank

882
00:53:16,440 --> 00:53:25,680
Speaker 1: you the commissioner. You stout, Yeah, wrap right up podcast,

883
00:53:26,000 --> 00:53:26,680
Speaker 1: Your sucking