1 00:00:00,080 --> 00:00:03,160 Speaker 1: It like. I think he was trying to clean up 2 00:00:03,200 --> 00:00:05,800 Speaker 1: Snoop as much as possible, but it might be it 3 00:00:05,840 --> 00:00:08,200 Speaker 1: ain't coming out in the rents. Does Snoop need to 4 00:00:08,240 --> 00:00:12,600 Speaker 1: be cleaned up? I mean, I think Drake, I think 5 00:00:12,680 --> 00:00:14,480 Speaker 1: Dray would prefer it. You know what I'm saying. I 6 00:00:14,480 --> 00:00:16,120 Speaker 1: think by there they're trying to clean it up. 7 00:00:16,280 --> 00:00:19,400 Speaker 2: This is what I feel about Snoop. I feel that 8 00:00:19,560 --> 00:00:22,200 Speaker 2: Snoop is the Coca Cola of hip hop. He's the 9 00:00:22,280 --> 00:00:26,360 Speaker 2: biggest brand in hip hop, the most recognizable brand. Snoop 10 00:00:26,440 --> 00:00:29,080 Speaker 2: is proving time and time again that Snoop Doggie dog 11 00:00:29,120 --> 00:00:31,400 Speaker 2: can do whatever the hell he wanted to do. I 12 00:00:31,440 --> 00:00:33,680 Speaker 2: think we just need to look Snoop Doggie dog keep 13 00:00:33,800 --> 00:00:36,479 Speaker 2: kicking that good old fashioned gangster shit dog. And that's 14 00:00:36,479 --> 00:00:38,559 Speaker 2: what it cause that's what his brand was built on. Dog. 15 00:00:38,600 --> 00:00:41,360 Speaker 2: Snoop can do whatever he wanted to do dog, That's 16 00:00:41,400 --> 00:00:43,800 Speaker 2: what got him to the Olympics. I got but I 17 00:00:43,840 --> 00:00:44,120 Speaker 2: got it. 18 00:00:44,159 --> 00:00:46,040 Speaker 3: But I see what Dred is trying to do. 19 00:00:46,240 --> 00:00:49,080 Speaker 1: I mean, obviously I like my Snoop dogg the way 20 00:00:49,080 --> 00:00:51,479 Speaker 1: I like my Snoop dog even produced by Doctor Dre. 21 00:00:51,680 --> 00:00:54,440 Speaker 1: So I have my preference on what I would you know, like, 22 00:00:54,520 --> 00:00:58,080 Speaker 1: but again taking the offering, that's probably about a good 23 00:00:58,120 --> 00:01:00,880 Speaker 1: six seven songs that I enjoy. I'm saying it's different. 24 00:01:00,920 --> 00:01:03,440 Speaker 1: What's crazy is to watch him do so much with sonics. 25 00:01:04,040 --> 00:01:06,720 Speaker 4: You know, we know he's we know he's a scientist 26 00:01:06,760 --> 00:01:09,399 Speaker 4: when it comes to that, we know he's scientists. But 27 00:01:10,240 --> 00:01:13,320 Speaker 4: music is supposed to be I mean, well, according to Q, 28 00:01:14,319 --> 00:01:16,360 Speaker 4: you know this, this is what the fans wanted. So 29 00:01:16,400 --> 00:01:18,840 Speaker 4: according to this record sales and all of that, is 30 00:01:18,880 --> 00:01:20,199 Speaker 4: that what the fans wanted? 31 00:01:21,319 --> 00:01:24,600 Speaker 3: We maybe, I mean, what was he supposed to sell? 32 00:01:25,840 --> 00:01:27,440 Speaker 2: I don't know. I'm asking you. I don't even keep 33 00:01:27,520 --> 00:01:27,920 Speaker 2: up with that. 34 00:01:28,080 --> 00:01:30,440 Speaker 1: Forty thousand is not bad. I think they was trying 35 00:01:30,440 --> 00:01:33,319 Speaker 1: to sell liquor anyway, personally, but I. 36 00:01:35,080 --> 00:01:35,800 Speaker 3: Don't know, like it. 37 00:01:36,319 --> 00:01:36,840 Speaker 2: It's tough. 38 00:01:36,920 --> 00:01:39,800 Speaker 1: I think their journey is a lot different. Q, specifically, 39 00:01:40,000 --> 00:01:42,440 Speaker 1: listening to his his the production was a lot different. 40 00:01:44,240 --> 00:01:47,880 Speaker 3: It's weird to see them not then what then his standard? 41 00:01:48,720 --> 00:01:49,880 Speaker 2: Was it better or worse? 42 00:01:52,040 --> 00:01:52,720 Speaker 3: It's different? 43 00:01:54,200 --> 00:01:56,400 Speaker 2: That's that politically correct. 44 00:01:57,040 --> 00:01:59,800 Speaker 1: It's not because it's not politically it's not like it's underproduced, 45 00:02:00,200 --> 00:02:01,720 Speaker 1: you know what I'm saying. It ain't like it's whack 46 00:02:01,840 --> 00:02:04,080 Speaker 1: like I don't like the person who's making the music 47 00:02:04,200 --> 00:02:05,760 Speaker 1: is not it's just different for what I'm used to. 48 00:02:05,720 --> 00:02:07,240 Speaker 2: Hear for you know what the thing he is with 49 00:02:07,280 --> 00:02:10,560 Speaker 2: that album? Man, Yeah, I don't think the music would 50 00:02:10,560 --> 00:02:13,640 Speaker 2: necessarily bad. Camera just don't fit. It just wasn't stupid, 51 00:02:13,720 --> 00:02:17,080 Speaker 2: That's what I think. I think that's called bad. That's 52 00:02:17,080 --> 00:02:20,040 Speaker 2: called bad. That's called a this much something sounds bad 53 00:02:20,120 --> 00:02:24,760 Speaker 2: and it was not good track to give somebody else 54 00:02:24,840 --> 00:02:27,680 Speaker 2: bro that was in that been big. 55 00:02:28,080 --> 00:02:30,040 Speaker 4: Okay, well let me let me say that because I'm 56 00:02:30,080 --> 00:02:32,560 Speaker 4: not politically correct and I already know whatever it is 57 00:02:32,600 --> 00:02:34,880 Speaker 4: whatever with with me and Cube and whatever. 58 00:02:35,360 --> 00:02:37,000 Speaker 2: I don't but I don't want to go on record. 59 00:02:37,000 --> 00:02:39,519 Speaker 1: This ain't my political This ain't I could do way 60 00:02:39,560 --> 00:02:41,200 Speaker 1: better if he's being politically correct. 61 00:02:41,720 --> 00:02:47,200 Speaker 4: No, but what I'm saying here, I'm saying Cube from 62 00:02:47,240 --> 00:02:49,720 Speaker 4: what I heard, like Ski, I know he a hit maker. 63 00:02:49,800 --> 00:02:54,320 Speaker 4: Like so, Cube's beats is up to par his raps 64 00:02:54,400 --> 00:02:57,360 Speaker 4: is whack. So his his raps make the beat whack. 65 00:02:57,200 --> 00:02:59,280 Speaker 3: To me, And you know it's funny. 66 00:02:59,320 --> 00:03:01,440 Speaker 4: I think it's the other I think it's the other way. 67 00:03:01,880 --> 00:03:04,080 Speaker 4: I think it's the other way with Snoop and dra record. 68 00:03:04,240 --> 00:03:10,920 Speaker 4: I think that Snoop Snoop Raps is better than the beats. 69 00:03:11,560 --> 00:03:14,600 Speaker 3: They're different than the beats. Well you know what I 70 00:03:14,600 --> 00:03:14,920 Speaker 3: got you. 71 00:03:15,160 --> 00:03:17,480 Speaker 1: You know what I call Snoop and Dra record a 72 00:03:17,639 --> 00:03:21,040 Speaker 1: fried chicken salad with balsamic vinegar rette dresses. 73 00:03:23,480 --> 00:03:24,639 Speaker 2: That's not bad. 74 00:03:25,160 --> 00:03:27,760 Speaker 1: You look up like if you think of like Doggystyle 75 00:03:27,840 --> 00:03:30,079 Speaker 1: as a plate of soul tacos, I call them soul. 76 00:03:30,120 --> 00:03:32,880 Speaker 1: You know Nigga taco soul tacos where you Friday shell 77 00:03:33,440 --> 00:03:36,120 Speaker 1: You know that that that that you remember them hardy 78 00:03:36,160 --> 00:03:39,000 Speaker 1: tacos when he was younger. First time black people start 79 00:03:39,280 --> 00:03:43,480 Speaker 1: frying them shells brown bead. You know, that's what you 80 00:03:43,560 --> 00:03:46,280 Speaker 1: used to do. And the same thing with the soul 81 00:03:46,360 --> 00:03:49,080 Speaker 1: anch a lot is how black folk make it versus 82 00:03:49,120 --> 00:03:52,080 Speaker 1: this where Dre has really cleaned up his act musically, 83 00:03:52,560 --> 00:03:54,920 Speaker 1: you know what I mean. And hip hop is supposed 84 00:03:54,960 --> 00:03:57,040 Speaker 1: to have a dirtiness to it in my belief, but 85 00:03:57,120 --> 00:03:57,760 Speaker 1: I mean to. 86 00:04:00,400 --> 00:04:04,440 Speaker 2: Our Phil the gene but you was such deadly MC. 87 00:04:04,640 --> 00:04:08,880 Speaker 2: And that's before we go to before we go a cube, 88 00:04:08,920 --> 00:04:10,200 Speaker 2: Let's focus on Snoop and Dra. 89 00:04:10,360 --> 00:04:12,960 Speaker 1: Let's do that first. Let me get that out so again, 90 00:04:13,000 --> 00:04:16,200 Speaker 1: it's like I think that Dre has cleaned up his 91 00:04:16,320 --> 00:04:18,880 Speaker 1: act so he's more of a musician now, like he 92 00:04:18,920 --> 00:04:21,720 Speaker 1: could play the piano. Now it's more musical stuff. So 93 00:04:22,160 --> 00:04:25,120 Speaker 1: again he's trying to evolve into this space. So I mean, 94 00:04:25,160 --> 00:04:26,760 Speaker 1: I don't again, I don't think it's bad. I don't 95 00:04:26,760 --> 00:04:28,320 Speaker 1: think it's going to. 96 00:04:28,279 --> 00:04:32,000 Speaker 2: Go exercise all that on, to go do your yo 97 00:04:32,160 --> 00:04:36,960 Speaker 2: stadium tour fantasies on. You know, he's making music that 98 00:04:37,080 --> 00:04:39,359 Speaker 2: he what's next, He gonna play the piano and the 99 00:04:39,400 --> 00:04:41,000 Speaker 2: come and see him something maybe. 100 00:04:41,080 --> 00:04:43,080 Speaker 1: I mean, he was playing the piano at the super Bowl, 101 00:04:43,560 --> 00:04:47,120 Speaker 1: so it's like moment, yeah, but that's the moment where 102 00:04:47,120 --> 00:04:49,280 Speaker 1: he's at. So Snoop and Dre, that's where they're at. 103 00:04:49,360 --> 00:04:52,520 Speaker 1: Cube thing is different. Like I've had this conversation about 104 00:04:52,600 --> 00:04:55,719 Speaker 1: Cube a couple of times. The first version I remember 105 00:04:55,720 --> 00:04:58,520 Speaker 1: of Q being like nine and ten years old, excuse me, 106 00:04:58,560 --> 00:05:02,160 Speaker 1: even n w A. It was like the standard quintessential 107 00:05:02,360 --> 00:05:06,200 Speaker 1: sy right where he was writing everything powerful, you know, 108 00:05:06,360 --> 00:05:10,440 Speaker 1: inspired by everything powerful, and everything was more about powerful lines. 109 00:05:11,080 --> 00:05:13,880 Speaker 3: But I've always said this, I thought the birth of Snoop. 110 00:05:13,600 --> 00:05:19,560 Speaker 1: Dogg, I thought the arrival of Tupac, I thought Warren 111 00:05:19,640 --> 00:05:22,559 Speaker 1: g different things put him in a bind to where 112 00:05:22,800 --> 00:05:26,599 Speaker 1: he needed to become a better songwriter, write a better 113 00:05:26,720 --> 00:05:31,640 Speaker 1: record maker versus the you know, the obviously about becoming 114 00:05:31,680 --> 00:05:34,839 Speaker 1: the better record hold on, hold up still versus being 115 00:05:34,880 --> 00:05:38,640 Speaker 1: straight out of Compton, versus being America's most killing will 116 00:05:38,760 --> 00:05:42,000 Speaker 1: dethsertivy kid predator in Lethal. 117 00:05:42,040 --> 00:05:44,839 Speaker 3: I think he became a better record writer. So it's 118 00:05:44,839 --> 00:05:45,240 Speaker 3: not a. 119 00:05:45,160 --> 00:05:48,400 Speaker 1: Compromise of lyrics still, Like you always say that, like 120 00:05:48,480 --> 00:05:50,840 Speaker 1: you think MCing is some pinnacle thing in hip hop, 121 00:05:50,880 --> 00:05:53,080 Speaker 1: that's just not what was the beginning of it. It 122 00:05:53,200 --> 00:05:56,040 Speaker 1: was about records. It was about making people enjoy the party. 123 00:05:56,480 --> 00:05:59,240 Speaker 1: I think again, the second generation of him seeing is 124 00:05:59,279 --> 00:06:01,840 Speaker 1: where you keep talking talking about, where it became more 125 00:06:01,839 --> 00:06:04,279 Speaker 1: about hey, you know what, let me just say something 126 00:06:04,360 --> 00:06:07,920 Speaker 1: prolific and be this prolific poet. But before that, when 127 00:06:07,960 --> 00:06:10,599 Speaker 1: Sylvia Robinson was making the music and Larry Smith was 128 00:06:10,640 --> 00:06:13,400 Speaker 1: making the music and Too Short was making the music, 129 00:06:13,480 --> 00:06:16,520 Speaker 1: and they were making really great records. So it's not 130 00:06:16,640 --> 00:06:20,200 Speaker 1: like one or the other. It's more hip hop. I 131 00:06:20,240 --> 00:06:22,880 Speaker 1: think as far as far as Cub I feel like 132 00:06:22,920 --> 00:06:25,599 Speaker 1: as a record writer, I think he started to develop 133 00:06:25,640 --> 00:06:27,839 Speaker 1: more into a record writer. You know, I mean where 134 00:06:27,839 --> 00:06:31,280 Speaker 1: things started being more catchy, and I think it never 135 00:06:31,320 --> 00:06:33,200 Speaker 1: went back to the m singing part. And as he 136 00:06:33,279 --> 00:06:35,839 Speaker 1: stayed that, he stayed in this pocket of record writing 137 00:06:35,920 --> 00:06:38,479 Speaker 1: and again it becomes a flow thing. 138 00:06:38,600 --> 00:06:40,560 Speaker 3: So I can understand, you know. 139 00:06:41,960 --> 00:06:45,039 Speaker 2: Yeah, Cube, to me, don't have no flows left. 140 00:06:45,320 --> 00:06:48,000 Speaker 4: He used to be real aggressive, the same with h 141 00:06:48,200 --> 00:06:51,320 Speaker 4: shouts out MC eight like you know m c A. 142 00:06:51,800 --> 00:06:56,800 Speaker 2: You know, kind of fell into a slow flow, you know, 143 00:06:57,240 --> 00:06:58,800 Speaker 2: kind of pocket. 144 00:06:58,839 --> 00:07:01,640 Speaker 4: When when when he first was coming out like he 145 00:07:01,640 --> 00:07:05,160 Speaker 4: he had unlimited bars, it was unpredictable about what his flow, 146 00:07:05,279 --> 00:07:07,400 Speaker 4: what he was going to say. He has so much 147 00:07:08,000 --> 00:07:11,040 Speaker 4: hood lingo and so much shit to get off his 148 00:07:11,200 --> 00:07:12,960 Speaker 4: chest that it just was like damn, like you know 149 00:07:13,000 --> 00:07:13,360 Speaker 4: what I'm saying. 150 00:07:13,400 --> 00:07:14,560 Speaker 2: And that's how Cube used to be. 151 00:07:15,360 --> 00:07:19,720 Speaker 4: But to me, now Q is this flow is gimmicky, 152 00:07:19,960 --> 00:07:23,120 Speaker 4: is just slow, it's just whack like, it's just it's 153 00:07:23,160 --> 00:07:27,040 Speaker 4: not inspired, it's not energetic, it's not electric like you 154 00:07:27,040 --> 00:07:30,760 Speaker 4: know what I'm saying. It's controversial because he was really 155 00:07:31,000 --> 00:07:33,320 Speaker 4: all of that. Because he was controversial. He was saying 156 00:07:33,320 --> 00:07:34,600 Speaker 4: shit that get him in trouble. 157 00:07:35,200 --> 00:07:39,400 Speaker 1: Sure, I agree, but that that's the that's the outrageousness 158 00:07:39,520 --> 00:07:41,640 Speaker 1: that formed gangster rapp and made it the genre that 159 00:07:41,680 --> 00:07:42,040 Speaker 1: it is. 160 00:07:43,320 --> 00:07:44,720 Speaker 3: They market the outrageousness. 161 00:07:44,840 --> 00:07:47,840 Speaker 2: You know, we was talking about lyrics and we read 162 00:07:47,920 --> 00:07:49,560 Speaker 2: some lyrics on from Qu's album. 163 00:07:49,640 --> 00:07:53,440 Speaker 1: Right still, I'm about to ban you from LILYCS. 164 00:07:53,920 --> 00:07:55,640 Speaker 2: Hold on, this is another one on this. 165 00:07:55,880 --> 00:07:56,880 Speaker 3: I do want to hear. 166 00:07:58,560 --> 00:08:00,560 Speaker 2: You on my show. Up when I'm on your show, 167 00:08:00,600 --> 00:08:01,480 Speaker 2: I do this. 168 00:08:01,920 --> 00:08:04,240 Speaker 4: Big gunn got nothing to do with the show about 169 00:08:04,320 --> 00:08:06,360 Speaker 4: acting like my lyrics. 170 00:08:07,800 --> 00:08:09,560 Speaker 2: That's mean for me to come. I didn't ask for 171 00:08:09,600 --> 00:08:10,120 Speaker 2: you to come. 172 00:08:10,920 --> 00:08:12,160 Speaker 1: I don't want to talk about a. 173 00:08:12,080 --> 00:08:13,440 Speaker 2: No lyricism and all that. 174 00:08:14,280 --> 00:08:17,680 Speaker 1: She'd hop ship you to. 175 00:08:17,840 --> 00:08:21,760 Speaker 2: Do the same thing. Come on and just this happiness 176 00:08:21,960 --> 00:08:25,080 Speaker 2: show out. Bring the pastor grits, a bag of bits, 177 00:08:25,160 --> 00:08:27,600 Speaker 2: I got a bag of tricks. Looks like you got 178 00:08:27,640 --> 00:08:30,280 Speaker 2: hit with a bag of dicks. This right here is 179 00:08:30,320 --> 00:08:33,839 Speaker 2: the master mix the plugs and crips. So don't resist. 180 00:08:34,240 --> 00:08:37,720 Speaker 2: Smack your ass like will did Chris give a demonstration 181 00:08:37,840 --> 00:08:38,920 Speaker 2: in front of the nation. 182 00:08:40,040 --> 00:08:47,160 Speaker 1: I don't know you said that like that's whack. No, 183 00:08:48,400 --> 00:08:51,800 Speaker 1: I think the pocket is standard. I don't think it's whack. 184 00:08:52,559 --> 00:08:55,520 Speaker 1: You act like people lyrics? Yeah, but you, but you, 185 00:08:55,640 --> 00:08:57,880 Speaker 1: but but again, the lyrics are not bad. He's not 186 00:08:57,960 --> 00:08:58,880 Speaker 1: saying nothing bad. 187 00:09:00,200 --> 00:09:02,760 Speaker 2: Is the is the delivery. It's the flow that's whack. 188 00:09:03,120 --> 00:09:06,120 Speaker 1: I keep telling still this we we've been having his argument, right. 189 00:09:06,160 --> 00:09:08,920 Speaker 3: He was giving me his critigue on Red Man's album. 190 00:09:09,000 --> 00:09:12,240 Speaker 1: I keep telling him. The things about rap is it's 191 00:09:12,280 --> 00:09:15,160 Speaker 1: not about the writer. The writer has always been overrated 192 00:09:15,200 --> 00:09:16,959 Speaker 1: in the grand scheme of things. That's why some of 193 00:09:17,000 --> 00:09:19,600 Speaker 1: the biggest artists in the world don't write down the stuff. 194 00:09:20,000 --> 00:09:22,719 Speaker 1: I keep telling still that. I'm like, the flow is 195 00:09:22,840 --> 00:09:25,600 Speaker 1: most of hip hop, you know. I mean, the flow 196 00:09:25,840 --> 00:09:28,000 Speaker 1: is really the cornerstone of hip hop. 197 00:09:28,360 --> 00:09:32,360 Speaker 2: But but they're not married. 198 00:09:32,440 --> 00:09:35,360 Speaker 1: That's why somebody like Dog could freestyle his way into 199 00:09:35,360 --> 00:09:39,320 Speaker 1: a career. He's freestyle his weigh into That's why people 200 00:09:40,160 --> 00:09:44,080 Speaker 1: uted a freestyted to us what might be? Because I 201 00:09:44,160 --> 00:09:51,480 Speaker 1: swear he's the league's going. You also used to add ourtat. 202 00:09:52,160 --> 00:09:54,440 Speaker 1: We also used to add a fool snickings too. Don't 203 00:09:54,440 --> 00:09:57,880 Speaker 1: forget them. Oh you're gonna steal them, sticky bump stiky 204 00:09:57,880 --> 00:10:02,040 Speaker 1: bump bump. But it's the flow, bro, This is what 205 00:10:02,080 --> 00:10:02,720 Speaker 1: this is about. 206 00:10:02,760 --> 00:10:03,040 Speaker 2: Again. 207 00:10:03,120 --> 00:10:03,640 Speaker 3: It's great. 208 00:10:03,920 --> 00:10:07,280 Speaker 2: Look, lyrics are about writers. That's dope. 209 00:10:08,280 --> 00:10:10,520 Speaker 1: No, not knocking, especially if you could put it into 210 00:10:10,559 --> 00:10:12,880 Speaker 1: a great record. But it's still a record game, you 211 00:10:12,880 --> 00:10:15,440 Speaker 1: know what I mean at this level. So I'm not 212 00:10:15,520 --> 00:10:17,720 Speaker 1: saying we shouldn't give kudos to writers, but I'm saying 213 00:10:17,760 --> 00:10:19,880 Speaker 1: you also got to understand the flow is the key. 214 00:10:20,280 --> 00:10:22,640 Speaker 1: So I think the critigue of Q would be the flow. 215 00:10:22,720 --> 00:10:25,080 Speaker 1: I think his flow like I think Camp. That's a 216 00:10:25,120 --> 00:10:28,640 Speaker 1: fair assessment, Camp saying it is not necessarily inspired, but 217 00:10:28,640 --> 00:10:30,679 Speaker 1: it's also maybe he needs to get around some people 218 00:10:30,679 --> 00:10:31,360 Speaker 1: that inspired. 219 00:10:33,000 --> 00:10:34,640 Speaker 2: Yep, it could be not inspired. 220 00:10:34,640 --> 00:10:37,559 Speaker 1: It could be Again, this is a man that's been 221 00:10:37,559 --> 00:10:39,400 Speaker 1: doing this, I don't know, forty years. 222 00:10:39,520 --> 00:10:40,160 Speaker 3: You know what I'm saying. 223 00:10:42,400 --> 00:10:44,640 Speaker 1: I mean to me, he's always been a product of 224 00:10:44,679 --> 00:10:47,280 Speaker 1: what he was inspired by, whether it's him and Easy 225 00:10:47,360 --> 00:10:49,560 Speaker 1: E together, he's writing for that, and he's writing for 226 00:10:49,640 --> 00:10:52,840 Speaker 1: this attitude, and he's inspired by everything that's going on 227 00:10:52,920 --> 00:10:56,160 Speaker 1: at that time. And then Chuck Deed becomes his inspiration, 228 00:10:56,240 --> 00:10:57,959 Speaker 1: and he goes to the bomb squad and he kind 229 00:10:57,960 --> 00:11:01,280 Speaker 1: of gives his own tradition. Then Can comes around and 230 00:11:01,360 --> 00:11:03,400 Speaker 1: now you know they're putting him through the through the 231 00:11:03,559 --> 00:11:06,560 Speaker 1: through the brother treatment, you know, the Nation of Islam treatment. 232 00:11:06,640 --> 00:11:09,760 Speaker 1: He was inspired, saying with Mac Tin, he became inspired 233 00:11:09,800 --> 00:11:13,440 Speaker 1: by different things. You know, he's been a successful artist 234 00:11:13,480 --> 00:11:16,320 Speaker 1: since he was a kid, so therefore he's only aspired 235 00:11:16,360 --> 00:11:19,480 Speaker 1: by the things he's around. So if he's not around anybody, 236 00:11:19,520 --> 00:11:22,720 Speaker 1: it's pretty much gonna sound like somebody who's been making 237 00:11:22,760 --> 00:11:26,800 Speaker 1: films for thirty years, forty years, no making an album. 238 00:11:26,840 --> 00:11:28,920 Speaker 1: So I think if if I mean, obviously, if he 239 00:11:29,000 --> 00:11:31,280 Speaker 1: was around glasses, look like I'm gonna take him on 240 00:11:31,280 --> 00:11:31,840 Speaker 1: the boulevard. 241 00:11:31,880 --> 00:11:33,560 Speaker 3: We're gonna he gonna be popping it. 242 00:11:35,400 --> 00:11:37,880 Speaker 2: Well, from what I hear with Cube Man, Cube has 243 00:11:37,920 --> 00:11:42,160 Speaker 2: always been a dude that was a concept dude. Anyway, 244 00:11:42,200 --> 00:11:44,520 Speaker 2: when he live golf, he was inspired by other people. 245 00:11:44,600 --> 00:11:46,880 Speaker 2: So he, like you said, he maybe who he just 246 00:11:46,880 --> 00:11:49,360 Speaker 2: hanging out with. Now, if you hanging up with Jimmy 247 00:11:49,400 --> 00:11:51,760 Speaker 2: Kimmel in them all day, that's what you gonna get. 248 00:11:52,160 --> 00:11:53,000 Speaker 2: I don't think. I think. 249 00:11:53,080 --> 00:11:55,280 Speaker 1: I think now he's just kind of his own thing, 250 00:11:55,400 --> 00:11:58,319 Speaker 1: and it's like that's a limitation, you know what I mean. 251 00:11:58,320 --> 00:12:01,760 Speaker 1: Culturally he becomes just his own representation. When I always 252 00:12:01,800 --> 00:12:04,440 Speaker 1: tell you this culture is the is the is the 253 00:12:04,559 --> 00:12:06,600 Speaker 1: is the burden of we, not the burden of meat. 254 00:12:06,840 --> 00:12:09,199 Speaker 1: So it depends on if his WE is correct, if 255 00:12:09,240 --> 00:12:12,040 Speaker 1: his WI is right. So I think I think Cuba 256 00:12:12,080 --> 00:12:15,600 Speaker 1: is capable because I think he desires to still be dope, 257 00:12:15,679 --> 00:12:18,079 Speaker 1: but he also needs to be inspired by the movement 258 00:12:18,120 --> 00:12:20,600 Speaker 1: of WE. If he not inspired by the movement of WE, 259 00:12:21,000 --> 00:12:23,000 Speaker 1: then it's just him by itself. And you know you 260 00:12:23,000 --> 00:12:24,400 Speaker 1: could be So. 261 00:12:24,440 --> 00:12:28,120 Speaker 2: Would you say that probably him limiting his access to 262 00:12:28,200 --> 00:12:31,679 Speaker 2: come around certain people is probably like hindrance to him. 263 00:12:32,200 --> 00:12:34,400 Speaker 1: Yeah, one hundred and seventeen percent. Bro, It's no way 264 00:12:34,800 --> 00:12:36,880 Speaker 1: you could represent WE if you don't have a post 265 00:12:36,960 --> 00:12:40,760 Speaker 1: on WE. Hip hop is weak, you know what I mean? 266 00:12:40,880 --> 00:12:45,439 Speaker 1: Hip hop artists are elected delegates of of of communities. 267 00:12:45,840 --> 00:12:49,840 Speaker 1: There are more communities, Twitter communities and SoundCloud communities, but 268 00:12:49,840 --> 00:12:53,840 Speaker 1: there's still communities. You're the electric delegate of WE, you 269 00:12:53,840 --> 00:12:56,560 Speaker 1: feel me. So he just needs to probably be more 270 00:12:56,559 --> 00:12:58,760 Speaker 1: about WE and figuring out what's up with WE and 271 00:12:58,800 --> 00:13:01,520 Speaker 1: what do we care about? But Cuba is also in 272 00:13:01,520 --> 00:13:03,199 Speaker 1: the weird place where he got money, you know what 273 00:13:03,240 --> 00:13:06,040 Speaker 1: I mean, He's he's been having money for a long time. 274 00:13:06,120 --> 00:13:11,160 Speaker 1: He's fighting different battles, it's different things. So WE is 275 00:13:11,240 --> 00:13:14,079 Speaker 1: not as prominent, like I think very much he your brother, 276 00:13:14,240 --> 00:13:17,000 Speaker 1: but hip hop is street urbst so it is the 277 00:13:17,040 --> 00:13:20,600 Speaker 1: fight of the streets street ship, and I don't think 278 00:13:20,640 --> 00:13:21,680 Speaker 1: that he's rapping. 279 00:13:21,760 --> 00:13:25,720 Speaker 2: He's not rapping up. He's not rapping up about the enemies. 280 00:13:25,720 --> 00:13:29,480 Speaker 4: That whatever enemies he dealing with is not street ship, 281 00:13:29,840 --> 00:13:32,520 Speaker 4: and we can't relate to it, you know what I'm saying. 282 00:13:33,520 --> 00:13:37,120 Speaker 4: It's like even and on another note with with with Snoop, 283 00:13:37,120 --> 00:13:39,800 Speaker 4: he was talking about Snoop, you know, missionary album and Dre. 284 00:13:39,960 --> 00:13:42,920 Speaker 4: To me, I was telling Steve, it seemed like Snoop 285 00:13:43,120 --> 00:13:45,360 Speaker 4: was that whole album. He was too busy trying to 286 00:13:45,400 --> 00:13:48,720 Speaker 4: impress Dre. He was trying to make he was trying 287 00:13:48,760 --> 00:13:52,120 Speaker 4: to get Dre's approval on on. 288 00:13:51,600 --> 00:13:54,840 Speaker 2: His on his flows or whatever. Like that's the energy. 289 00:13:54,880 --> 00:13:55,280 Speaker 2: I got it. 290 00:13:55,320 --> 00:13:57,760 Speaker 4: He wasn't saying that necessarily with his lyrics, but I 291 00:13:57,800 --> 00:14:01,280 Speaker 4: could tell, like it didn't seem like he was having fun, 292 00:14:01,679 --> 00:14:04,560 Speaker 4: and it seemed like that was really maybe Dre had 293 00:14:04,640 --> 00:14:07,600 Speaker 4: him doing doing a thousand taps. 294 00:14:07,240 --> 00:14:10,200 Speaker 3: For sure, draper, for sure, Dre produced act. 295 00:14:10,280 --> 00:14:13,440 Speaker 1: That's the one thing like this wasn't a Melon's I 296 00:14:13,440 --> 00:14:15,920 Speaker 1: could tell just listening to the record and even getting 297 00:14:15,920 --> 00:14:18,080 Speaker 1: the energy when I heard Snoop talking about the record. 298 00:14:18,120 --> 00:14:19,320 Speaker 2: To me, I didn't. 299 00:14:19,120 --> 00:14:22,280 Speaker 1: Get oh, you know what, I went in and we 300 00:14:22,360 --> 00:14:25,760 Speaker 1: made a record. I got doctor Dre produced my record 301 00:14:25,880 --> 00:14:28,600 Speaker 1: like I felt like a brand new artist. Like we 302 00:14:28,720 --> 00:14:32,000 Speaker 1: pretty much agreed on the pockets, the flows, the ideas. 303 00:14:32,080 --> 00:14:33,440 Speaker 3: They came to a conclusion. 304 00:14:33,520 --> 00:14:36,720 Speaker 1: It wasn't like, you know this this first ballot Hall 305 00:14:36,760 --> 00:14:38,760 Speaker 1: of Fame. It really got to say something to this coast. 306 00:14:38,760 --> 00:14:40,640 Speaker 1: The coach said, Nah, this is how I wanted to play. 307 00:14:41,240 --> 00:14:44,400 Speaker 1: I don't care about how you want to play the game. 308 00:14:44,560 --> 00:14:46,600 Speaker 1: I don't think that was important for him. It was like, 309 00:14:46,640 --> 00:14:48,960 Speaker 1: this is, hey, I want you to play in the post. 310 00:14:49,200 --> 00:14:51,040 Speaker 1: I don't care if you good at shooting threes. I 311 00:14:51,080 --> 00:14:53,160 Speaker 1: want you to be in a post you feel me. 312 00:14:53,200 --> 00:14:56,360 Speaker 1: So it is Dre's baby to produce. So it's like, 313 00:14:56,480 --> 00:14:58,440 Speaker 1: you know what I mean, And Dreke's in a place where, 314 00:14:58,480 --> 00:15:01,480 Speaker 1: to me, his music is really more musical. 315 00:15:01,120 --> 00:15:02,560 Speaker 3: Than necessarily like thing. 316 00:15:02,760 --> 00:15:05,760 Speaker 1: Then we could say culture like it's not the making 317 00:15:05,840 --> 00:15:07,880 Speaker 1: something out of nothing that hip hop used to be 318 00:15:08,000 --> 00:15:10,480 Speaker 1: or eating brave used you know what I mean. Now, 319 00:15:10,480 --> 00:15:13,000 Speaker 1: it's like the world is at my dispense, Like they 320 00:15:13,040 --> 00:15:16,800 Speaker 1: told a story that made me laugh because it's kind 321 00:15:16,840 --> 00:15:19,440 Speaker 1: of the antisis of hip hop, right, It's like the 322 00:15:19,440 --> 00:15:22,040 Speaker 1: opposite of it where they was working on a song 323 00:15:22,640 --> 00:15:24,760 Speaker 1: and that was like, yeah, you know what, I like 324 00:15:24,840 --> 00:15:27,600 Speaker 1: this last dance. It was like a Wei sung And 325 00:15:27,640 --> 00:15:30,040 Speaker 1: they were saying like how they were able to call 326 00:15:30,120 --> 00:15:32,840 Speaker 1: Tom Petty and Tom Petty sent him all the sessions. 327 00:15:35,080 --> 00:15:38,080 Speaker 2: You know what I'm saying, Like that is crazy. 328 00:15:38,120 --> 00:15:39,560 Speaker 1: You know what I'm saying, like, yeah, I want to 329 00:15:39,600 --> 00:15:42,520 Speaker 1: flip this Tom Petty song and somebody, let's get Tom 330 00:15:42,600 --> 00:15:44,920 Speaker 1: on the phone and Tom send you all the parts. 331 00:15:45,560 --> 00:15:48,120 Speaker 1: Your talk is more about like taking the vinyl and 332 00:15:48,160 --> 00:15:51,200 Speaker 1: making the most Tom Petty sending you the pro Tools session. 333 00:15:51,240 --> 00:15:53,240 Speaker 1: That means somebody took that shit from real and put 334 00:15:53,280 --> 00:15:56,440 Speaker 1: it on Pro Tools. You know again, hip hop is 335 00:15:56,480 --> 00:16:00,480 Speaker 1: soul food. It's hard to make it healthy. It's not 336 00:16:00,760 --> 00:16:02,040 Speaker 1: it's not supposed to. 337 00:16:02,880 --> 00:16:04,320 Speaker 3: Being any healthy. 338 00:16:04,400 --> 00:16:07,000 Speaker 1: You know, you're not supposed to, you know, cook spinach 339 00:16:07,040 --> 00:16:09,680 Speaker 1: the way you cook greens. So again, we just have 340 00:16:09,800 --> 00:16:12,000 Speaker 1: to accept the fact that this is not the sole 341 00:16:12,280 --> 00:16:14,920 Speaker 1: food dish that we was looking for and also realize 342 00:16:14,960 --> 00:16:18,280 Speaker 1: the chefs that we come to love ain't cooking for 343 00:16:18,560 --> 00:16:21,360 Speaker 1: just us. No more should they be. That's a whole 344 00:16:21,360 --> 00:16:24,320 Speaker 1: different debate. We're definitely not just cooking for us anymore. 345 00:16:24,560 --> 00:16:25,920 Speaker 2: That's that's my whole point. 346 00:16:26,280 --> 00:16:28,800 Speaker 4: My whole point is is that it seemed like I said, 347 00:16:28,800 --> 00:16:32,040 Speaker 4: it seemed like Snoop was rapping for Dre, and it 348 00:16:32,120 --> 00:16:36,880 Speaker 4: seemed like he was rapping for for Dre's resources or 349 00:16:36,920 --> 00:16:39,359 Speaker 4: for his You know, if if Dre is a billionaire, 350 00:16:39,520 --> 00:16:41,680 Speaker 4: I'm trying to get the billionaire status. So I'm not 351 00:16:41,720 --> 00:16:44,840 Speaker 4: really concerned about what the fans think. I want to 352 00:16:44,880 --> 00:16:47,040 Speaker 4: I want to make I want to please Dre. So 353 00:16:47,200 --> 00:16:51,440 Speaker 4: Drake can turn me onto this is just my personal opinion, speculation, whatever, 354 00:16:51,720 --> 00:16:54,640 Speaker 4: So Drake can turn me onto his billionaire plug so 355 00:16:54,720 --> 00:16:56,680 Speaker 4: I can get to that billionaire boys club. 356 00:16:56,720 --> 00:16:58,680 Speaker 2: That's that's what it seemed like to me. I don't 357 00:16:58,680 --> 00:17:01,040 Speaker 2: want to cut you all. Love talked about the missionary 358 00:17:01,120 --> 00:17:02,960 Speaker 2: last secons, so and I don't want to keep boring. 359 00:17:03,360 --> 00:17:04,160 Speaker 3: We could keep talking. 360 00:17:04,160 --> 00:17:06,520 Speaker 2: It's the West. We know all you talking about talking 361 00:17:06,600 --> 00:17:09,640 Speaker 2: all that he about the way he's calling on here 362 00:17:09,640 --> 00:17:15,000 Speaker 2: for some specific remember what year was that when we 363 00:17:15,000 --> 00:17:19,639 Speaker 2: started doing your shit over at Department two thousand and 364 00:17:20,440 --> 00:17:27,800 Speaker 2: sixteen sixty man, we'll been podcasting ten, probably a year 365 00:17:27,840 --> 00:17:30,200 Speaker 2: before that, fifty twenty fifteen. 366 00:17:30,920 --> 00:17:33,119 Speaker 1: Probably fifteen sixteen, because I think the first one we 367 00:17:33,119 --> 00:17:37,000 Speaker 1: did was at the k SWOSO sixteen in mack Been fifteen. 368 00:17:37,160 --> 00:17:39,679 Speaker 2: Weill been doing this shit for almost ten years though. 369 00:17:39,920 --> 00:17:44,320 Speaker 2: I was just gonna think about that and I trip out. 370 00:17:44,400 --> 00:17:46,080 Speaker 2: Man when I thought about it, I said, damn, this 371 00:17:46,160 --> 00:17:50,720 Speaker 2: is the last episode of twenty twenty four. And it 372 00:17:50,840 --> 00:17:54,439 Speaker 2: was crazy. Man, It's just crazy how fast time goes. 373 00:17:55,240 --> 00:17:57,959 Speaker 2: And that's what I was thinking twenty sixteen, twenty fifteen, 374 00:17:58,000 --> 00:18:03,840 Speaker 2: but I wasn't sure. Damn, man, man, we're best. 375 00:18:05,200 --> 00:18:06,119 Speaker 1: Less the word. 376 00:18:07,000 --> 00:18:10,119 Speaker 2: I wouldn't never imagine cam doing this ship dog that. 377 00:18:10,200 --> 00:18:12,200 Speaker 2: It was kind of coming this far dog. 378 00:18:13,720 --> 00:18:14,560 Speaker 3: Back Commissionary. 379 00:18:14,880 --> 00:18:20,159 Speaker 2: So see Teezy for prout like an hour already. Know, 380 00:18:20,359 --> 00:18:23,000 Speaker 2: so it's bro, you know what I want? 381 00:18:23,080 --> 00:18:25,359 Speaker 1: You know what since his twenty twenty four and you 382 00:18:25,400 --> 00:18:27,480 Speaker 1: make a great point in it. This is the last 383 00:18:27,880 --> 00:18:30,840 Speaker 1: episode against the rare chronicles for this for the year. 384 00:18:31,320 --> 00:18:33,240 Speaker 1: I really want to give a kudos to the ll 385 00:18:33,320 --> 00:18:34,560 Speaker 1: cool j Q tip record. 386 00:18:35,119 --> 00:18:37,600 Speaker 2: Yeah, that's why I told cam El was busting on that. 387 00:18:37,720 --> 00:18:41,160 Speaker 1: To me, it's not just about busting And I can't 388 00:18:41,200 --> 00:18:42,600 Speaker 1: get still to understand it. 389 00:18:42,600 --> 00:18:45,480 Speaker 2: It's fully got with, but still is a ny seed. 390 00:18:45,560 --> 00:18:48,960 Speaker 3: Bro Still is such MC that he really think he mattered. 391 00:18:49,280 --> 00:18:51,960 Speaker 1: If Still could get it off Cam, he wouldn't even have. 392 00:18:51,880 --> 00:18:54,640 Speaker 3: Beats on the motherfuck it be just him. 393 00:18:55,560 --> 00:18:59,200 Speaker 1: He'd just be kicking raps this ship with no beats music. 394 00:19:00,240 --> 00:19:02,879 Speaker 1: That means Q Tip had to do an incredible job 395 00:19:03,040 --> 00:19:09,399 Speaker 1: to make it work. Like it's a great project again, 396 00:19:10,080 --> 00:19:14,280 Speaker 1: I think, like I said, it just making the album. 397 00:19:14,320 --> 00:19:16,080 Speaker 1: We've been spoiled for years, you know what I mean. 398 00:19:16,080 --> 00:19:18,920 Speaker 1: Everything don't gotta work out. Everything don't gotta be something 399 00:19:18,960 --> 00:19:22,520 Speaker 1: everybody likes, like even Stoop and dra like they've spent 400 00:19:22,600 --> 00:19:26,280 Speaker 1: their whole career. Yo, seven out of ten things, everybody 401 00:19:26,400 --> 00:19:29,560 Speaker 1: like eight out of ten things, everybody like. Well, sometimes 402 00:19:29,600 --> 00:19:30,680 Speaker 1: everybody ain't gonna like. 403 00:19:30,640 --> 00:19:31,880 Speaker 3: It, you know what I mean. 404 00:19:32,000 --> 00:19:35,160 Speaker 1: So I hope, God willing, they don't just stop doing 405 00:19:35,200 --> 00:19:36,880 Speaker 1: it and they go back in the studio. I don't 406 00:19:36,920 --> 00:19:41,640 Speaker 1: want Q to stop rapping. I want Q to get inspired, 407 00:19:41,680 --> 00:19:45,000 Speaker 1: get with a producer and go get to it. I 408 00:19:45,040 --> 00:19:48,080 Speaker 1: want Stoop and Dray to double back. I want them 409 00:19:48,119 --> 00:19:50,240 Speaker 1: to say, Okay, let's look at what we liked about. 410 00:19:50,240 --> 00:19:53,520 Speaker 1: How people responded if that matters to them, Hey, how 411 00:19:53,560 --> 00:19:54,400 Speaker 1: do people respond? 412 00:19:54,440 --> 00:19:55,080 Speaker 2: What do they like? 413 00:19:55,160 --> 00:19:58,679 Speaker 1: What's working, what's not working? And double back again, just 414 00:19:58,840 --> 00:20:01,120 Speaker 1: like them Legends and rocking road to it. I think 415 00:20:01,160 --> 00:20:04,080 Speaker 1: that's the task that they're on, and they on a 416 00:20:04,160 --> 00:20:07,080 Speaker 1: challenging task, you know what I mean? To take hip hop, 417 00:20:07,400 --> 00:20:11,000 Speaker 1: take something like hip hop into pop spaces in a 418 00:20:11,040 --> 00:20:13,800 Speaker 1: pop level like Aerosmith had to do. Right, it's a 419 00:20:13,800 --> 00:20:17,359 Speaker 1: different challenge. You'd be uniquely the first person. And for Q, 420 00:20:18,160 --> 00:20:21,400 Speaker 1: it's just about getting inspired. To me again, he's a 421 00:20:21,480 --> 00:20:23,920 Speaker 1: He's a prolific writer. The nigga could write his ass off. 422 00:20:23,960 --> 00:20:26,480 Speaker 1: But now you need to get back to what's going 423 00:20:26,520 --> 00:20:29,880 Speaker 1: to inspire you to be that that nigga that America 424 00:20:30,359 --> 00:20:30,800 Speaker 1: loved to. 425 00:20:30,760 --> 00:20:33,520 Speaker 4: Hate, and it was it was what he wrote about. 426 00:20:34,760 --> 00:20:38,159 Speaker 4: He already gifted, but he had the nuts, He had 427 00:20:38,200 --> 00:20:41,560 Speaker 4: the testicles to write about certain things, even shit that 428 00:20:41,640 --> 00:20:44,080 Speaker 4: I don't agree with, even the West Side Connection shit 429 00:20:44,160 --> 00:20:47,520 Speaker 4: that came after the Death Certificate album when he was conscious, 430 00:20:47,600 --> 00:20:50,000 Speaker 4: but West Side Connection album was fired. 431 00:20:50,080 --> 00:20:50,920 Speaker 2: That shit was banged. 432 00:20:51,400 --> 00:20:53,199 Speaker 3: The shout out to shout out to butter, shout out 433 00:20:53,240 --> 00:20:54,159 Speaker 3: to him on a production. 434 00:20:54,840 --> 00:20:57,320 Speaker 2: But again, like he was inspired by. 435 00:20:58,200 --> 00:21:01,000 Speaker 1: The West kind of coming into its own fully, you 436 00:21:01,080 --> 00:21:04,720 Speaker 1: know what I mean, being not credited correctly by by 437 00:21:04,800 --> 00:21:05,600 Speaker 1: the New York. 438 00:21:05,560 --> 00:21:08,360 Speaker 3: The movement of the West was happening, so I think 439 00:21:08,440 --> 00:21:10,240 Speaker 3: it's up to him to get inspired. 440 00:21:10,760 --> 00:21:14,800 Speaker 2: But well, you we don't understand though he keeps some 441 00:21:15,640 --> 00:21:17,520 Speaker 2: I don't heard Drake say a couple of times that 442 00:21:17,600 --> 00:21:20,560 Speaker 2: he scrapped Detox because it wasn't good. It wasn't good enough. 443 00:21:22,160 --> 00:21:24,000 Speaker 1: Yeah, but that's cool, but. 444 00:21:24,119 --> 00:21:26,399 Speaker 2: It might have been good because I heard that the 445 00:21:26,520 --> 00:21:29,560 Speaker 2: single with Acon, how did that do? How did that fear? 446 00:21:29,600 --> 00:21:33,360 Speaker 2: Commercially maybed okay, But if Drayce said it wasn't good enough, 447 00:21:33,400 --> 00:21:36,159 Speaker 2: I believe that shit was hard. Though I liked that. 448 00:21:36,760 --> 00:21:38,680 Speaker 2: I liked that record. Ye they kind to me that 449 00:21:38,760 --> 00:21:40,280 Speaker 2: sounded like the shit he was supposed to be doing. 450 00:21:40,880 --> 00:21:43,480 Speaker 4: Said it wasn't good enough. I just know for me 451 00:21:43,760 --> 00:21:46,600 Speaker 4: like rap, because I don't really even do hip hop. 452 00:21:46,680 --> 00:21:49,560 Speaker 4: I don't really claim I don't. You know, hip hop 453 00:21:49,720 --> 00:21:52,440 Speaker 4: is a term that was you know, created, I rap, 454 00:21:52,600 --> 00:21:53,080 Speaker 4: I rap. 455 00:21:53,200 --> 00:21:55,520 Speaker 2: I love rap. You know, if that's a part of 456 00:21:55,600 --> 00:21:59,560 Speaker 2: hip hop, been great, but uh, you cam gets to 457 00:21:59,600 --> 00:22:03,119 Speaker 2: be hip hop is the iggity, biggoity. Oh yeah, I 458 00:22:03,160 --> 00:22:06,920 Speaker 2: don't know, man, I don't know the lyrical miracle. That's 459 00:22:07,040 --> 00:22:12,680 Speaker 2: not improbably curious. It's diffic but well wrap, well, rap 460 00:22:12,840 --> 00:22:13,359 Speaker 2: is a chore. 461 00:22:13,920 --> 00:22:16,480 Speaker 4: If rap seems like it's a job, and I gotta 462 00:22:16,520 --> 00:22:18,520 Speaker 4: do a thousand takes in the studio and I got 463 00:22:18,640 --> 00:22:21,560 Speaker 4: to impress another dude instead of impressing me and how 464 00:22:21,680 --> 00:22:24,639 Speaker 4: I feel, then it ain't worth doing no more. Like, 465 00:22:24,760 --> 00:22:27,960 Speaker 4: I don't care how much props or money or fame 466 00:22:28,119 --> 00:22:30,399 Speaker 4: or whatever. Like, I gotta do my own record. I 467 00:22:30,440 --> 00:22:32,720 Speaker 4: gotta do my own stuff. And nobody tell me. 468 00:22:33,200 --> 00:22:36,399 Speaker 2: Shit over you you wouldn't do it, huh if you 469 00:22:36,560 --> 00:22:38,200 Speaker 2: was doing if you was in there right doing some 470 00:22:38,359 --> 00:22:41,200 Speaker 2: work with Drake, and y'all gonna do it five takes 471 00:22:41,240 --> 00:22:44,680 Speaker 2: already in drell. No, I'm not doing more than that. Hey, man, 472 00:22:44,880 --> 00:22:48,360 Speaker 2: I need you to do one more. Nah, I ain't 473 00:22:48,400 --> 00:22:48,680 Speaker 2: doing that. 474 00:22:49,440 --> 00:22:51,960 Speaker 4: I'm gonna say, okay, out of the out of the five, i'may, 475 00:22:51,960 --> 00:22:54,480 Speaker 4: I'm gonna say, save it, don't don't eraise none of 476 00:22:54,520 --> 00:22:57,800 Speaker 4: my ship, save them five takes. And out of them 477 00:22:57,880 --> 00:23:00,280 Speaker 4: five takes, because I wrote it, I live. Did I 478 00:23:00,359 --> 00:23:01,600 Speaker 4: know what this shits supposed to sound like? 479 00:23:01,680 --> 00:23:04,480 Speaker 2: To me? It's not supposed to sound like you wanted 480 00:23:04,560 --> 00:23:04,960 Speaker 2: to sound. 481 00:23:05,520 --> 00:23:07,000 Speaker 4: You know, if I'm too close to the mic and 482 00:23:07,040 --> 00:23:09,240 Speaker 4: I'm spitting something back up, but it's some ship like 483 00:23:09,320 --> 00:23:11,160 Speaker 4: you can't tell me how to deliver my life. 484 00:23:12,600 --> 00:23:18,960 Speaker 1: He's in. It just depends on what the task is. Right, 485 00:23:19,000 --> 00:23:21,800 Speaker 1: If somebody's producing you right, then they're using so you. 486 00:23:22,040 --> 00:23:25,000 Speaker 1: They're taking your lyrical experience right and your story, but 487 00:23:25,040 --> 00:23:28,200 Speaker 1: then they're trying to mess it with sound. It depends 488 00:23:28,240 --> 00:23:30,200 Speaker 1: on like if Pool, Like if Pool gets you in 489 00:23:30,280 --> 00:23:31,960 Speaker 1: there and you say, man, it's ten times and he 490 00:23:32,080 --> 00:23:35,560 Speaker 1: trying to perfect your voice as a sound, not as 491 00:23:36,000 --> 00:23:36,600 Speaker 1: the way as. 492 00:23:36,560 --> 00:23:38,160 Speaker 2: Again an instruments. 493 00:23:38,840 --> 00:23:40,600 Speaker 3: And I think that's what Dre is doing. 494 00:23:42,040 --> 00:23:44,320 Speaker 1: Obviously, when I recorded with him or when he records 495 00:23:44,320 --> 00:23:46,760 Speaker 1: with somebody else, I could tell he's looking for a sonic. 496 00:23:47,200 --> 00:23:49,240 Speaker 1: He's looking for somewhere that he feels like it is 497 00:23:49,280 --> 00:23:51,879 Speaker 1: going to compliment the music. And that's why he you know, 498 00:23:52,040 --> 00:23:53,959 Speaker 1: he's one of the best. That's why he's the greatest 499 00:23:54,000 --> 00:23:58,359 Speaker 1: to do it because he figured that out. But like I, 500 00:23:58,720 --> 00:24:01,320 Speaker 1: you know what's funny, Big Bro. Really feel like I 501 00:24:01,440 --> 00:24:04,680 Speaker 1: appreciate Snoop still being able to learn at this level. 502 00:24:04,920 --> 00:24:07,680 Speaker 1: Now the motivation to learn could be like you said, 503 00:24:07,760 --> 00:24:10,920 Speaker 1: he turning me on a billion dollar plug. Obviously I 504 00:24:10,960 --> 00:24:13,280 Speaker 1: would imagine that could be true. But I also think 505 00:24:13,720 --> 00:24:15,960 Speaker 1: there's something inside the dog. It's one of the things 506 00:24:16,000 --> 00:24:19,040 Speaker 1: that make him the greatest hip hop artist evers because 507 00:24:19,119 --> 00:24:22,720 Speaker 1: he's always like a constant student. He's always a consummate 508 00:24:22,840 --> 00:24:25,760 Speaker 1: learner when it comes to what needs to be done 509 00:24:25,880 --> 00:24:26,840 Speaker 1: and raising his game. 510 00:24:26,920 --> 00:24:29,119 Speaker 3: So I appreciate the challenge of it all. 511 00:24:29,160 --> 00:24:31,920 Speaker 1: And it's the same thing for Dre, like even talking 512 00:24:31,920 --> 00:24:35,280 Speaker 1: to him honestly, like I remember him telling me like 513 00:24:35,960 --> 00:24:40,440 Speaker 1: Snoop wasn't something he chose, that was more Warren it Shug, 514 00:24:42,080 --> 00:24:45,840 Speaker 1: Like Warren pushed him off onto Dog and I mean 515 00:24:46,000 --> 00:24:50,400 Speaker 1: Dre and Dra and Shug was like okay. And then 516 00:24:50,520 --> 00:24:52,600 Speaker 1: Dre told me the story of fifty cent me excuse 517 00:24:52,640 --> 00:24:54,960 Speaker 1: me of Eminem. That wasn't his name, that was Jimmy 518 00:24:55,000 --> 00:24:58,920 Speaker 1: Ivan thing you. I mean, Jimmy was like, I think 519 00:24:59,000 --> 00:25:00,920 Speaker 1: this the work, and he passed it to Dre and 520 00:25:01,080 --> 00:25:02,680 Speaker 1: was like, man, do this, and Dre was like, I 521 00:25:02,720 --> 00:25:04,680 Speaker 1: don't know, and he did it listening to him and 522 00:25:05,160 --> 00:25:08,280 Speaker 1: guess what here is you know, your most successful artist, 523 00:25:08,800 --> 00:25:11,359 Speaker 1: I mean, And then fast forward to fifty cent. That 524 00:25:11,560 --> 00:25:13,720 Speaker 1: was an eminem thing. Hey, you know what you know, 525 00:25:14,520 --> 00:25:17,040 Speaker 1: m wanted Dre to do fifty cent. He's like, man, 526 00:25:17,119 --> 00:25:18,800 Speaker 1: do it with me, and they did it together. So 527 00:25:19,720 --> 00:25:21,760 Speaker 1: I think a lot of the greatest things happen when 528 00:25:21,760 --> 00:25:24,679 Speaker 1: you take on a task that people you trust passed 529 00:25:24,760 --> 00:25:24,920 Speaker 1: to you. 530 00:25:27,200 --> 00:25:29,359 Speaker 4: Yeah, I think it's also I agree, I agree, And 531 00:25:29,440 --> 00:25:33,320 Speaker 4: I think it's also what we see as success. What 532 00:25:34,119 --> 00:25:36,879 Speaker 4: is our idea of success at that stage, you know, 533 00:25:37,200 --> 00:25:39,480 Speaker 4: because they are already successful in fame and money and 534 00:25:39,520 --> 00:25:42,399 Speaker 4: all of that, So now their standard of success is 535 00:25:42,400 --> 00:25:46,000 Speaker 4: probably something we don't know nothing about, you know, Cam, 536 00:25:46,080 --> 00:25:46,600 Speaker 4: I want to go. 537 00:25:46,640 --> 00:25:50,200 Speaker 2: Back to this because I'm laughing. So, but are you 538 00:25:50,359 --> 00:25:54,000 Speaker 2: doing this regular? Let's say Dre is doing detox. He's 539 00:25:54,040 --> 00:25:57,320 Speaker 2: gonna give detax another row and you on there. He 540 00:25:57,440 --> 00:25:59,040 Speaker 2: wants you to do the entro. He wants you to 541 00:25:59,119 --> 00:26:02,040 Speaker 2: sound a certain way. Niggas said, no, be a fire 542 00:26:02,119 --> 00:26:08,199 Speaker 2: to Nah. That's is how absolutely absolutely. 543 00:26:07,840 --> 00:26:09,879 Speaker 4: Like, Nah, I did it my way. This is this 544 00:26:10,040 --> 00:26:11,600 Speaker 4: is Cam, this is what you this is what you 545 00:26:11,720 --> 00:26:13,200 Speaker 4: want it. You know what I'm saying, Maybe if you 546 00:26:13,240 --> 00:26:15,360 Speaker 4: could try to tell me, but that that's like, that's 547 00:26:15,480 --> 00:26:18,360 Speaker 4: like Hollywood shuffle. Can you give me more more jove 548 00:26:18,440 --> 00:26:21,600 Speaker 4: ass more somebody else, like Nigga, this is me, This 549 00:26:21,680 --> 00:26:22,440 Speaker 4: is all you're gonna get. 550 00:26:22,640 --> 00:26:24,479 Speaker 2: Cam is cam like, this is what you're gonna get. 551 00:26:25,080 --> 00:26:29,159 Speaker 2: Maybe you need somebody the other tape, Glass is definitely 552 00:26:29,359 --> 00:26:32,399 Speaker 2: do the other tape. I already did it. I think 553 00:26:32,440 --> 00:26:34,960 Speaker 2: I'm gonna dot jurkick writ the first time. So he 554 00:26:35,080 --> 00:26:39,119 Speaker 2: takes together, Uh not none of the hundreds or twenties 555 00:26:39,200 --> 00:26:40,920 Speaker 2: day you talking about. But I probably did something in 556 00:26:41,000 --> 00:26:42,960 Speaker 2: seven times, but there was other times he took it 557 00:26:43,040 --> 00:26:46,800 Speaker 2: on the first tape, but more than seven times at 558 00:26:46,840 --> 00:26:47,280 Speaker 2: your house. 559 00:26:47,800 --> 00:26:50,600 Speaker 1: Oh that's a fact, you But but you choosing versus 560 00:26:50,720 --> 00:26:53,679 Speaker 1: me telling you, right because I believe now I need 561 00:26:53,720 --> 00:26:55,960 Speaker 1: to do that again, right because I believe I. 562 00:26:56,080 --> 00:26:58,240 Speaker 2: Know how I want to sound, not how you want 563 00:26:58,320 --> 00:27:01,280 Speaker 2: me to sound. But I'm all so not producing you. 564 00:27:02,600 --> 00:27:05,000 Speaker 1: So it's like it's different like if I'm gonna work 565 00:27:05,040 --> 00:27:07,159 Speaker 1: with obviously when I if I'm working with Doc, then 566 00:27:07,160 --> 00:27:08,840 Speaker 1: I'm gonna let Doc produce me, because that's why I 567 00:27:08,880 --> 00:27:10,639 Speaker 1: went down there to mess with you, you know what 568 00:27:10,640 --> 00:27:12,960 Speaker 1: I'm saying. So like, but if I am producing somebody 569 00:27:13,119 --> 00:27:16,280 Speaker 1: like I do, I'm obviously not got to dre but shit, 570 00:27:16,359 --> 00:27:18,200 Speaker 1: I didn't made Joey and Duce go in there and 571 00:27:18,280 --> 00:27:21,359 Speaker 1: rewrite something and hey, flip this, change this, do this 572 00:27:21,600 --> 00:27:23,240 Speaker 1: because I'm making a record. 573 00:27:23,640 --> 00:27:25,520 Speaker 2: So I think you have to. And I'm thinking that 574 00:27:25,640 --> 00:27:27,879 Speaker 2: for these guys, says that that's what the music turn out. 575 00:27:27,920 --> 00:27:28,399 Speaker 2: The way you do. 576 00:27:31,040 --> 00:27:33,360 Speaker 4: That's something different. I'm not talking about changing lyrics. I'm 577 00:27:33,440 --> 00:27:34,520 Speaker 4: open to changing lyrics. 578 00:27:35,240 --> 00:27:37,320 Speaker 2: No, I'm not even talking about the change lyrics. 579 00:27:37,320 --> 00:27:41,360 Speaker 1: I'm talking about have had them rewrap something because like sonically, 580 00:27:41,440 --> 00:27:42,080 Speaker 1: I feel. 581 00:27:41,920 --> 00:27:43,560 Speaker 3: Like it loses energy. 582 00:27:44,160 --> 00:27:46,119 Speaker 1: I mean, as I become more of a producer, like 583 00:27:46,200 --> 00:27:49,680 Speaker 1: I notice things like like small things like oh you 584 00:27:49,720 --> 00:27:51,520 Speaker 1: know what you laid this verse, but okay, I need 585 00:27:51,600 --> 00:27:54,520 Speaker 1: you to say the hook, you know, coming in and 586 00:27:54,640 --> 00:27:57,280 Speaker 1: going out, or hey repeat this kind of match this 587 00:27:57,520 --> 00:27:59,280 Speaker 1: energy right here, this that and the third you know 588 00:27:59,320 --> 00:28:02,560 Speaker 1: what I mean. So I could get where his methodical 589 00:28:02,640 --> 00:28:04,640 Speaker 1: mind would go, you know what I mean, really pursuing 590 00:28:04,760 --> 00:28:08,119 Speaker 1: something that he feels is capable. He could hear the sonic. 591 00:28:08,240 --> 00:28:10,159 Speaker 1: So I don't think he does it to be like 592 00:28:10,280 --> 00:28:11,960 Speaker 1: disingenuous though, you know what I mean. I don't think 593 00:28:12,000 --> 00:28:13,800 Speaker 1: he's like, oh I'm just doctor Dre, let me throw 594 00:28:13,840 --> 00:28:16,960 Speaker 1: my weight around as much as he's really pursuing something 595 00:28:17,000 --> 00:28:18,080 Speaker 1: that he hears in his mind. 596 00:28:18,400 --> 00:28:25,600 Speaker 4: Anyway, pretty excellent. I'm already excellently me. So if I'm 597 00:28:25,640 --> 00:28:28,879 Speaker 4: already me. You know how many people you know stutter 598 00:28:28,960 --> 00:28:31,320 Speaker 4: or got a list or off beat or whatever. That's 599 00:28:31,480 --> 00:28:34,440 Speaker 4: just them, that's who they are. Just just just make 600 00:28:34,560 --> 00:28:37,520 Speaker 4: my my fuck ups sound good. That just just just 601 00:28:37,680 --> 00:28:40,320 Speaker 4: eq it in a way that that's cam he wraps 602 00:28:40,360 --> 00:28:43,000 Speaker 4: off bead or he his voice is cracking, or you know, 603 00:28:44,520 --> 00:28:45,120 Speaker 4: that's what I mean. 604 00:28:45,320 --> 00:28:46,080 Speaker 2: It just depends. 605 00:28:46,440 --> 00:28:48,239 Speaker 1: It depends if you want to be produced. I mean, 606 00:28:48,280 --> 00:28:50,400 Speaker 1: you've been in the business long enough, big bro, to 607 00:28:50,440 --> 00:28:53,400 Speaker 1: where you probably know where and how you want it. 608 00:28:53,520 --> 00:28:56,560 Speaker 1: But again, if if you wouldn't work with for real timbling, 609 00:28:57,120 --> 00:28:59,280 Speaker 1: like especially for real Forrella, give you a flow, hey, 610 00:28:59,360 --> 00:29:02,560 Speaker 1: wrap this flow, I mean, or Dre will be like 611 00:29:02,720 --> 00:29:05,280 Speaker 1: he'd be looking to me where he's really Again I 612 00:29:05,400 --> 00:29:07,960 Speaker 1: never asked him what the thought is, but I would 613 00:29:08,040 --> 00:29:11,000 Speaker 1: imagine now with my knowledge and information, even though I'm 614 00:29:11,040 --> 00:29:13,720 Speaker 1: nowhere near with cousins at my mind is like he's 615 00:29:13,800 --> 00:29:17,080 Speaker 1: chasing a specific sonic to where when it's time to mix, 616 00:29:17,560 --> 00:29:20,120 Speaker 1: like it's right where he wants it a lot closer 617 00:29:22,960 --> 00:29:26,160 Speaker 1: even listening to a Missionary, which everybody should go stream. 618 00:29:26,320 --> 00:29:27,840 Speaker 1: I think it's a great record, and I think it 619 00:29:27,880 --> 00:29:29,880 Speaker 1: gets better if you listen to it. It's getting better. 620 00:29:30,480 --> 00:29:32,640 Speaker 1: It's a good album for where they at, but it 621 00:29:32,680 --> 00:29:35,880 Speaker 1: gets better. But it's really busy, like it does a lot. 622 00:29:35,960 --> 00:29:39,440 Speaker 1: It's a lot to pick up, right, you know what 623 00:29:39,440 --> 00:29:41,320 Speaker 1: I mean? You have to walk If you walk into 624 00:29:41,440 --> 00:29:44,880 Speaker 1: it thinking you're gonna get snooping dre from nineteen ninety two, 625 00:29:45,160 --> 00:29:49,240 Speaker 1: you are going to come out very not getting what 626 00:29:49,320 --> 00:29:49,720 Speaker 1: you look for. 627 00:29:50,240 --> 00:29:53,920 Speaker 4: So the Cam and Cat Cam and Battlecat album that 628 00:29:54,400 --> 00:29:57,320 Speaker 4: was inspired by Glasses, Glasses the one putting me in 629 00:29:57,400 --> 00:29:59,800 Speaker 4: battle Cat together like just for the world. You know, 630 00:30:00,000 --> 00:30:02,320 Speaker 4: all any records that you hear and the album that's 631 00:30:02,800 --> 00:30:04,400 Speaker 4: the songs that still not release. 632 00:30:05,360 --> 00:30:07,320 Speaker 2: You know, Glasses the one. 633 00:30:07,440 --> 00:30:09,760 Speaker 4: You know, I give him this public credit and there's 634 00:30:09,800 --> 00:30:12,760 Speaker 4: no secret he the one that put that together right 635 00:30:13,600 --> 00:30:16,800 Speaker 4: and Battlecat knew you know what I'm saying. You know 636 00:30:16,920 --> 00:30:19,800 Speaker 4: he knows what he wants to hear too. But then 637 00:30:19,920 --> 00:30:22,640 Speaker 4: you know he knows the respect. You know, we Cam, 638 00:30:22,760 --> 00:30:24,520 Speaker 4: this is what you want to hear, and maybe you 639 00:30:24,560 --> 00:30:26,240 Speaker 4: can say, try to say this like this and this 640 00:30:26,480 --> 00:30:31,480 Speaker 4: like that, but he gonna you know, it's it's like 641 00:30:32,760 --> 00:30:37,400 Speaker 4: he gonna he gonna bring his expertise to the table 642 00:30:37,520 --> 00:30:40,400 Speaker 4: and even if I disagree with it, I'm gonna trust 643 00:30:40,720 --> 00:30:43,760 Speaker 4: his what he do, and he gonna trust what I do. 644 00:30:43,920 --> 00:30:45,600 Speaker 2: So it's not a chore. It feels good. 645 00:30:45,680 --> 00:30:48,600 Speaker 4: It's fun to me if you tell me to do 646 00:30:48,720 --> 00:30:51,440 Speaker 4: something over and over and over again, like it's not fun. 647 00:30:51,520 --> 00:30:54,080 Speaker 4: No more like Nigga, I don't feel like doing that now. 648 00:30:54,400 --> 00:30:57,520 Speaker 4: Music is a vibe. It's a spirit. Now my spirit 649 00:30:57,640 --> 00:30:59,880 Speaker 4: is on some other ship like Nigga. Like I'm not 650 00:31:00,040 --> 00:31:01,760 Speaker 4: say I already said it, like you know what I'm saying. 651 00:31:03,760 --> 00:31:04,520 Speaker 2: See that. 652 00:31:05,600 --> 00:31:08,240 Speaker 1: You know what's funny? Still tell me what's crazy? Tell 653 00:31:08,280 --> 00:31:10,080 Speaker 1: me some of the stories where he was working with Bob. 654 00:31:10,200 --> 00:31:13,600 Speaker 2: What was that like? Man? You know what those dudes 655 00:31:13,680 --> 00:31:17,760 Speaker 2: are definitely perfectionist what it was with Bob? Shout out 656 00:31:17,800 --> 00:31:18,800 Speaker 2: to DJ Bobcat. 657 00:31:19,000 --> 00:31:22,840 Speaker 1: DJ Bobcat did to anybody who listens to gangst Rap chronicles. 658 00:31:22,880 --> 00:31:26,720 Speaker 3: Obviously you heard I'm Bad ll Cooj the Bad album. 659 00:31:26,880 --> 00:31:30,120 Speaker 1: You heard back ten Backyard Boogie, you heard Tupac Strictly 660 00:31:30,960 --> 00:31:34,080 Speaker 1: DJ Bobcat is one of those very you know, not 661 00:31:34,200 --> 00:31:38,200 Speaker 1: spoken about, but prolific producers look him up and still 662 00:31:38,320 --> 00:31:40,200 Speaker 1: used to work with DJ Bobcat when he was a 663 00:31:40,280 --> 00:31:44,200 Speaker 1: fresh rapper, and Bobcat told me stories of how he 664 00:31:44,280 --> 00:31:46,080 Speaker 1: almost traumatized still in the studio. 665 00:31:47,360 --> 00:31:50,880 Speaker 2: Yeah, you know what, man, I used to go outside 666 00:31:50,920 --> 00:31:53,680 Speaker 2: and smash forty bottles sometimes, being so mad at Bob 667 00:31:54,680 --> 00:31:56,920 Speaker 2: because first he had you do a Megan Jason. You 668 00:31:56,920 --> 00:31:58,440 Speaker 2: don't even know if you gonna be on the song 669 00:31:59,000 --> 00:32:02,400 Speaker 2: because it would be like four birth slots and you 670 00:32:02,640 --> 00:32:05,680 Speaker 2: have ras casts coming through there. They have exhibited coming 671 00:32:05,680 --> 00:32:11,120 Speaker 2: through the east. When he's catch was like, oh everybody 672 00:32:11,240 --> 00:32:13,720 Speaker 2: on there. You might spend all night writing the verse 673 00:32:13,800 --> 00:32:15,920 Speaker 2: he you think you sung because he don't give you 674 00:32:15,960 --> 00:32:18,040 Speaker 2: a little snipper of the beat on the tape. And 675 00:32:18,160 --> 00:32:20,080 Speaker 2: you go do it, man, you go doing it. You're 676 00:32:20,120 --> 00:32:22,480 Speaker 2: doing all this hard work and you going in and 677 00:32:22,560 --> 00:32:26,160 Speaker 2: bus if you think it's perfect. Next thing, you know, 678 00:32:26,240 --> 00:32:28,080 Speaker 2: they could pan on them and you might make the 679 00:32:28,200 --> 00:32:30,960 Speaker 2: first cut, but then they may move you around a 680 00:32:31,000 --> 00:32:32,640 Speaker 2: little bit then say well I don't like the way 681 00:32:32,680 --> 00:32:34,760 Speaker 2: you do right there. You know you had to do stuff. 682 00:32:35,080 --> 00:32:38,280 Speaker 2: They had to be perfect Dog. It was different Ladiator School, 683 00:32:40,400 --> 00:32:43,240 Speaker 2: so yeah, well they weren't. 684 00:32:43,840 --> 00:32:46,000 Speaker 1: I always liked the challenge of it, but I think 685 00:32:46,080 --> 00:32:48,320 Speaker 1: also because I didn't grow up wanting to be a rapper, 686 00:32:48,480 --> 00:32:50,560 Speaker 1: So it was dope to have somebody take an interest 687 00:32:50,680 --> 00:32:53,960 Speaker 1: even to this day, Like I love when, like you know, 688 00:32:54,800 --> 00:32:57,760 Speaker 1: like when I could get somebody else's critigue on a record, 689 00:32:57,840 --> 00:33:01,400 Speaker 1: especially somebody who you know, like who's been around, like 690 00:33:01,680 --> 00:33:03,520 Speaker 1: iced T and too Short of some of my favorite 691 00:33:03,560 --> 00:33:05,719 Speaker 1: to let hear what I'm doing, you know what I mean, 692 00:33:05,800 --> 00:33:09,200 Speaker 1: Because I feel like they culturally represent they almost like 693 00:33:09,280 --> 00:33:11,760 Speaker 1: they're like me where they're you know, like it's only 694 00:33:11,840 --> 00:33:14,440 Speaker 1: so many rappers there who they are on and off 695 00:33:14,480 --> 00:33:17,080 Speaker 1: the mic, you know what I mean. Like it's no different. 696 00:33:17,840 --> 00:33:20,000 Speaker 1: So I like it, you know what I mean. But 697 00:33:20,600 --> 00:33:22,720 Speaker 1: like I think it depends on what you like it. 698 00:33:22,800 --> 00:33:25,000 Speaker 1: But back to the ll C JQ Tip record that 699 00:33:25,200 --> 00:33:28,520 Speaker 1: was before GNX came out. That was my favorite album 700 00:33:28,600 --> 00:33:28,920 Speaker 1: this year. 701 00:33:30,560 --> 00:33:32,720 Speaker 2: Yeah, I ain't hurt. I gotta check that out. It's dope, 702 00:33:32,760 --> 00:33:33,200 Speaker 2: you know what I mean. 703 00:33:33,280 --> 00:33:33,880 Speaker 3: It's it's dope. 704 00:33:34,120 --> 00:33:36,520 Speaker 1: I thought LLL went to Town and it's it's dope 705 00:33:36,560 --> 00:33:38,760 Speaker 1: to watch somebody who came out of nineteen eighty four, 706 00:33:39,480 --> 00:33:42,200 Speaker 1: dropping an album in twenty twenty four, and they still 707 00:33:42,280 --> 00:33:45,480 Speaker 1: handling you feel me, They still getting cracking, They still 708 00:33:46,400 --> 00:33:47,520 Speaker 1: making it work. 709 00:33:47,680 --> 00:33:48,920 Speaker 2: I really like that a lot. 710 00:33:50,200 --> 00:33:52,880 Speaker 4: I like, I like just to circle back on the 711 00:33:52,920 --> 00:33:54,920 Speaker 4: missionary and we can get off of that. I like 712 00:33:55,560 --> 00:33:59,520 Speaker 4: Snoop is busting. Snoop Snoop Rapper, he bust, He wrapping 713 00:33:59,560 --> 00:34:04,000 Speaker 4: his ass off, right, you know what I'm saying. And 714 00:34:04,800 --> 00:34:08,320 Speaker 4: I'm talking about like like like high energy. You know 715 00:34:08,360 --> 00:34:11,080 Speaker 4: what I'm saying. You know, busical however you want to 716 00:34:11,120 --> 00:34:13,320 Speaker 4: he giving you all kind of different flavors and styles. 717 00:34:13,400 --> 00:34:16,759 Speaker 4: It's just like I said, it's just to me. Yeah, 718 00:34:17,000 --> 00:34:17,960 Speaker 4: the music didn't live. 719 00:34:17,880 --> 00:34:18,520 Speaker 2: One is I was. 720 00:34:18,680 --> 00:34:22,120 Speaker 1: I was arguing with some homies problem in them, and 721 00:34:22,200 --> 00:34:24,840 Speaker 1: I'm like, see, they want me to say the music 722 00:34:24,920 --> 00:34:25,040 Speaker 1: is that. 723 00:34:25,080 --> 00:34:26,919 Speaker 3: I'm like, no, the music is not bad. The music 724 00:34:27,040 --> 00:34:31,840 Speaker 3: is actually good. But that is the problem is that 725 00:34:31,960 --> 00:34:34,799 Speaker 3: Tom Petty song sound like something Tom Petty could sing 726 00:34:34,920 --> 00:34:36,759 Speaker 3: on today. You know what I mean. 727 00:34:36,880 --> 00:34:40,080 Speaker 1: The Sting songs sound like something Sting could sing on today. 728 00:34:40,120 --> 00:34:42,120 Speaker 2: And it's that's weird. For a dog. 729 00:34:42,280 --> 00:34:45,640 Speaker 1: There was always especially the dre and Dog, even when 730 00:34:45,680 --> 00:34:50,640 Speaker 1: they would flip classical ideas like you know, uh axle ride, 731 00:34:50,680 --> 00:34:52,759 Speaker 1: you know the edge, you know what I mean. 732 00:34:53,120 --> 00:34:56,480 Speaker 3: They would flip you know, no doubt to. 733 00:34:56,600 --> 00:34:57,480 Speaker 2: Make that dum. 734 00:34:59,040 --> 00:35:03,640 Speaker 1: Don't uh, don't forget about Dre right, no doubt the cline, 735 00:35:03,960 --> 00:35:05,920 Speaker 1: you know what I'm saying. And to have Snoop like 736 00:35:06,040 --> 00:35:08,120 Speaker 1: it was dope, they would still put he would still 737 00:35:08,160 --> 00:35:10,920 Speaker 1: put this level of grittiness to it, and and this 738 00:35:11,400 --> 00:35:14,759 Speaker 1: this unh in it, and that unh is different now 739 00:35:14,880 --> 00:35:16,560 Speaker 1: because this motherfucker could. 740 00:35:16,440 --> 00:35:17,120 Speaker 3: Play the piano. 741 00:35:18,120 --> 00:35:22,359 Speaker 1: He like, it's like, no, fuck that, let's get sting 742 00:35:22,520 --> 00:35:24,600 Speaker 1: up in here to play hold up, you know what 743 00:35:24,640 --> 00:35:28,560 Speaker 1: I mean. Like, so again people want me to be 744 00:35:28,840 --> 00:35:32,879 Speaker 1: harshly critical over what Dre is doing. Is like I'd 745 00:35:32,920 --> 00:35:35,160 Speaker 1: probably be doing the same thing if I had access 746 00:35:35,280 --> 00:35:36,080 Speaker 1: to Michael Jackson. 747 00:35:36,160 --> 00:35:37,200 Speaker 3: It might come sing this sok. 748 00:35:38,200 --> 00:35:39,040 Speaker 2: But it ain't street. 749 00:35:39,719 --> 00:35:41,960 Speaker 1: It's not that's but that's the point. Yeah it's not street. 750 00:35:42,000 --> 00:35:44,800 Speaker 1: But again, yeah it's not streeted all. But Snoop is 751 00:35:44,800 --> 00:35:47,800 Speaker 1: saying street ship. Snoop is saying street ship, but the 752 00:35:48,440 --> 00:35:49,320 Speaker 1: music ain't street. 753 00:35:49,880 --> 00:35:51,520 Speaker 2: And that's what I agree now to. 754 00:35:51,640 --> 00:35:55,680 Speaker 1: Me, that's the you know, that's where it's kind of different. 755 00:35:55,719 --> 00:35:57,640 Speaker 1: You know what I mean, It's like, yeah, it's like 756 00:35:57,719 --> 00:35:59,560 Speaker 1: and Snoop was on the sting song. I don't know 757 00:35:59,640 --> 00:36:01,279 Speaker 1: if I really you know what I mean? 758 00:36:01,800 --> 00:36:03,600 Speaker 4: After it sound like it's not like a gang of 759 00:36:03,719 --> 00:36:06,520 Speaker 4: features of him being on other artists and shit like 760 00:36:06,640 --> 00:36:08,160 Speaker 4: that might be on a different genre. 761 00:36:08,880 --> 00:36:11,400 Speaker 1: But to be honest, the more I listen to it, 762 00:36:11,640 --> 00:36:13,799 Speaker 1: it's growing on me and maybe I'm giving it more 763 00:36:13,960 --> 00:36:17,360 Speaker 1: chances because it is Sloop and dre Cube to me 764 00:36:17,560 --> 00:36:20,439 Speaker 1: back to man down, It's just really, I really didn't 765 00:36:20,440 --> 00:36:22,440 Speaker 1: care about the production, Like this is kind of one 766 00:36:22,440 --> 00:36:24,719 Speaker 1: of the first times I don't think I cared about 767 00:36:24,719 --> 00:36:27,239 Speaker 1: a que produce, a produced like a record that that 768 00:36:27,360 --> 00:36:30,880 Speaker 1: Q did with the beats like normally, like you know, 769 00:36:31,040 --> 00:36:34,120 Speaker 1: even you know the policies and the you know, the 770 00:36:34,440 --> 00:36:36,799 Speaker 1: last era of Q records. It was like, I still 771 00:36:36,920 --> 00:36:39,280 Speaker 1: like the music, even if I wanted to be critical 772 00:36:39,360 --> 00:36:41,080 Speaker 1: over where he was writing at or how inspired he 773 00:36:41,200 --> 00:36:43,799 Speaker 1: was as a writer. But this is the first war 774 00:36:43,880 --> 00:36:45,960 Speaker 1: of production. I'm like, I don't really care about the production, 775 00:36:46,080 --> 00:36:47,759 Speaker 1: and that is kind of what made me be like, 776 00:36:47,880 --> 00:36:49,640 Speaker 1: ye ain't trip and I'll come back to it when 777 00:36:49,640 --> 00:36:50,239 Speaker 1: I get some time. 778 00:36:51,719 --> 00:36:53,000 Speaker 2: So I bet you if he said. 779 00:36:53,000 --> 00:36:55,640 Speaker 3: In the studio with me, I pushed his ass, he'd 780 00:36:55,640 --> 00:36:56,439 Speaker 3: be saying some shit. 781 00:36:57,640 --> 00:36:59,480 Speaker 2: I mean, if it was a fear of where I'll 782 00:36:59,480 --> 00:37:02,399 Speaker 2: be drunk too. Shit. You think that's going on? Man? 783 00:37:04,360 --> 00:37:06,600 Speaker 2: When I used to have them session, when we do 784 00:37:06,719 --> 00:37:09,480 Speaker 2: that stuff for Bobcat, Jay Stink and all of them 785 00:37:09,600 --> 00:37:13,960 Speaker 2: dudes in the studio, Man, it was different, Dog, You 786 00:37:14,160 --> 00:37:17,840 Speaker 2: actually had to have your shit tight. Dog. It was perfection, 787 00:37:18,000 --> 00:37:20,640 Speaker 2: even you know, certain breathing on them like camp. You 788 00:37:20,719 --> 00:37:24,400 Speaker 2: know what I'm told about, Like on a word, you 789 00:37:24,560 --> 00:37:26,759 Speaker 2: might have to say a word fifty times and there 790 00:37:26,840 --> 00:37:29,600 Speaker 2: wasn't no punching back then. They wanted that one word 791 00:37:29,680 --> 00:37:33,960 Speaker 2: to be perfect. Yep. It had to be perfect. And 792 00:37:34,200 --> 00:37:36,320 Speaker 2: it wasn't no thing like to day to where you 793 00:37:36,440 --> 00:37:38,040 Speaker 2: go to have a track when you go do the 794 00:37:38,080 --> 00:37:40,520 Speaker 2: stuff live, to where you got the track playing in 795 00:37:40,560 --> 00:37:42,880 Speaker 2: the background. You had to sound on stage like you 796 00:37:43,000 --> 00:37:45,160 Speaker 2: dial the record. Man, I don't know what the hell 797 00:37:45,239 --> 00:37:47,359 Speaker 2: like I saw T Grizzly kind of when he had 798 00:37:47,400 --> 00:37:50,319 Speaker 2: this coming out moment remembering that song got real big 799 00:37:50,360 --> 00:37:51,960 Speaker 2: and he starts, you could tell he had never did 800 00:37:52,040 --> 00:37:55,120 Speaker 2: shows because he was just on stage standing around Dog 801 00:37:55,200 --> 00:37:56,920 Speaker 2: and the music was just playing. He was just up 802 00:37:56,960 --> 00:37:58,960 Speaker 2: there kind of had a bop, just up there, did 803 00:37:59,040 --> 00:38:01,360 Speaker 2: he bob? And I'm like, is he a rapper? Is 804 00:38:01,400 --> 00:38:07,080 Speaker 2: he just up there walking around? I blame I blame myself. 805 00:38:07,120 --> 00:38:10,359 Speaker 1: I'm definitely the first generations of people who didn't grow 806 00:38:10,480 --> 00:38:13,239 Speaker 1: up wanting to be a rapper, studying rappers fucking it up, 807 00:38:13,920 --> 00:38:17,000 Speaker 1: you know what I mean. So I do take accountability. 808 00:38:17,120 --> 00:38:21,440 Speaker 1: I had no really understanding about hip hop or desire 809 00:38:21,520 --> 00:38:23,080 Speaker 1: about it or nothing, you know what I mean. Now 810 00:38:23,120 --> 00:38:24,880 Speaker 1: I look back, I'm like, Damn, this shit gave me 811 00:38:25,000 --> 00:38:28,120 Speaker 1: way too much for me not to know to not 812 00:38:28,320 --> 00:38:31,319 Speaker 1: have more respect for what was happening. I mean versus 813 00:38:31,440 --> 00:38:33,000 Speaker 1: if you see a rap, like, if you grew up 814 00:38:33,000 --> 00:38:34,920 Speaker 1: wanting to be a rapper, you're looking at rappers to 815 00:38:35,040 --> 00:38:39,000 Speaker 1: understand certain ways to carry yourself, certain ways to present yourself, 816 00:38:39,040 --> 00:38:41,400 Speaker 1: a million other things. I didn't have that. I was 817 00:38:41,480 --> 00:38:43,759 Speaker 1: really a product of me and cam section. It was 818 00:38:43,880 --> 00:38:46,760 Speaker 1: just like, yeah, this is yeah, this is really the culture. 819 00:38:46,840 --> 00:38:48,360 Speaker 1: This ain't the artistic version of it. 820 00:38:50,640 --> 00:38:54,480 Speaker 2: Hip hop. Hip hop kind of shoeses the rappers. Rappers 821 00:38:54,520 --> 00:38:57,960 Speaker 2: don't choose to get like I really think rap shoes 822 00:38:58,040 --> 00:39:00,600 Speaker 2: people though, because I've known people that great at what 823 00:39:00,719 --> 00:39:03,840 Speaker 2: they do. It never came nowhere close to releasing the record. 824 00:39:03,880 --> 00:39:07,040 Speaker 2: Bro talk about dudes who were very very too dope 825 00:39:07,120 --> 00:39:11,120 Speaker 2: man like had everything, man, but they just diver got 826 00:39:11,200 --> 00:39:11,640 Speaker 2: that shuf. 827 00:39:11,680 --> 00:39:15,400 Speaker 3: I'm really mad. I really want Kad to release that camera, 828 00:39:15,520 --> 00:39:17,680 Speaker 3: that that cat and camera, because that record is great. 829 00:39:18,719 --> 00:39:19,280 Speaker 2: I think. 830 00:39:20,600 --> 00:39:21,880 Speaker 3: You know what's funny, man. 831 00:39:23,719 --> 00:39:24,000 Speaker 2: Got it? 832 00:39:24,080 --> 00:39:27,200 Speaker 1: You gotta get back to just wanting to put out 833 00:39:27,320 --> 00:39:28,600 Speaker 1: something so people can hear it. 834 00:39:28,680 --> 00:39:35,040 Speaker 2: Dope starting to cut you off. Glasses still feels political 835 00:39:35,080 --> 00:39:36,759 Speaker 2: as hell. You think he might have been mad for 836 00:39:36,840 --> 00:39:38,640 Speaker 2: some You think it might be some of the things 837 00:39:38,680 --> 00:39:42,000 Speaker 2: you said about snoop cam that might be making an 838 00:39:42,040 --> 00:39:43,040 Speaker 2: old onto it a little bit. 839 00:39:43,520 --> 00:39:45,040 Speaker 4: Nah Nah, I mean, I don't know what they what 840 00:39:45,120 --> 00:39:48,200 Speaker 4: they're doing now. But ain't nobody really holding on to 841 00:39:48,320 --> 00:39:50,080 Speaker 4: it like that? Because I could put it out if 842 00:39:50,120 --> 00:39:51,759 Speaker 4: I want. I just don't want to waste it. I 843 00:39:51,800 --> 00:39:54,120 Speaker 4: don't want to waste and I don't even know how 844 00:39:54,160 --> 00:39:56,759 Speaker 4: to put it out like that, Like Glasses be trying 845 00:39:56,800 --> 00:39:59,759 Speaker 4: to show me or whatever, But uh, I just didn't, 846 00:39:59,800 --> 00:40:01,799 Speaker 4: you know, because the stuff already leaked out. 847 00:40:02,239 --> 00:40:06,520 Speaker 3: You know what I'm saying, Glasses, we got it, I 848 00:40:06,600 --> 00:40:07,960 Speaker 3: would be honest, you know what I mean. 849 00:40:08,440 --> 00:40:10,279 Speaker 1: My goal with them was for them to do three 850 00:40:10,360 --> 00:40:13,520 Speaker 1: records over three different albums, you know what I mean, Like, 851 00:40:13,640 --> 00:40:16,440 Speaker 1: I feel like we should have a people to me 852 00:40:16,520 --> 00:40:19,560 Speaker 1: who battle Cats sound marked kind of their era in 853 00:40:19,719 --> 00:40:23,440 Speaker 1: my life, Cam is one of the earliest, right, Corrupt 854 00:40:23,600 --> 00:40:26,520 Speaker 1: is one of the next. And uh, it was somebody 855 00:40:26,560 --> 00:40:28,200 Speaker 1: else that I had in mind. But I wanted him 856 00:40:28,239 --> 00:40:31,120 Speaker 1: to put out a series with these guys just show 857 00:40:31,239 --> 00:40:38,320 Speaker 1: because battle Cats still unbelieved. This nigga is still unvol like, 858 00:40:38,440 --> 00:40:41,800 Speaker 1: he's still just the culture uncut raw. He'd get in 859 00:40:41,840 --> 00:40:44,399 Speaker 1: front of that ship and go. So I put him 860 00:40:44,520 --> 00:40:45,040 Speaker 1: take care. 861 00:40:45,480 --> 00:40:48,640 Speaker 2: But as far as to me, Dre should be fucking 862 00:40:48,680 --> 00:40:49,160 Speaker 2: with him more. 863 00:40:50,400 --> 00:40:52,520 Speaker 3: Yeah, but Dre is on a different wine. 864 00:40:52,600 --> 00:40:55,800 Speaker 1: Bro J got a lot of money and he escaped 865 00:40:55,800 --> 00:40:56,439 Speaker 1: a lot of shit. 866 00:40:57,840 --> 00:40:59,920 Speaker 2: He escaped a lot of shit that. 867 00:41:00,080 --> 00:41:01,640 Speaker 3: He could have been held account before. 868 00:41:01,800 --> 00:41:05,520 Speaker 1: And it didn't that Nigga told me like, man, don't 869 00:41:05,520 --> 00:41:08,680 Speaker 1: get me in no shit though I'm like, Nigga, of 870 00:41:08,800 --> 00:41:10,680 Speaker 1: course I will get you and some shit. That's why 871 00:41:10,680 --> 00:41:12,520 Speaker 1: I'm not up that if he don't fuckle with me, 872 00:41:12,760 --> 00:41:14,759 Speaker 1: like if he don't come like have me in the 873 00:41:14,800 --> 00:41:17,440 Speaker 1: studio or have me or I get why I'm not 874 00:41:17,680 --> 00:41:18,279 Speaker 1: upset at that. 875 00:41:18,400 --> 00:41:21,120 Speaker 2: I'm like cause one thing I am is the culture. 876 00:41:21,200 --> 00:41:24,040 Speaker 2: No matter what level of intellect and whatever. 877 00:41:24,440 --> 00:41:28,160 Speaker 1: Yeah, I'm still this little wise counter, little nigga that 878 00:41:28,280 --> 00:41:31,239 Speaker 1: ain't gonna change you. Feel me so like I have 879 00:41:31,400 --> 00:41:34,360 Speaker 1: found a pride in it, in a sense of responsible 880 00:41:34,480 --> 00:41:37,759 Speaker 1: and belonging that could frighten, could make Dre me look 881 00:41:37,840 --> 00:41:39,759 Speaker 1: like this, that could make me lose it all, even 882 00:41:39,800 --> 00:41:42,840 Speaker 1: though to me that's crazy. But I get why he 883 00:41:42,960 --> 00:41:46,120 Speaker 1: thinks that. But I think Dre is moving away from 884 00:41:46,200 --> 00:41:49,279 Speaker 1: this and moving to wherever he wants to go. And 885 00:41:49,880 --> 00:41:52,440 Speaker 1: I'm not trying to hold him back. I'm not trying 886 00:41:52,480 --> 00:41:55,560 Speaker 1: to pull him back. Hey, bro, if you've been doing 887 00:41:55,640 --> 00:41:57,640 Speaker 1: this for forty years, this is what I was arguing 888 00:41:57,719 --> 00:41:59,960 Speaker 1: with problem in the homies about they talking about he 889 00:42:00,120 --> 00:42:02,279 Speaker 1: didn't put this new artist. Man, I don't give a 890 00:42:02,360 --> 00:42:04,080 Speaker 1: fuck who Drey got rabbit for him. 891 00:42:04,160 --> 00:42:04,839 Speaker 2: That shit over. 892 00:42:05,080 --> 00:42:07,960 Speaker 1: Let this man set sell that nigga can start making 893 00:42:08,040 --> 00:42:10,160 Speaker 1: yacht rock if he want. It's up to us now 894 00:42:10,760 --> 00:42:13,200 Speaker 1: to finish the job, to keep it going. It's up 895 00:42:13,239 --> 00:42:15,600 Speaker 1: to the Kendrick Lamars to put new artists on. It's 896 00:42:15,680 --> 00:42:17,759 Speaker 1: up to the till of the creators. It's up to 897 00:42:17,840 --> 00:42:21,680 Speaker 1: the glasses and lungs, the problems, the rembles, the mustards. 898 00:42:22,120 --> 00:42:25,279 Speaker 1: Why geez, this our job? Now this are you still 899 00:42:25,320 --> 00:42:26,800 Speaker 1: want the older homie to get in the car and 900 00:42:26,840 --> 00:42:28,560 Speaker 1: go put in work. Get your ass out of here. 901 00:42:28,600 --> 00:42:32,239 Speaker 1: Bro Oh, Denny's go do something else, you know. I 902 00:42:32,320 --> 00:42:35,240 Speaker 1: mean I would never want go call my older homies 903 00:42:35,280 --> 00:42:36,359 Speaker 1: to go do nothing no more. 904 00:42:37,640 --> 00:42:40,040 Speaker 2: You know what, though, I see I used to always 905 00:42:40,160 --> 00:42:44,399 Speaker 2: wonder why guy is greatest and hundred three thousand wasn't 906 00:42:44,400 --> 00:42:46,359 Speaker 2: a record no more. But I feel what he said. 907 00:42:46,400 --> 00:42:48,360 Speaker 2: He says, Man, what am I'm gonna talk about? Like? 908 00:42:48,840 --> 00:42:49,759 Speaker 2: What am I going to do? 909 00:42:50,040 --> 00:42:51,719 Speaker 1: It's like I used to always tell you the day 910 00:42:51,760 --> 00:42:55,399 Speaker 1: you lose your thorns, it's over. Andre said, the South 911 00:42:55,480 --> 00:42:57,000 Speaker 1: has something to say. He was trying to save me 912 00:42:57,080 --> 00:42:59,719 Speaker 1: there to say. Now everybody listen, He's like, job is done. 913 00:43:00,600 --> 00:43:04,359 Speaker 2: But somebody like Cam the motherfuckers is still pointing out 914 00:43:04,400 --> 00:43:07,359 Speaker 2: you grab whole help. Yeah, it ain't never it ain't 915 00:43:07,400 --> 00:43:10,400 Speaker 2: never over with me. I got a question for y'all, like, 916 00:43:10,800 --> 00:43:12,440 Speaker 2: because the quality of certain. 917 00:43:12,280 --> 00:43:15,440 Speaker 4: Lyrics like we was talking about earlier, red Man or 918 00:43:15,760 --> 00:43:17,960 Speaker 4: or this and that or qube or whatever. 919 00:43:18,680 --> 00:43:21,240 Speaker 2: One thing that when when I was coming up, I didn't. 920 00:43:21,239 --> 00:43:24,040 Speaker 4: I didn't never used to write rhymes in the studio 921 00:43:24,360 --> 00:43:26,960 Speaker 4: with niggas, Like I would write rhymes at home and 922 00:43:27,160 --> 00:43:29,000 Speaker 4: I had a beat or whatever and I'm able to 923 00:43:29,040 --> 00:43:32,040 Speaker 4: think about it or whatever. But do you think that 924 00:43:32,200 --> 00:43:36,160 Speaker 4: takes away from the potential quality if you're under pressure 925 00:43:36,239 --> 00:43:38,760 Speaker 4: to come up with something right there because it's posing 926 00:43:38,880 --> 00:43:42,480 Speaker 4: cons of writing in the studio with with other dudes 927 00:43:42,600 --> 00:43:44,759 Speaker 4: or whatever, because it's gonna it's gonna make you step 928 00:43:44,840 --> 00:43:46,320 Speaker 4: your game up, but it's gonna rush you. 929 00:43:46,440 --> 00:43:50,239 Speaker 1: At the same time, craft develop as a writer, learn 930 00:43:50,320 --> 00:43:52,160 Speaker 1: more about record riding in general. 931 00:43:52,360 --> 00:43:53,600 Speaker 3: You know what makes it special. 932 00:43:54,040 --> 00:43:57,080 Speaker 1: So now it's like basketball, Like yeah, when you fresh 933 00:43:57,160 --> 00:43:58,680 Speaker 1: on the court, you feel me you could jump out 934 00:43:58,680 --> 00:44:00,600 Speaker 1: the gym, you could dunk on a nigga reseas and 935 00:44:00,640 --> 00:44:02,600 Speaker 1: all that. But I'm one of them niggas, man, I 936 00:44:02,640 --> 00:44:05,920 Speaker 1: ain't got so many different skills over the time that 937 00:44:06,040 --> 00:44:07,680 Speaker 1: it don't matter if I'm in the studio, I take 938 00:44:07,719 --> 00:44:11,000 Speaker 1: it home. I gotta go to game that you can 939 00:44:11,080 --> 00:44:13,520 Speaker 1: put me writing a post. I'm one of them last 940 00:44:13,600 --> 00:44:15,680 Speaker 1: niggas like Kareem, I give a nigga this hook shot 941 00:44:15,760 --> 00:44:18,560 Speaker 1: all night. This thing ain't gonna never dry up. Feel me, 942 00:44:18,680 --> 00:44:22,040 Speaker 1: I got enough plays to where as a writer like 943 00:44:22,160 --> 00:44:23,320 Speaker 1: I'll figure out a way. 944 00:44:23,239 --> 00:44:23,920 Speaker 2: To approach it. 945 00:44:24,080 --> 00:44:28,239 Speaker 1: Open clothes, climax, every verse, just skill set, so I 946 00:44:28,280 --> 00:44:31,120 Speaker 1: don't need to feel. The feeling is when I'm starting 947 00:44:31,120 --> 00:44:33,399 Speaker 1: to talk about what I'm talking about, and I always. 948 00:44:33,080 --> 00:44:36,719 Speaker 2: Stay invested in the culture. So what do I like? 949 00:44:37,040 --> 00:44:39,120 Speaker 1: I used to like going home, but now it's more 950 00:44:39,280 --> 00:44:42,440 Speaker 1: like whatever the job is. If the job is like 951 00:44:42,560 --> 00:44:45,080 Speaker 1: Tupac months died, Like when I came up with that, 952 00:44:45,280 --> 00:44:46,560 Speaker 1: Like I was in the studio, I was trying to 953 00:44:46,560 --> 00:44:48,200 Speaker 1: come up with it and happened. I was in the 954 00:44:48,280 --> 00:44:50,040 Speaker 1: shower two days later and I just came up with 955 00:44:50,080 --> 00:44:51,040 Speaker 1: the whole thing in the dollar. 956 00:44:51,320 --> 00:44:53,480 Speaker 2: That's when the inspirational issues sometimes to teach you in 957 00:44:53,480 --> 00:44:56,680 Speaker 2: the hottest places. I remember I was thinking about this 958 00:44:56,840 --> 00:45:00,359 Speaker 2: one song I was working on. The beat was so knocking, man, 959 00:45:00,800 --> 00:45:02,560 Speaker 2: I want to do the record, but couldn't think of 960 00:45:02,640 --> 00:45:04,560 Speaker 2: what to do on it. I was getting on the 961 00:45:04,600 --> 00:45:07,799 Speaker 2: plane to go to London, man, and everything just kind 962 00:45:07,800 --> 00:45:09,600 Speaker 2: of hit me. When I was an airport, didn't know 963 00:45:09,640 --> 00:45:11,279 Speaker 2: where it came from, just kind of hit me, and 964 00:45:11,320 --> 00:45:14,040 Speaker 2: I said on the plane ride it kind of wrote 965 00:45:14,080 --> 00:45:16,160 Speaker 2: that song down. Man, jotted it down on the back 966 00:45:16,160 --> 00:45:18,440 Speaker 2: of the you know how to get the little instruction 967 00:45:18,600 --> 00:45:22,560 Speaker 2: books a little stretch, so how to you know, handle 968 00:45:22,560 --> 00:45:25,520 Speaker 2: of the flotation device and all that stuff. I wrote 969 00:45:25,560 --> 00:45:27,239 Speaker 2: the whole rap. It was in pieces on the back 970 00:45:27,280 --> 00:45:30,399 Speaker 2: of that car, and I took that and finished it up. Yeah. 971 00:45:30,480 --> 00:45:33,400 Speaker 1: So me, it's like, you know, I don't really have 972 00:45:33,560 --> 00:45:35,320 Speaker 1: a preference, but I'll tell you one thing. If we 973 00:45:35,400 --> 00:45:37,319 Speaker 1: need a bucket, you just put me in a post. 974 00:45:37,320 --> 00:45:39,719 Speaker 1: I'm gonna hook that drop that up right there. I 975 00:45:39,800 --> 00:45:41,600 Speaker 1: got a hoodshot for the nigga. It don't matter how 976 00:45:41,680 --> 00:45:44,359 Speaker 1: tired I am, So I guess whatever you take. 977 00:45:44,400 --> 00:45:44,759 Speaker 3: You know what I mean. 978 00:45:44,800 --> 00:45:46,520 Speaker 1: When it's my record, I'll come up with a right 979 00:45:46,560 --> 00:45:49,200 Speaker 1: on the spot. Sometimes shit, I'll just wait till I 980 00:45:49,280 --> 00:45:49,959 Speaker 1: got something better. 981 00:45:50,440 --> 00:45:53,560 Speaker 4: But it would depend on who's in the studio, Like 982 00:45:53,680 --> 00:45:55,800 Speaker 4: if it's if it's name Gran his big names in 983 00:45:55,840 --> 00:45:56,280 Speaker 4: the studio. 984 00:45:56,360 --> 00:45:58,360 Speaker 2: Are you trying to break the back border? 985 00:45:58,520 --> 00:45:59,200 Speaker 3: What that nigga? 986 00:45:59,320 --> 00:45:59,800 Speaker 2: Just say that. 987 00:46:00,000 --> 00:46:02,520 Speaker 1: That's to be where I carved out what I do 988 00:46:02,719 --> 00:46:04,680 Speaker 1: culturally as a hip hop watters. Now, I don't know 989 00:46:04,760 --> 00:46:07,759 Speaker 1: exactly how to say certain things that make people be like, 990 00:46:08,360 --> 00:46:09,160 Speaker 1: who is that guy? 991 00:46:09,920 --> 00:46:12,920 Speaker 2: Yeah, I definitely think it's important, though, Cam sometimes to 992 00:46:13,000 --> 00:46:16,400 Speaker 2: dump on some niggas and remind niggas break the backboard 993 00:46:16,440 --> 00:46:19,600 Speaker 2: in the ass fan. It's then when they ask real quick, 994 00:46:19,680 --> 00:46:23,120 Speaker 2: but she's two hours, man, I don't like doing that. 995 00:46:24,520 --> 00:46:27,319 Speaker 2: The goals for the New Year? What's that New Year's resolutions? 996 00:46:27,360 --> 00:46:29,040 Speaker 2: That should always thought that shit was kind of like 997 00:46:29,440 --> 00:46:31,200 Speaker 2: if you go do something, just to do it, you know. 998 00:46:32,320 --> 00:46:34,799 Speaker 2: I just want y'all always to stay safe out there, 999 00:46:34,960 --> 00:46:35,920 Speaker 2: be responsible. 1000 00:46:37,480 --> 00:46:37,920 Speaker 3: When is this? 1001 00:46:38,120 --> 00:46:40,560 Speaker 2: When does this come out? This come out tomorrow? Dogs 1002 00:46:40,600 --> 00:46:43,120 Speaker 2: come out the real times. We got three o'clock this morning, 1003 00:46:43,400 --> 00:46:45,560 Speaker 2: Sab you need to drop a New Year's one, you 1004 00:46:45,640 --> 00:46:47,040 Speaker 2: slip you know what? 1005 00:46:47,160 --> 00:46:49,600 Speaker 1: We all need to do a digital soap box live. 1006 00:46:49,880 --> 00:46:52,520 Speaker 2: Yeah, let's do it. I'm doing when we could do that, 1007 00:46:52,760 --> 00:46:55,480 Speaker 2: but hey, we go playing those off the record. Man, 1008 00:46:55,560 --> 00:46:57,120 Speaker 2: y'all have a happy New Year. We got there. We 1009 00:46:57,200 --> 00:46:59,359 Speaker 2: go do it. We go do a digital byes live though, 1010 00:46:59,600 --> 00:47:03,000 Speaker 2: see that you know, information coming in and we out 1011 00:47:03,040 --> 00:47:03,239 Speaker 2: of here. 1012 00:47:03,960 --> 00:47:07,920 Speaker 3: Please m