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

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Speaker 2: What up, y'all?

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Speaker 3: Welcome back to Quest Love Supreme. So last week we

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Speaker 3: gave you part one of our conversations with L, who

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Speaker 3: Jack tapeed the iHeart Studios Hollywood. Make sure you check

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Speaker 3: that out because we asked L about as early as days,

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Speaker 3: rapping people, doubting I need love, new producers, and some

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Speaker 3: of those rabbit hole questions we always wanted to know.

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Speaker 2: Yeah, we only made it to talking about nineteen ninety.

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Speaker 3: So yeah, here's part two where we talk about everything else.

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Speaker 2: Enjoy y'all.

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Speaker 1: So, also early with Wildcats with Toys or whatever, you're

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Speaker 1: one of the first people in the hip hop lane

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Speaker 1: to start pivoting to other mediums acting. Yeah, how easy

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Speaker 1: or hard was it to convince you? Because I've literally

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Speaker 1: met nobody in our industry that it wasn't a struggle.

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Speaker 1: Me too, I had to be talked and almost by

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Speaker 1: at gunpoint to direct this film I want to do it.

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Speaker 2: How easy was it for you to get into that lane?

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Speaker 2: I had no no problems with it, you know, as

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Speaker 2: long as as long as it didn't do anything that

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Speaker 2: was gonna undermine what I was doing, you know, in music,

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Speaker 2: you know what I'm saying, as long as it didn't

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Speaker 2: undermine that I was cool. You know. I always believed,

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Speaker 2: like my mother used to always tell me, you could

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Speaker 2: do anything you put your mind to, you know what

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Speaker 2: I'm saying. So it's like for me and I used to,

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Speaker 2: you know, watch Bruce Lee and dream about having movies

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Speaker 2: and me and my man Pierre would have the he'd

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Speaker 2: have the was it the thirty four millimeter or the

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Speaker 2: sixteen minute? The cameras the sixteen milimeter cameras and we'd

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Speaker 2: be making kung ful movies and all that. So I

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Speaker 2: was with it. I was I wanted to smoke. I

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Speaker 2: wanted all to smoke. I want to make movies, want

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Speaker 2: to do it all.

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Speaker 1: How easy was the transition to do though? Did you

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Speaker 1: have to get an acting coach?

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Speaker 2: I definitely study. I definitely have had many acting coaches.

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Speaker 2: I went to the Spies Academy. Uh. You know, I

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Speaker 2: work with a lot of acting coaches, Greta Secat, Winnie

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Speaker 2: Winnie Hill and my current coach. You know, I trained

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Speaker 2: and studied, you know read, you know Stanislavsky, and you

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Speaker 2: know and Uda Hagen and you know yo, yeah, oh yeah,

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Speaker 2: that technique. Oh yeahechnique. Oh yeah, oh yeah, of course

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Speaker 2: hundred percent. Like I listen, you have to you have

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Speaker 2: to and you have to respect the craft, right Like

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Speaker 2: people assume that I just kind of bounce into things,

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Speaker 2: but I you know, I watched I study everything, you

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Speaker 2: know what I'm saying, and I pay attention to the craft.

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Speaker 1: Was there a role that you passed up that was

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Speaker 1: sort of like, damn, I had first DIBs on blah

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Speaker 1: blah blah.

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Speaker 2: A role I passed up was the the Alan Payne

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Speaker 2: role in New Jack City. I passed that up. Oh really? Yeah, yeah,

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Speaker 2: I passed on and I wanted to do it. My

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Speaker 2: father didn't want me to play a drug dealer, but

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Speaker 2: then you did. That's my decision, dad, you know, let

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Speaker 2: me do this. That's a call classes, no creative curfews.

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Speaker 2: You for real, for real, straight up.

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Speaker 4: That probably is my favorite Movie's my favorite Thank you?

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Speaker 2: Thank you guess yeah, oh boy.

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Speaker 5: We haven't been on this show every time. Every once

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Speaker 5: in a while where we talk to people about the

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Speaker 5: Latin quarters, and nine of the ten times, everybody's story

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Speaker 5: starts with one time I was there and ll cool

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Speaker 5: J did this, and I'm not even I'm not even

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Speaker 5: making this up.

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Speaker 2: Like every story, they're like, we're there, yeah, I was that.

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Speaker 2: I feel like you were.

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Speaker 5: I feel do you have your favorite Latin Quarter story or.

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Speaker 2: We do it every time?

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Speaker 5: Very offensive, the.

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Speaker 2: Racist. It's just like if you sound like as a Mexican.

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Speaker 1: Country Latin, I totally forgot you are a hip hop

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Speaker 1: legend that was of age of the Latin corner. The

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Speaker 1: only reason why I'm obsessed with the Latin Quarter is

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Speaker 1: because to hear everyone tell the story, everyone tells of

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Speaker 1: the best time they've ever musically had in their lives,

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Speaker 1: like listening to hip hop, but it always comes on

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Speaker 1: the b side of like fighting and break it. I'm like,

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Speaker 1: why would you go to a place where something could

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Speaker 1: possibly happen to you just to hear what top billing

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Speaker 1: sounds like on the speaker system? Did you ever frequent

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Speaker 1: Latin Quarter or whatever? What is it like in your

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Speaker 1: like what's your take on the Latin Quarter?

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Speaker 2: I mean it was dangerous, dangerous, Like you know I

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Speaker 2: had to do it one time. Man, Like you know,

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Speaker 2: he's saying something crazy to me. I'm like, what's up.

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Speaker 2: He's like, what's up? What's up? Like, what's up. I

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Speaker 2: look down at his hand. He got to raise a

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Speaker 2: blade in his hand. I'm like, okay, that's what you know,

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Speaker 2: that's what you know what I'm saying. So it's like

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Speaker 2: it was that kind of a spot. But then you

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Speaker 2: hear like amazing dancing and and like you know, it

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Speaker 2: was like a badge of honor to be able to

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Speaker 2: walk around in there with jewelry on. You know what

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Speaker 2: I'm saying. It was so for you.

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Speaker 1: Never think of a vulnerability like, yo, man that I

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Speaker 1: can't go there because like.

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Speaker 2: I start with you, no no, no, no, you gotta remember

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Speaker 2: like everybody, I ran with it, yo. No no no

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Speaker 2: no no no no no no no no. That wasn't

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Speaker 2: a problem. That wasn't my issue. You know. I'm not

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Speaker 2: saying this impossible. I'm saying, but that wasn't my issue.

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Speaker 2: I was good. I was good. So you weren't a

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Speaker 2: roll with yourself person. You were a not in those

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Speaker 2: not when I went to certain clubs. Now, when I

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Speaker 2: went to the I would do that sometimes, but really honestly,

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Speaker 2: I would go downtown with some of them clubs by myself.

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Speaker 2: Like I might go to CBGB's or something, and you know,

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Speaker 2: fish Bone and falling or I'm down there, like you know,

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Speaker 2: standing there and the like they got some punk rock

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Speaker 2: dudes on there. I don't know if it's a sex

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Speaker 2: pistol or who it might be, and they be in

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Speaker 2: there performing at CBGB's. I might go there by myself,

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Speaker 2: but when I went to the Latin quarters, I usually

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Speaker 2: took a couple of dudes with me, you know, depending

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Speaker 2: on who it was, you know what I'm saying. And

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Speaker 2: we was moving around, it was we was good. Plus

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Speaker 2: like I said, you know, I was I was really

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Speaker 2: friendly with all of the guys in the town that

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Speaker 2: were really I had very few real problems, you know

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Speaker 2: with guys because I knew how to not be tough,

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Speaker 2: you know what I'm saying, like how to not and

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Speaker 2: not be a punk either, you know what I'm saying.

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Speaker 2: So I didn't have like a lot of them problems

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Speaker 2: like you know, I just didn't you know what I'm saying.

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Speaker 1: Can you tell us the story of how you and

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Speaker 1: Arli Maum connected And yeah, what is the feeling of

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Speaker 1: the perception of being underestimated by that point in your career?

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Speaker 2: So first, the underestimated piece. The underestimated piece is kind

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Speaker 2: of like listen. I love a challenge, man, and you know,

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Speaker 2: I welcome those moments when people think that I'm not

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Speaker 2: gonna be able to do something. It's actually it inspires me.

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Speaker 2: I secretly relish the opportunity to prove that I'm more

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Speaker 2: than what you think I am, you know what I'm saying.

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Speaker 2: And so that part for me is like, you know,

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Speaker 2: being down in the fourth quarter is like I just

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Speaker 2: want the ball, like I love that. I live for it,

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Speaker 2: you know what I'm saying. That's why it's thirty some

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Speaker 2: odd years later and I'm still out here. You know,

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Speaker 2: we're still doing arenas. You know what I'm saying, because

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Speaker 2: I just relished that. You know. In terms of me Molly,

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Speaker 2: it was like I used to go up to BLS

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Speaker 2: at the time and do interviews, and one day I

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Speaker 2: was up there and we was doing something and Mally

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Speaker 2: was like, yeah, what's something, And I'm like yo, and he,

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Speaker 2: you know, he always had the great stuff, and he

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Speaker 2: had kind of the Juice Crew stuff had just cooled

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Speaker 2: off just enough, so he was kind of like in

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Speaker 2: a little bit of an in between phase. And I

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Speaker 2: was coming off a panther and so obviously, you know,

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Speaker 2: I had got booed at the use of Hawkins thing

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Speaker 2: and all that down down in New York because remember,

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Speaker 2: so said, I don't know so what happened. You gotta remember.

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Speaker 2: So when I came out with that walking with a panther,

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Speaker 2: the real issue with walking with a Panther wasn't yeah,

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Speaker 2: there's some songs on there people don't like whatever. The

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Speaker 2: real issue was the imagery. Imagery. So at that time,

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Speaker 2: it was about you had public enemy, you had ex clan,

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Speaker 2: you had care rests that everybody was on the area,

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Speaker 2: and I'm running around with diamonds flooded Minx, champagne, you know,

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Speaker 2: models on the back and cell phones, briefcases, cash I'm

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Speaker 2: going to CALLI getting five sixty benches, getting convertible tops, cutting,

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Speaker 2: you know. So they're looking at me like that was foul,

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Speaker 2: you know. And see fast forward ten years now and

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Speaker 2: everybody was you know, when you asked for it to

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Speaker 2: ninety seven, ninety eight, ninety nine, it was different, right,

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Speaker 2: But at that time I was the first guy who

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Speaker 2: really did that, so it was looked, it was frowned upon, right,

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Speaker 2: So that was really the energy. So it felt like

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Speaker 2: I wanted to show that number. There was more to

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Speaker 2: it than just the trappings. Does that make sense? I

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Speaker 2: only show them there was more to it than the trappings,

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Speaker 2: like I really because I really loved this. I didn't

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Speaker 2: do it for the trappings. The trappings came, but I

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Speaker 2: did it for the for the love. And so I

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Speaker 2: got with Mally. Mally was like, Yo, what something, man,

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Speaker 2: Let me get a remix or something. I'm like, let's

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Speaker 2: do it. So that casual yep. Okay, like Yo, let's

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Speaker 2: do a remix. Let me get a remix. Someone said,

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Speaker 2: let's get it, so I said. He said, we'll send

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Speaker 2: me the toys. So I gave Jingling Baby. Okay. And

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Speaker 2: when I gave Jingling Baby, you know, I had been

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Speaker 2: playing with it already, so I had that baseline on there.

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Speaker 2: You know what I'm saying, because I used to make

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Speaker 2: a lot of my beats. Okay, you know what I'm saying.

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Speaker 2: Like you know I'm a type of guy. I mean,

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Speaker 2: I made a lot of my beats. You know what

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Speaker 2: I'm saying. People don't realize that. So so I had

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Speaker 2: already had put that base on it. So I sent

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Speaker 2: it to him and he was like, yo. And when

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Speaker 2: that came in, when I walked in the studio he

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Speaker 2: had the baseline planing. I was like, oh word, He's like, yo,

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Speaker 2: how you got this on here? You ain't? So he

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Speaker 2: like chopped it in and put some stuff to it.

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Speaker 2: Then he put that walking on Sunshine in it, and

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Speaker 2: you know, he said, yo, I want you to readrough

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Speaker 2: the vocals though you know what I'm saying. I want

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Speaker 2: you because you always yelling on your Joe. I want

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Speaker 2: you to do it more mellow. I'm like, all right,

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Speaker 2: you know leads to booming.

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Speaker 1: All right, now, this is all right. This is something.

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Speaker 1: So every night, every night I would go to z

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Speaker 1: Trip right and I would say to him. I was like, yo,

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Speaker 1: are you guys? Is this all pro tools? He's like

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Speaker 1: what do you mean? I was like, is Yello doing

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Speaker 1: this live or is that pro tools? He's like, no,

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Speaker 1: he's live. I was like, all right, you're protecting him.

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Speaker 2: So about maybe six years later, I went to the

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Speaker 2: pro tools guy right, and I.

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Speaker 1: Said, let me see, let me see all the tracks

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Speaker 1: real quick, because this is something now as far as

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Speaker 1: I know. So the thing is is that in my mind,

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Speaker 1: Tarik's greatest gift as an MC is his breath control.

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Speaker 1: And when you watch the Hot ninety seven free style,

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Speaker 1: like you rarely hear whatever. So like Teriq's you know,

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Speaker 1: he is a communications major in college and so he

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Speaker 1: does his whole circular breath thing. But I never heard

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Speaker 1: a rapper ever use intonation and concert just like their

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Speaker 1: record like rock Kim, who's the king of monotone and

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Speaker 1: all this stuff, figure of a marital plant, Like he

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Speaker 1: goes loud and I was like, wait a minute, ll

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Speaker 1: would match note for note like his vocals on each song,

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Speaker 1: and it was blowing my mind that he wasn't yelling

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Speaker 1: and he was talking monotone and still projecting. So I

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Speaker 1: never like that to me, you never get enough credit

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Speaker 1: for that, And you know, I don't even know if

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Speaker 1: that's a thing to celebrate, Like, wow, you sound just

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Speaker 1: like your records, But I've never seen a human being,

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Speaker 1: never out of breath matching their vocals, and like that's hard.

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Speaker 4: Now a record, a record like Booming System, where you

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Speaker 4: kind of are more lowered to do that in an arena, Yeah, yeah, yeah,

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Speaker 4: that's like to keep it low like because yeah, but

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Speaker 4: you naturally as an MC, I mean, you're excited, you

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Speaker 4: naturally want.

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Speaker 1: To go being Yeah, but what makes Booming system is

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Speaker 1: the coolness of it, right, you know you know.

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Speaker 2: You hear boxes say keep your composure. You got to

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Speaker 2: keep keep your composure. You gotta you gotta trust it.

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Speaker 2: You know what I'm saying. The audience know what it is?

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Speaker 1: How do you know that and apply that, especially when

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Speaker 1: you live a life and walk a path in which

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Speaker 1: you almost got to justify every step that you're taking

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Speaker 1: and not performatively prove yourself every time. But literally, like

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Speaker 1: since Panther, every LL record's been an event to me

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Speaker 1: because I always been like, all right, I want to

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Speaker 1: see Like for me Panther, I was like, I wonder

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Speaker 1: what LL sounds like over.

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Speaker 2: Sample production, you know what I mean?

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Speaker 1: Next record is like I wonder what LL sound was

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Speaker 1: like in nineties production, like you know, topping the beat.

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Speaker 2: So it's almost like even from your biggest supporters, it's

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Speaker 2: like can he do it again? Can you do it?

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Speaker 2: I tell you, Like, like even this this new record

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Speaker 2: I just finished, right, I just finished this record with

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Speaker 2: Q tip and yeah, yeah, yeah something. No, No, that's

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Speaker 2: too that's too fancy. I need I need, I need

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Speaker 2: some cheaps. I need something I can get get right

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Speaker 2: to it, get right to the world. What I write,

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Speaker 2: Just what happened? Why never doing chapstick? And did they each? Yeah? Yeah,

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Speaker 2: everybody shastick for years my whole life. Yea, all that

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Speaker 2: aqua fall and all that run around with the shiny

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Speaker 2: lips like you know, like like I kissed the chicken

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Speaker 2: grease or something like I took the chicken. Yeah, like

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Speaker 2: like I've been like I've been kissing a pot of

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Speaker 2: chicken grease, knowing that you got up like everything I'm like,

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Speaker 2: I mean, be a while. It is my first application.

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Speaker 2: That's my first application, you know what I mean? For years,

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Speaker 2: like my whole life.

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Speaker 4: Sorry, nobody ever hear you about doing that?

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Speaker 2: Like getting your that's you your merch game. I swear

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Speaker 2: to God that it would sell out too damn long. Yes,

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Speaker 2: I'm sorry, broke, that's a good damn got.

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Speaker 1: My question doesn't matter, you know, it doesn't you know,

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Speaker 1: with your intonations and whatnot, like with how how do

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Speaker 1: you know like screaming when some of it applies for

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Speaker 1: us and when something.

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Speaker 2: Is just listen to it. I just listened to it,

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Speaker 2: not really really listen. I really make do the song.

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Speaker 2: Just do the song? What do you? What's all the

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Speaker 2: Just do the.

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Speaker 3: It's just that I think, right, you must meditate though,

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Speaker 3: because I think what a mirror two is asking is

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Speaker 3: like and even what Ponte said about just being nastural

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Speaker 3: on a stage and being excited, Yeah, you have to

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Speaker 3: have a certain still level of control from based on

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Speaker 3: what I'm sick.

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Speaker 2: Well, you have pat yourself. You have to well, you

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Speaker 2: have to be first of all, you know, in terms

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Speaker 2: of cardiovascular you gotta be in shape. You know what

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Speaker 2: I'm saying, because a lot of times, a lot of

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Speaker 2: the yelling and a lot of that can be attributed

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Speaker 2: to people just being out of breath. You're not in shape.

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Speaker 5: But I was going to ask what famly of youth

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Speaker 5: have you drank from? Because you don't seem to age

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Speaker 5: like you know, if you look the same as you

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Speaker 5: do from Helen your mouth?

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Speaker 2: God, little melon, little melanin on herb. Bro, no me game.

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Speaker 2: You know you got a cousin like, Yo, this is

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Speaker 2: my cousin. He's sixty one. He's like, yeah, what happening baby?

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Speaker 2: It was good? It's good.

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Speaker 3: Cook like you don't do Okay, I'm just gonna start

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Speaker 3: asking vitamins. Lion's main changa rachi like write him in deep.

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Speaker 2: Fronte's face right now?

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Speaker 5: Is that.

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Speaker 2: I was your mushrooms? You're healthy mushroom. I did not.

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Speaker 2: I've never heard of No one knows what I'm talking about.

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Speaker 2: I don't know what is. Yeah, I don't know. Yeah,

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Speaker 2: the rhythm to the boogey to be.

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Speaker 3: That's because spells no magic. I'm telling you healthy mushrooms

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Speaker 3: for you anyway?

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Speaker 2: What is?

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Speaker 3: What is the health situation?

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Speaker 2: Here? Are you vegetarian? Pest? Like I meet, I meet,

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Speaker 2: I got it, I got I got to have me

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Speaker 2: a porterhouse or something. Wait, i't to have it. Wait

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Speaker 2: a minute, I'm sorry, I'm an animal. This don't got

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Speaker 2: to have it. I love everybody. I want you to

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Speaker 2: be a vegetarian. I want you to do that. I

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Speaker 2: want you to be a pescatarian. I want you to

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Speaker 2: have herbs and spike like I gotta have the best.

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Speaker 2: He gets the best coming. Sorry, man, eat.

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Speaker 1: This reminds me of the very first time I went

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Speaker 1: on my health journey. Courtesy of Mark Jenkins, Right, yes,

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Speaker 1: remember so the second time I met ll and I

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Speaker 1: know you don't remember this.

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Speaker 2: This is like right when.

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Speaker 1: The tipping point was out, So it's like two thousand

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Speaker 1: and four. So Jenkins was in LA working out training

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Speaker 1: me and of course lobby call and you were passing

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Speaker 1: the Gower Street in La. So it's like, dog, I

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Speaker 1: gotta go to Roscoe's so fair right exactly, I cheat.

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Speaker 2: On my trainer. So I went in right now. You

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Speaker 2: worked out with Mark Jenkins before, So I walked in.

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Speaker 1: I know Jenkins was in LA working with me, him

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Speaker 1: and maybe like two others celebrity clientele. And Mark Jenkins

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Speaker 1: is the guy who his business one his stock went

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Speaker 1: up when he built then for the entitled video. So

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Speaker 1: you know I'm in roscos and pictures the Pink Panthers.

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Speaker 2: Theme, turn right right and and LL so you can't now.

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Speaker 1: The thing is, this is the second I've not met LL.

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Speaker 1: So I don't know if he knows what a quest

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Speaker 1: love is or who a quest love is whatever. So

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Speaker 1: right now I'm panicking because I'm like, oh damn, he

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Speaker 1: gonna tell. You're probably gonna tell. So I like gave

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Speaker 1: him pan I said, well, just coming from a fan

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Speaker 1: standpoints like yo, man, I said, by the way, I said,

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Speaker 1: you know, I'm a client of Mark Jenks as well,

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Speaker 1: so just you know small, he said, don't worry about it.

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Speaker 1: Your secret safe with me, worry about it secret safe.

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Speaker 2: The first time I met him, wait, at least that five.

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Speaker 1: But the first time I met him it was the

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Speaker 1: NAACP Awards. We were I think we were doing something

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Speaker 1: for for Bono, like a truth. You know, Bono just

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Speaker 1: started the Red Company for Africa or whatever, so they

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Speaker 1: gave him an award. So there's there's like.

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Speaker 2: Backstage, there's like a two second quick change booth. There's

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Speaker 2: two of them. Princess in one of them booths, so

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Speaker 2: it's like you can't get in there. Whatever.

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Speaker 1: So they're like, I thought there was a booge in

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Speaker 1: my nose or maybe a ZiT. I don't know, like

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Speaker 1: I saw something there, so I like ran in the room.

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Speaker 1: Now LLC is positioned right in front of the mirror.

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Speaker 1: I'm trying to like, you know, I just want a

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Speaker 1: good I want a good ten seconds, yes, to make

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Speaker 1: sure that everything's straight, but really see if I got

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Speaker 1: a bully or whatever.

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Speaker 2: But llll's not budget. You're just sitting there and I

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Speaker 2: don't want to be like yo. And he was like,

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Speaker 2: you say, your secret safe door.

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Speaker 1: You looked marvelous, you know, you just look at me like,

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Speaker 1: don't worry you Marvel's be like the second pop that Jordan.

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Speaker 2: Jesus.

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Speaker 4: I wanted to ask you about Chris Lighty because we

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Speaker 4: I had a chance sat down to you know, meet

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Speaker 4: and talk with him before he you know, before he passed,

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Speaker 4: and he talked about specifically the Mister Smith album and

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Speaker 4: for him how that really kind of set him up

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Speaker 4: at def Jam and like really people saw him as

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Speaker 4: you know, an executive and it you know, put him

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Speaker 4: on another level.

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Speaker 2: What was that Mister Smith album for you and working

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Speaker 2: with him? What was that experience like? Because that was

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Speaker 2: almost like another comeback. Every album is for me most

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Speaker 2: of the time takes on that type of energy. You know.

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Speaker 2: It's because I take so long between records and because

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Speaker 2: I make so few albums that every time it's like, okay,

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Speaker 2: well what's it gonna be? But that one was an

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Speaker 2: amazing experience working with Chris. I trusted him completely in

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Speaker 2: terms of his creative, his ear. What actually happened was

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Speaker 2: I made a whole album called Mister Smith. I made

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Speaker 2: a whole album. I didn't like it, so then I

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Speaker 2: threw it away. You know, I do that a lot. Yeah,

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Speaker 2: we're gonna talk about that too. Yeah, So I did

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Speaker 2: this album. I did an original a mister Smith album

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Speaker 2: with a whole bunch of other songs. It was called

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Speaker 2: Mister Smith. But I didn't love the album. So I

399
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Speaker 2: was like, eh, I kept that one song with shot

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Speaker 2: skills of mister Smith, but the rest of it I

401
00:21:34,720 --> 00:21:39,359
Speaker 2: didn't like. I kept that yeahs re peace. So me

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00:21:39,440 --> 00:21:42,800
Speaker 2: and Chris we just started working. He started finding tracks,

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Speaker 2: finding beats, and I ended up getting with track masters

404
00:21:47,080 --> 00:21:50,040
Speaker 2: and then getting with Rashad and you know, it just

405
00:21:50,160 --> 00:21:53,560
Speaker 2: came together. It came together, and you know, working with

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Speaker 2: them was you know, he was a good dude, man.

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Speaker 2: And you know, I remember Chris, you know, when he

408
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Speaker 2: first started, we all got along because you know, Chris

409
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Speaker 2: used to be security at the tunnel, you know what

410
00:22:04,320 --> 00:22:06,440
Speaker 2: I'm saying. So when he was when he was like

411
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Speaker 2: working the door at the tunnel, he always gave me

412
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Speaker 2: love and we always got along very very well. And

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Speaker 2: you know, well she was still here. Yeah, man, I

414
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Speaker 2: was one of my favorite records on that.

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Speaker 4: When you were talking about I Need a Beat and

416
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Speaker 4: how you pretty much played it live and then right

417
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Speaker 4: over it made me think of.

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Speaker 2: No, are oh yeah, let's do that? Yeah yeah, yeah, yeah, yeah,

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Speaker 2: that was I think, my man, I think Chad might

420
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Speaker 2: have did that. Doctor, I think so. I think I

421
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Speaker 2: think so. I think Chad did that. That's my think.

422
00:22:36,920 --> 00:22:41,680
Speaker 2: Favorite Cha No, No, No, Chad Elliott. Chad Elliott. Yeah,

423
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Speaker 2: they used to work with Jodasi and all of them

424
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Speaker 2: and all that. Okay, you know what I'm saying. I

425
00:22:46,760 --> 00:22:49,200
Speaker 2: was only impression that the track masters of the entire

426
00:22:49,280 --> 00:22:52,399
Speaker 2: record didn't they know, they didn't do everything Rashard did

427
00:22:52,520 --> 00:22:56,560
Speaker 2: doing it. You know, there was a few other few

428
00:22:56,600 --> 00:22:59,200
Speaker 2: other producers, but they finished it. What happened was we

429
00:22:59,440 --> 00:23:01,760
Speaker 2: actually work on the album and I was doing songs,

430
00:23:01,840 --> 00:23:04,320
Speaker 2: and then track messages came in kind of midway and

431
00:23:04,440 --> 00:23:07,480
Speaker 2: finished the album. So we didn't start the album together.

432
00:23:07,560 --> 00:23:10,480
Speaker 2: We finished the album. So they they actually made it

433
00:23:10,560 --> 00:23:13,879
Speaker 2: a cohesive body of work. I have to give Stout

434
00:23:13,960 --> 00:23:16,920
Speaker 2: some credit, and give Tone and Polk credit, and give

435
00:23:17,320 --> 00:23:19,320
Speaker 2: Chris Lighty credit because they came in and helped me

436
00:23:19,760 --> 00:23:22,679
Speaker 2: kind of finish the project and make it a cohesive

437
00:23:23,000 --> 00:23:25,240
Speaker 2: what we felt was at that time a cohesive body

438
00:23:25,280 --> 00:23:26,160
Speaker 2: of work. You know what I'm saying.

439
00:23:26,320 --> 00:23:28,359
Speaker 4: Nah, that's one of like that record mad because I

440
00:23:28,400 --> 00:23:30,800
Speaker 4: mean the singles or the singles were like no airplay,

441
00:23:31,160 --> 00:23:32,480
Speaker 4: Hollis the Hollywood like.

442
00:23:32,720 --> 00:23:35,200
Speaker 2: Yeah, that was fun. That was fun, yo, you know.

443
00:23:35,280 --> 00:23:37,200
Speaker 2: I mean that's why, you know, I'm really excited to

444
00:23:37,400 --> 00:23:39,240
Speaker 2: like for people to hear this record I do with Tip,

445
00:23:39,800 --> 00:23:44,240
Speaker 2: because this is gonna be I think how many songs

446
00:23:44,480 --> 00:23:49,840
Speaker 2: which Tip so you did? He produced it, He did everything,

447
00:23:49,920 --> 00:23:52,040
Speaker 2: he did all the beats, he did everything sound. Yes,

448
00:23:52,240 --> 00:23:56,960
Speaker 2: he did everything. I think it's fourteen songs, fourteen here

449
00:23:57,000 --> 00:23:59,760
Speaker 2: for this, Yeah, it's fourteen and it's all like like

450
00:23:59,840 --> 00:24:02,520
Speaker 2: a whole new thing. So that's gonna be a lot

451
00:24:02,520 --> 00:24:03,119
Speaker 2: of fun. You know.

452
00:24:03,640 --> 00:24:05,360
Speaker 3: I was just gonna ask about another person, since we're

453
00:24:05,359 --> 00:24:07,640
Speaker 3: talking about having a happy sad moment with Chris Lighty,

454
00:24:07,640 --> 00:24:08,960
Speaker 3: I was gonna say, the last time I was in

455
00:24:09,040 --> 00:24:11,080
Speaker 3: a room with you, I was fortunate to be in

456
00:24:11,160 --> 00:24:13,640
Speaker 3: a room with you, Biz and Greg nice As y'all

457
00:24:13,640 --> 00:24:17,600
Speaker 3: were taping an episode for Serious and so I wanted

458
00:24:17,720 --> 00:24:19,960
Speaker 3: you to talk about give us a fun Biz story,

459
00:24:20,000 --> 00:24:22,920
Speaker 3: but also talk about why you even tap Biz to

460
00:24:23,080 --> 00:24:24,600
Speaker 3: be on your radio station.

461
00:24:24,600 --> 00:24:27,760
Speaker 2: Rock the Bell. So so, Biz, I've known Biz forever,

462
00:24:27,960 --> 00:24:32,040
Speaker 2: you know, before we made records, and then before Biz

463
00:24:32,160 --> 00:24:34,040
Speaker 2: made records, he used to just come to my house

464
00:24:34,640 --> 00:24:36,320
Speaker 2: all the time, coming to the basement. I'd be down

465
00:24:36,359 --> 00:24:37,920
Speaker 2: there right in rhymes. He'd be sitting there. Yo. He

466
00:24:38,000 --> 00:24:39,480
Speaker 2: used to just make me laugh. He was just the

467
00:24:40,000 --> 00:24:42,080
Speaker 2: funniest dude in the world. And me, I love that dude.

468
00:24:42,080 --> 00:24:44,320
Speaker 2: You know what I'm saying. I love biz man like business,

469
00:24:44,400 --> 00:24:46,440
Speaker 2: my man, you know what I'm saying. And you know,

470
00:24:46,520 --> 00:24:48,359
Speaker 2: we knew each other from Long Island. I would see him, he,

471
00:24:48,400 --> 00:24:49,879
Speaker 2: I would see him, Nona. He we'd come to Queens,

472
00:24:49,880 --> 00:24:52,960
Speaker 2: he would come to the house. So so in terms

473
00:24:53,000 --> 00:24:56,920
Speaker 2: of the tapping them to be on salute the sample

474
00:24:56,960 --> 00:24:59,679
Speaker 2: on Rock the Bells, I started Rock the Bells because

475
00:25:00,440 --> 00:25:04,040
Speaker 2: I felt like the artist that I love, Like when

476
00:25:04,040 --> 00:25:06,000
Speaker 2: I look at the way Bob Dylan is treated and

477
00:25:06,160 --> 00:25:09,159
Speaker 2: held in high regard, and Mick Jaggers held in high regard,

478
00:25:09,280 --> 00:25:13,520
Speaker 2: and you know these various artists, Paul McCartney is held

479
00:25:13,560 --> 00:25:16,520
Speaker 2: in high regard, I felt like, you know, the Bismarcks

480
00:25:16,560 --> 00:25:18,440
Speaker 2: and the Big Daddy Kanes and the rock hymns and

481
00:25:18,480 --> 00:25:20,960
Speaker 2: the public enemies and all of them deserved that kind

482
00:25:20,960 --> 00:25:22,760
Speaker 2: of treatment as well, and I felt like they weren't

483
00:25:22,800 --> 00:25:25,239
Speaker 2: getting it. And I felt like, you know, mc light

484
00:25:25,359 --> 00:25:27,480
Speaker 2: wasn't getting it. Queen Latifa wasn't getting it when I

485
00:25:27,560 --> 00:25:30,840
Speaker 2: look at and then when I would listen to the channel,

486
00:25:31,680 --> 00:25:33,480
Speaker 2: you know, which was Backspin at the time, it was

487
00:25:33,560 --> 00:25:35,720
Speaker 2: like a glorified jukebox, you know what I'm saying. But

488
00:25:35,800 --> 00:25:37,720
Speaker 2: it wasn't really about the coach and it wasn't really

489
00:25:37,760 --> 00:25:40,320
Speaker 2: about us. We shouldn't have to make excuses for having

490
00:25:40,800 --> 00:25:43,840
Speaker 2: long story careers with a lot of success. You should

491
00:25:43,840 --> 00:25:46,800
Speaker 2: be celebrated for that, not persecuted and penalized for it.

492
00:25:47,040 --> 00:25:49,440
Speaker 2: And I felt like I felt like the industry was

493
00:25:49,480 --> 00:25:52,760
Speaker 2: turning hip hop into it was commoditizing hip hop and

494
00:25:52,880 --> 00:25:56,080
Speaker 2: turning everybody into cardboard boxes. In other words, if you

495
00:25:56,119 --> 00:25:57,920
Speaker 2: know it it's an old box or older box, you

496
00:25:58,040 --> 00:26:00,280
Speaker 2: just throw it away and you just kind of they

497
00:26:00,320 --> 00:26:03,080
Speaker 2: weren't treating the culture the way it needed to be treated,

498
00:26:03,160 --> 00:26:05,560
Speaker 2: and I wanted to. So what I said, I said,

499
00:26:05,600 --> 00:26:07,920
Speaker 2: you know what what I'm gonna do is I'm gonna

500
00:26:07,920 --> 00:26:09,600
Speaker 2: do for hip hop culture what I did for me

501
00:26:09,640 --> 00:26:12,400
Speaker 2: in my own career. So all I did was I said,

502
00:26:12,600 --> 00:26:15,840
Speaker 2: so the mindset that I applied to me that helped

503
00:26:15,920 --> 00:26:17,920
Speaker 2: me be here, by the grace of God, for so

504
00:26:18,000 --> 00:26:20,320
Speaker 2: many years and be successful. I said, I'm gonna do

505
00:26:20,359 --> 00:26:22,960
Speaker 2: that for the whole culture. And so I took BIS

506
00:26:23,000 --> 00:26:25,520
Speaker 2: and put them on the channel in Shante and all

507
00:26:25,560 --> 00:26:27,920
Speaker 2: of these artists and got them all, you know, Grand

508
00:26:27,960 --> 00:26:31,080
Speaker 2: Master Kaz and and all of them. And now you know,

509
00:26:31,200 --> 00:26:34,080
Speaker 2: I watched this whole renaissance of hip hop happen. You

510
00:26:34,119 --> 00:26:35,720
Speaker 2: know what I'm saying. When we did Rock the Bell's

511
00:26:35,760 --> 00:26:38,000
Speaker 2: Festival and the Cruisers and Rock the Bell's Resorts and

512
00:26:38,040 --> 00:26:40,560
Speaker 2: all of this stuff, getting that on MTV, thank you,

513
00:26:40,720 --> 00:26:43,040
Speaker 2: thank you. Yeah, we streamed it. The thing the thing

514
00:26:43,119 --> 00:26:45,560
Speaker 2: about it is that is that I wanted to do

515
00:26:45,880 --> 00:26:48,480
Speaker 2: what I did for me for the entire culture because

516
00:26:48,520 --> 00:26:51,119
Speaker 2: it can't be about you forever. It has to There

517
00:26:51,200 --> 00:26:53,960
Speaker 2: has to be more in your life in terms of

518
00:26:54,040 --> 00:26:56,000
Speaker 2: your journey. You have to want to see others succeed.

519
00:26:56,359 --> 00:26:59,240
Speaker 2: That's why even when we did the Force Tour, I

520
00:26:59,280 --> 00:27:02,679
Speaker 2: didn't do the normal headlining thing and like snatch all

521
00:27:02,760 --> 00:27:05,280
Speaker 2: of the production and make them kind of rap and

522
00:27:05,680 --> 00:27:07,920
Speaker 2: give them ten feet of stage and no, no, you

523
00:27:08,040 --> 00:27:10,400
Speaker 2: have the same sound, you have the same lighting package,

524
00:27:10,720 --> 00:27:13,040
Speaker 2: you have the same opportunities to rock the stage that

525
00:27:13,160 --> 00:27:16,480
Speaker 2: I do. Because I want us all to succeed, and

526
00:27:16,600 --> 00:27:18,159
Speaker 2: I want to see us treat it that way. I

527
00:27:18,200 --> 00:27:20,240
Speaker 2: want them the same way they treat Bono. I want

528
00:27:20,280 --> 00:27:23,280
Speaker 2: them to treat DMC. I don't want to see a difference.

529
00:27:23,560 --> 00:27:24,800
Speaker 4: No, man, I don't get it was one of the

530
00:27:24,840 --> 00:27:27,120
Speaker 4: biggest things I saw when I went to the tour.

531
00:27:27,640 --> 00:27:31,760
Speaker 4: I always admire how just the professionalism first and foremost.

532
00:27:31,920 --> 00:27:34,920
Speaker 4: And you know, I really think it's something that every

533
00:27:35,080 --> 00:27:37,800
Speaker 4: young artist, like every young MC's I really think there's

534
00:27:37,800 --> 00:27:40,720
Speaker 4: something that they should really see because it very rarely

535
00:27:41,119 --> 00:27:44,400
Speaker 4: hearing your story. You know, you were first in like everything,

536
00:27:45,080 --> 00:27:47,600
Speaker 4: so there was no blueprint to follow. But now we're

537
00:27:47,680 --> 00:27:50,040
Speaker 4: thankful enough that we have a blueprint. And I'm like, yo,

538
00:27:50,600 --> 00:27:53,080
Speaker 4: go Seel go see Rod, go see the roots. This

539
00:27:53,200 --> 00:27:56,280
Speaker 4: is what it looks like to be fifty years old

540
00:27:56,400 --> 00:28:00,520
Speaker 4: and still killing it like they're still a late right right,

541
00:28:00,880 --> 00:28:04,080
Speaker 4: not on some like oh okay, but like no, still vibrant,

542
00:28:04,200 --> 00:28:05,000
Speaker 4: like still jamming.

543
00:28:05,280 --> 00:28:08,440
Speaker 2: Yeah. Well that's because hip hop. You know, it was

544
00:28:08,480 --> 00:28:10,600
Speaker 2: being served in a greasy brown paper bag unless you

545
00:28:10,720 --> 00:28:12,800
Speaker 2: had a new hit out, and I wanted it served

546
00:28:12,840 --> 00:28:16,600
Speaker 2: on the silver platter regardless. You know, Rock Kim deserves

547
00:28:16,640 --> 00:28:19,000
Speaker 2: to have the biggest stage and the biggest platform, regardless.

548
00:28:19,280 --> 00:28:21,119
Speaker 2: When we do the Grammy special, we're putting you on

549
00:28:21,160 --> 00:28:24,600
Speaker 2: the biggest stage regardless. I don't need to. There's no

550
00:28:24,800 --> 00:28:28,520
Speaker 2: reason why they should be treated otherwise. We live in.

551
00:28:28,560 --> 00:28:32,119
Speaker 2: It's a strange world, right because like I have, I

552
00:28:32,240 --> 00:28:34,840
Speaker 2: literally have millions and millions of fans all over the world.

553
00:28:35,359 --> 00:28:38,120
Speaker 2: But because not the majority of them aren't fourteen, that

554
00:28:38,200 --> 00:28:41,360
Speaker 2: doesn't make them last valuable. Right, So you're like, my

555
00:28:41,480 --> 00:28:44,680
Speaker 2: fans just had birthdays with me. They didn't disappear, you

556
00:28:44,680 --> 00:28:46,480
Speaker 2: know what I mean? You know, you know, so like

557
00:28:47,240 --> 00:28:48,920
Speaker 2: we got to kind of get out of this kind

558
00:28:48,960 --> 00:28:51,560
Speaker 2: of this this state of mind of like if you're

559
00:28:51,640 --> 00:28:54,400
Speaker 2: not you know, if it's not the brand new thing

560
00:28:54,480 --> 00:28:56,800
Speaker 2: and you've been out three years, it doesn't count. It's

561
00:28:56,840 --> 00:29:00,000
Speaker 2: not how it works. Like I don't know, rolland Stone

562
00:29:00,120 --> 00:29:02,160
Speaker 2: was discography front the back, but when they come in

563
00:29:02,240 --> 00:29:03,960
Speaker 2: town to do a show, I go, I don't know,

564
00:29:04,080 --> 00:29:06,160
Speaker 2: you two's discard back to back. But when they come

565
00:29:06,200 --> 00:29:07,680
Speaker 2: in town, I go to the show. I love the show.

566
00:29:07,880 --> 00:29:12,360
Speaker 2: What I'm saying is, yo, people want to see Elo

567
00:29:12,480 --> 00:29:14,680
Speaker 2: cool J, and they want to see the Beasties, and

568
00:29:14,720 --> 00:29:16,200
Speaker 2: they want to see run the EMC. They want to

569
00:29:16,200 --> 00:29:18,840
Speaker 2: see public enemy, they want to see ice T. You

570
00:29:19,000 --> 00:29:20,760
Speaker 2: just got to put them in a position to be seen,

571
00:29:21,720 --> 00:29:24,360
Speaker 2: you know what I'm saying. And stop trying to pretend

572
00:29:24,440 --> 00:29:27,760
Speaker 2: that it's not they don't want to be seen, because

573
00:29:27,760 --> 00:29:30,960
Speaker 2: that's all. That's just a game. It's not real. Because

574
00:29:30,960 --> 00:29:33,200
Speaker 2: the reality is the fans love it. They want to

575
00:29:33,240 --> 00:29:34,880
Speaker 2: buy the music, they want to come to the show.

576
00:29:34,920 --> 00:29:36,959
Speaker 2: And we saw those arenas and we saw those crowds

577
00:29:37,400 --> 00:29:40,160
Speaker 2: and so they're there. And guess what if we went

578
00:29:40,400 --> 00:29:43,280
Speaker 2: a second time now, it'd be even bigger, you know

579
00:29:43,360 --> 00:29:45,160
Speaker 2: what I'm saying. It would be even bigger. And we

580
00:29:45,240 --> 00:29:47,440
Speaker 2: did very well, but it would be even bigger because

581
00:29:47,560 --> 00:29:50,920
Speaker 2: it because people now see that Yo. Now they know

582
00:29:51,040 --> 00:29:53,440
Speaker 2: it's real and like a word, ah man.

583
00:29:53,560 --> 00:29:55,680
Speaker 3: And the regional aspect that y'all add too, when you know,

584
00:29:55,800 --> 00:29:57,680
Speaker 3: like you go a certain region and they might bring

585
00:29:57,800 --> 00:29:59,680
Speaker 3: out so and so and so and so I can't

586
00:29:59,680 --> 00:30:01,760
Speaker 3: wait for ought to come back to LA because shoot.

587
00:30:01,480 --> 00:30:04,240
Speaker 2: It's about absolutely.

588
00:30:04,480 --> 00:30:06,600
Speaker 4: I really brought up p D and uh yeah, and

589
00:30:06,640 --> 00:30:11,560
Speaker 4: by I brought up Pea absolutely, David Banner, no.

590
00:30:12,440 --> 00:30:18,680
Speaker 1: Doubt, like ran in the third tier, Beady and David

591
00:30:18,760 --> 00:30:22,880
Speaker 1: tod Up, I love it. Yeah, okay, so I'll be

592
00:30:23,040 --> 00:30:26,520
Speaker 1: remiss if I don't ask this question. And I'm certain

593
00:30:26,560 --> 00:30:28,840
Speaker 1: that you've spoken about it before, and I might have

594
00:30:28,880 --> 00:30:32,320
Speaker 1: missed the story. But just as a lover of them

595
00:30:32,440 --> 00:30:40,440
Speaker 1: sees the four three two one situation, Wait, don't do

596
00:30:40,520 --> 00:30:41,400
Speaker 1: the cynical giggle.

597
00:30:41,520 --> 00:30:44,080
Speaker 2: Yeah, let me ask the question. Ready, let's go take

598
00:30:44,120 --> 00:30:44,800
Speaker 2: it back, let's go.

599
00:30:45,720 --> 00:30:52,160
Speaker 1: Like, I'm under the impression that Cannabis was paying tribute

600
00:30:52,160 --> 00:30:54,920
Speaker 1: to your arm or whatever. Like I never knew the

601
00:30:54,960 --> 00:30:57,160
Speaker 1: story behind that. I didn't even know it was a

602
00:30:57,400 --> 00:30:59,800
Speaker 1: this like, sorry for making rehab on.

603
00:31:00,800 --> 00:31:03,719
Speaker 2: Look, you know, cannabis really ain't do nothing wrong, man,

604
00:31:04,240 --> 00:31:07,000
Speaker 2: I just you know, cannabis just touched the third rail.

605
00:31:09,120 --> 00:31:12,720
Speaker 2: Oh lord, No, he didn't do nothing street, He didn't

606
00:31:12,760 --> 00:31:16,640
Speaker 2: do nothing room street. You know what I'm saying. Yeah, yeah, yeah, yeah, yeah,

607
00:31:16,640 --> 00:31:18,560
Speaker 2: you know what I mean. He touched the third rail.

608
00:31:18,640 --> 00:31:21,600
Speaker 2: He and said because we had met downstairs earlier, and

609
00:31:22,280 --> 00:31:25,320
Speaker 2: you know, he said, yo, yo, hell man, like you

610
00:31:25,400 --> 00:31:27,400
Speaker 2: tell him get a tattooed just like yours. And instead

611
00:31:27,400 --> 00:31:29,400
Speaker 2: of me saying all right, man, do you think, I'm like, nah,

612
00:31:29,960 --> 00:31:32,080
Speaker 2: I get your own, I'm like territory and all that

613
00:31:32,200 --> 00:31:35,360
Speaker 2: on the microe and so, and I just said that

614
00:31:35,440 --> 00:31:36,760
Speaker 2: to him. And then when I played it when I

615
00:31:36,840 --> 00:31:38,640
Speaker 2: heard him on the record, because I said, all right,

616
00:31:38,640 --> 00:31:40,040
Speaker 2: he's gonna go thro his vocal, I'm like, yeah, do

617
00:31:40,120 --> 00:31:41,720
Speaker 2: you think when I heard him on the record, He's like,

618
00:31:41,840 --> 00:31:43,120
Speaker 2: is that a mic on your arm? Let me bo?

619
00:31:43,320 --> 00:31:47,280
Speaker 2: I'm like, oh, we just had this conversation a so

620
00:31:47,400 --> 00:31:50,360
Speaker 2: that and that was the original. Yeah, yeah right, and

621
00:31:50,480 --> 00:31:53,840
Speaker 2: so he actually it was really more about me being

622
00:31:53,840 --> 00:31:56,560
Speaker 2: a little bit more oversensitive. I think, you know what

623
00:31:56,560 --> 00:31:59,160
Speaker 2: I'm saying. I think it was more about that, you know,

624
00:31:59,560 --> 00:32:02,760
Speaker 2: that being said, Look what I try to do with him?

625
00:32:03,280 --> 00:32:05,720
Speaker 2: I say, look, you know, after it happened, I thought

626
00:32:05,760 --> 00:32:07,880
Speaker 2: about it. I'm like, yo, you know what, I don't know,

627
00:32:08,200 --> 00:32:11,280
Speaker 2: say something on the record or something. Nobody'll know what

628
00:32:11,320 --> 00:32:13,320
Speaker 2: I'm talking about. Just you know, just flip it and

629
00:32:13,440 --> 00:32:15,840
Speaker 2: do something else or you know. And he didn't want to,

630
00:32:16,120 --> 00:32:18,160
Speaker 2: you know, go with that. And then he made the record,

631
00:32:18,240 --> 00:32:21,080
Speaker 2: and you know, but I tried to embrace him later,

632
00:32:21,200 --> 00:32:23,680
Speaker 2: like I did shows with him at Barclays and you know,

633
00:32:23,840 --> 00:32:25,920
Speaker 2: I did a show with him. I brought him out Barclays.

634
00:32:25,920 --> 00:32:27,920
Speaker 2: I brought him out different concerts. I try to give

635
00:32:27,960 --> 00:32:30,680
Speaker 2: him love because I want him and his fans to

636
00:32:30,760 --> 00:32:32,680
Speaker 2: know that, you know, I got love for him, you

637
00:32:32,760 --> 00:32:34,960
Speaker 2: know what I'm saying. It just you know, it was

638
00:32:35,040 --> 00:32:37,720
Speaker 2: just hip hop. It was just an MC hip hop thing.

639
00:32:38,000 --> 00:32:40,240
Speaker 2: You know. I didn't really wish him any real ill

640
00:32:40,320 --> 00:32:41,560
Speaker 2: will you know what I'm saying.

641
00:32:42,080 --> 00:32:45,080
Speaker 4: How was the with the You spoke earlier about working

642
00:32:45,120 --> 00:32:46,840
Speaker 4: with track masters? I want to ask you about the

643
00:32:46,840 --> 00:32:47,840
Speaker 4: Phenomenon album?

644
00:32:48,000 --> 00:32:50,440
Speaker 2: Yeah, what was what was that like?

645
00:32:50,560 --> 00:32:54,640
Speaker 4: And did y'all had yall relationship changed coming off either

646
00:32:54,800 --> 00:32:56,920
Speaker 4: for better for words, coming off of mister Smith going

647
00:32:57,000 --> 00:32:57,880
Speaker 4: in the Phenomenon, you.

648
00:32:57,920 --> 00:33:00,640
Speaker 2: Know, Phenomenon like like the Phenomenon album was one of

649
00:33:00,680 --> 00:33:02,840
Speaker 2: those things where I just wanted to experiment. So I

650
00:33:02,920 --> 00:33:05,080
Speaker 2: went in the studio with Puff and messing around with

651
00:33:05,160 --> 00:33:09,040
Speaker 2: the Phenomenon song, and you know, me and Steve, you know,

652
00:33:09,120 --> 00:33:12,120
Speaker 2: had a conversation about it recently because I think now

653
00:33:12,240 --> 00:33:14,240
Speaker 2: in hindsight, they probably looked at it like I was

654
00:33:14,320 --> 00:33:16,080
Speaker 2: just kind of baling on them a little bit, But

655
00:33:16,200 --> 00:33:19,240
Speaker 2: in reality, I was trying to just be creative and

656
00:33:19,360 --> 00:33:22,360
Speaker 2: do different things and just work with different people in

657
00:33:22,480 --> 00:33:25,320
Speaker 2: experiment because I like working with different producers. I like

658
00:33:25,400 --> 00:33:28,440
Speaker 2: hearing different things. I like to I like that. I

659
00:33:28,640 --> 00:33:30,560
Speaker 2: enjoy it because I do this for fun too. I

660
00:33:30,600 --> 00:33:35,240
Speaker 2: don't do this just for a chart position or money.

661
00:33:35,400 --> 00:33:37,600
Speaker 2: I do it because I love it. So part of

662
00:33:37,720 --> 00:33:41,040
Speaker 2: that love is working with different artists and different producers

663
00:33:41,080 --> 00:33:43,480
Speaker 2: and being creative. So the phenomenon was fun, you know

664
00:33:43,520 --> 00:33:46,480
Speaker 2: what I'm saying, Like, you know, it was great. You

665
00:33:46,520 --> 00:33:50,800
Speaker 2: know Sally Richison on the records, I'm you know what

666
00:33:50,800 --> 00:33:56,400
Speaker 2: I'm saying, like an hour yeah, yeah, yeah, she was ooh,

667
00:33:56,720 --> 00:34:03,800
Speaker 2: mister Smith, Yeah yeah, yeah, she's cool. Wow, man, you

668
00:34:03,960 --> 00:34:05,960
Speaker 2: had I was gonna ask you had a record that drop?

669
00:34:06,040 --> 00:34:08,320
Speaker 2: It was. This has been some years ago. It was

670
00:34:08,400 --> 00:34:12,240
Speaker 2: called Take It. Oh yeah, Joe, Yeah, what happened? What happened?

671
00:34:12,440 --> 00:34:14,200
Speaker 2: It was? It wasn't It was a record that I

672
00:34:14,280 --> 00:34:17,000
Speaker 2: did on a I did it on a little independent label.

673
00:34:17,360 --> 00:34:20,040
Speaker 2: I did the album and I did a few, quite

674
00:34:20,040 --> 00:34:22,400
Speaker 2: a few songs with track masters on there, and I

675
00:34:22,560 --> 00:34:25,359
Speaker 2: just it didn't have distribution. And it was right around

676
00:34:25,400 --> 00:34:28,160
Speaker 2: the time when I started my TV show and see

677
00:34:28,200 --> 00:34:30,120
Speaker 2: I asked Los Angeles at the time, and I just

678
00:34:30,200 --> 00:34:33,239
Speaker 2: didn't have I didn't make the time to promote it

679
00:34:33,360 --> 00:34:35,799
Speaker 2: and really go after it and perform it and get

680
00:34:35,840 --> 00:34:39,320
Speaker 2: it out there. It was, it was it was on authentic.

681
00:34:39,400 --> 00:34:42,480
Speaker 2: It was yeah, it was on authentic and authentic as

682
00:34:42,520 --> 00:34:45,520
Speaker 2: an album was just kind of created in a little

683
00:34:45,520 --> 00:34:48,160
Speaker 2: bit of a vacuum. And you know, I was on

684
00:34:48,239 --> 00:34:52,520
Speaker 2: a TV set, you know, I just was experimented the

685
00:34:52,640 --> 00:34:56,320
Speaker 2: accidental racist. Damn right, let's talk about it. So you

686
00:34:56,440 --> 00:34:59,160
Speaker 2: know what I was trying to say with that song,

687
00:34:59,520 --> 00:35:02,840
Speaker 2: At least I thought I was articulating, because nobody absolutely agreed.

688
00:35:05,000 --> 00:35:09,240
Speaker 2: That's pretty clear, that's pretty obvious. What I was trying

689
00:35:09,320 --> 00:35:12,240
Speaker 2: to say is that you keep your shit to yourself.

690
00:35:12,440 --> 00:35:15,000
Speaker 2: I'll keep minding myself. How about that. Let's start there.

691
00:35:15,480 --> 00:35:17,440
Speaker 2: You know what I'm saying, like like we just knock going.

692
00:35:17,640 --> 00:35:20,680
Speaker 2: You know, you know, you keep your symbolism over there,

693
00:35:21,800 --> 00:35:23,640
Speaker 2: and I'll keep my symbolism over it. That's what I

694
00:35:23,760 --> 00:35:26,960
Speaker 2: was trying to say. But there is a level of

695
00:35:27,040 --> 00:35:30,120
Speaker 2: false equivalence there. It's hard to really connect the dots

696
00:35:30,160 --> 00:35:33,400
Speaker 2: on that because you can't compare you know, honestly, you

697
00:35:33,480 --> 00:35:38,800
Speaker 2: know what a Confederate flag stands for to what somebody

698
00:35:38,880 --> 00:35:41,839
Speaker 2: may perceive an outfit. To me, you just can't really

699
00:35:42,080 --> 00:35:44,560
Speaker 2: you can't really connect those you know what I mean,

700
00:35:44,640 --> 00:35:47,320
Speaker 2: I can't really connect that. So what I was trying

701
00:35:47,400 --> 00:35:49,320
Speaker 2: to say, what I was looking to say, is that

702
00:35:49,719 --> 00:35:52,479
Speaker 2: if we could get a little bit less judgment, maybe

703
00:35:52,560 --> 00:35:55,680
Speaker 2: it would help us function. You know, if we focused

704
00:35:55,760 --> 00:35:58,080
Speaker 2: more on what works and less on what doesn't work,

705
00:35:58,360 --> 00:36:00,840
Speaker 2: maybe it'll help us function better. That's what I was

706
00:36:00,920 --> 00:36:02,960
Speaker 2: trying to say. But I just didn't you know, I

707
00:36:03,040 --> 00:36:04,640
Speaker 2: just didn't get there. You know, I just missed the

708
00:36:04,719 --> 00:36:06,520
Speaker 2: jump shot. You know what I'm saying, Like it is

709
00:36:06,600 --> 00:36:08,839
Speaker 2: what it is. It's just that that ship bounced off

710
00:36:08,880 --> 00:36:13,359
Speaker 2: the back of the rim, crazy exploded, the backboard fell down,

711
00:36:13,800 --> 00:36:21,040
Speaker 2: the scoreboard fell down, My shorts ripped fell off that record.

712
00:36:21,120 --> 00:36:24,600
Speaker 2: The thing I remember about that record specifically, it came

713
00:36:24,640 --> 00:36:27,120
Speaker 2: out around the time when it was Twitter. It was

714
00:36:27,160 --> 00:36:29,759
Speaker 2: like Twitter was all about going ship with gold on

715
00:36:29,880 --> 00:36:33,600
Speaker 2: top of that ship went gold. It might be platting.

716
00:36:34,840 --> 00:36:40,719
Speaker 2: That's even even worse, you know what I mean, when

717
00:36:40,760 --> 00:36:45,200
Speaker 2: they started making the basketball player. So yeah, I did

718
00:36:45,320 --> 00:36:47,200
Speaker 2: not know that. Yeah, yeah it would go, but I

719
00:36:47,280 --> 00:36:49,919
Speaker 2: forgot about I got a back off that joint. Wow,

720
00:36:50,160 --> 00:36:54,439
Speaker 2: that was I'm just thinking that one back, yo, ill Bomb. Yeah,

721
00:36:54,640 --> 00:36:57,520
Speaker 2: that one, like Bill Bomb Now, that one a lot

722
00:36:57,560 --> 00:37:00,160
Speaker 2: of fun. That was like, you know, running around down

723
00:37:00,200 --> 00:37:02,560
Speaker 2: in the city, run around at queens, me and Bem

724
00:37:02,680 --> 00:37:05,239
Speaker 2: and you know, just run around in the city. And

725
00:37:05,520 --> 00:37:07,439
Speaker 2: you know, Flex asked me if I wanted to do something.

726
00:37:07,480 --> 00:37:09,840
Speaker 2: Scratch made the beat. I just went went in the

727
00:37:09,880 --> 00:37:12,000
Speaker 2: studio and everything I was saying on the record was

728
00:37:12,080 --> 00:37:13,400
Speaker 2: kind of like what we was living. We had the

729
00:37:13,440 --> 00:37:16,040
Speaker 2: strobe lights flashing on the trucks and all that. It

730
00:37:16,160 --> 00:37:19,120
Speaker 2: was all, you know, it was real. It was very real.

731
00:37:19,360 --> 00:37:19,960
Speaker 2: It was very real.

732
00:37:20,040 --> 00:37:23,720
Speaker 1: I was gonna say, also, what's my joint on exits thirteen?

733
00:37:25,440 --> 00:37:28,359
Speaker 2: You better watch me? Oh yeah, okay, So here's the thing.

734
00:37:28,480 --> 00:37:32,440
Speaker 1: So I don't know if you know christ Chris Rocks

735
00:37:32,920 --> 00:37:39,600
Speaker 1: nickname is so what Guile Siri dubs Chris Rock. He

736
00:37:39,680 --> 00:37:43,959
Speaker 1: always calls him track nine because Chris is the type

737
00:37:43,960 --> 00:37:48,799
Speaker 1: of music fan that like doesn't go for the hit.

738
00:37:48,960 --> 00:37:51,960
Speaker 1: He goes for the filler. You know, He'll go for

739
00:37:52,040 --> 00:37:56,680
Speaker 1: Stevie Wonder's Yeah, like the filler cut that lets you

740
00:37:56,719 --> 00:37:59,080
Speaker 1: know he's a deep music fan. And when it came out,

741
00:37:59,200 --> 00:38:01,919
Speaker 1: he was just like, this is the one. How come

742
00:38:02,239 --> 00:38:05,640
Speaker 1: I wish like why was it more made of you?

743
00:38:05,760 --> 00:38:07,279
Speaker 1: Better watch me like that to me?

744
00:38:07,520 --> 00:38:09,080
Speaker 2: You know, you know what's funny, man, I'll tell you

745
00:38:09,160 --> 00:38:11,480
Speaker 2: that it was like a winner. I think one of

746
00:38:11,560 --> 00:38:15,600
Speaker 2: the things that that happens, you know, and this happens

747
00:38:15,640 --> 00:38:19,080
Speaker 2: with labels, this happens with artists. You get so so

748
00:38:19,320 --> 00:38:22,800
Speaker 2: spoiled by instantaneous reactions that when you have records that

749
00:38:23,719 --> 00:38:27,200
Speaker 2: kind of hit a different part of your audience that

750
00:38:27,640 --> 00:38:32,840
Speaker 2: is not as reactive, you just don't know, you know,

751
00:38:32,960 --> 00:38:35,680
Speaker 2: don't know how to gauge it, you know what I'm saying.

752
00:38:35,880 --> 00:38:37,400
Speaker 2: Like I've had a lot of songs like that, Like

753
00:38:37,520 --> 00:38:40,920
Speaker 2: the dou Wop was a song that people like back

754
00:38:41,000 --> 00:38:44,200
Speaker 2: in the days, really really like. But I didn't know

755
00:38:44,560 --> 00:38:47,760
Speaker 2: back then how to react to that, how to react

756
00:38:47,800 --> 00:38:49,160
Speaker 2: to it, you know what I'm saying. I was gonna

757
00:38:49,160 --> 00:38:49,440
Speaker 2: ask you.

758
00:38:49,400 --> 00:38:51,359
Speaker 1: If we could do that on tour, but I would

759
00:38:51,960 --> 00:38:54,920
Speaker 1: you know what after like we I mean, we kept

760
00:38:54,920 --> 00:38:57,840
Speaker 1: mister goodbar, but then there's like some other you just

761
00:38:57,920 --> 00:38:58,640
Speaker 1: kept cutting them off.

762
00:38:58,760 --> 00:39:01,640
Speaker 2: Was like, ah, I don't never get Yeah, no, we did, Nitro,

763
00:39:02,080 --> 00:39:04,239
Speaker 2: he dropped it. Nitro. I was like, oh my god,

764
00:39:04,480 --> 00:39:08,239
Speaker 2: like oh boy, yeah, oh boy, oh boy, that's an

765
00:39:08,239 --> 00:39:11,719
Speaker 2: at wheeler right there? Good God? What was it life

766
00:39:11,760 --> 00:39:15,920
Speaker 2: working with the Bomb Squad? Excellent? Eric Yoor, Eric Sadler,

767
00:39:16,440 --> 00:39:19,239
Speaker 2: Keith and Hanks, Shockley, the way they worked on them,

768
00:39:19,320 --> 00:39:21,560
Speaker 2: the way they could. They built the beat in front

769
00:39:21,600 --> 00:39:24,520
Speaker 2: of you or is it wow? Yes, they built them

770
00:39:24,560 --> 00:39:27,360
Speaker 2: in front of me. Yeah. Yeah. It was crazy. Nitro

771
00:39:27,560 --> 00:39:28,840
Speaker 2: was crazy and it gets no rougher.

772
00:39:33,560 --> 00:39:38,120
Speaker 1: You mentioned earlier that you have absolutely no qualms whatsoever

773
00:39:38,160 --> 00:39:44,240
Speaker 1: about scrapping an entire record, So just based on your history,

774
00:39:45,840 --> 00:39:50,360
Speaker 1: how much is in the ll cool J Cannon vault

775
00:39:50,560 --> 00:39:54,080
Speaker 1: from radio down to the Forest album?

776
00:39:54,120 --> 00:39:55,560
Speaker 2: And will we ever see any of it? Will you

777
00:39:55,600 --> 00:39:58,680
Speaker 2: ever released of it? I'll never put any of it out.

778
00:39:58,760 --> 00:40:02,000
Speaker 2: I probably have you at least won't put none, and

779
00:40:02,040 --> 00:40:04,600
Speaker 2: you will like this can't come out possumously or I'm

780
00:40:04,600 --> 00:40:08,239
Speaker 2: not gonna do that. Not gonna do that. But we

781
00:40:08,320 --> 00:40:11,560
Speaker 2: got to see who lives? You know, we don't you

782
00:40:11,640 --> 00:40:17,520
Speaker 2: know no telling how that's gonna play. Give my help, Gerald, No, no,

783
00:40:17,600 --> 00:40:19,719
Speaker 2: I'm saying that, Gerald, We don't know no player. But

784
00:40:21,760 --> 00:40:23,920
Speaker 2: hey listen, I'm not talking tough in that one. I

785
00:40:23,960 --> 00:40:27,360
Speaker 2: don't know. I'm just so can you reveal? Can you

786
00:40:27,480 --> 00:40:30,360
Speaker 2: reveal what you revealed to me. Yeah, probably songs if

787
00:40:30,400 --> 00:40:33,000
Speaker 2: you made with you know who, oh to start there.

788
00:40:33,400 --> 00:40:36,080
Speaker 2: Oh so with Dre, me and Dre probably have about

789
00:40:36,160 --> 00:40:40,239
Speaker 2: forty songs. Yeah, did we doctor Dre? Yeah we had

790
00:40:40,280 --> 00:40:42,440
Speaker 2: we got we had Zoom that was on the bulwark

791
00:40:42,760 --> 00:40:45,320
Speaker 2: right right right, but we had you know, but we

792
00:40:45,400 --> 00:40:47,200
Speaker 2: got a lot of songs in the can, Like I

793
00:40:47,280 --> 00:40:48,680
Speaker 2: had a lot, Like I'll tell you a record that

794
00:40:48,800 --> 00:40:51,680
Speaker 2: was mine that he obviously he took my vocals off

795
00:40:51,680 --> 00:40:53,600
Speaker 2: because he ended up doing it because I was all

796
00:40:53,680 --> 00:40:59,800
Speaker 2: over the place. But that you know, that song I

797
00:40:59,880 --> 00:41:04,279
Speaker 2: was that was one of my points that yeah. Yeah, yeah,

798
00:41:04,360 --> 00:41:11,040
Speaker 2: me and Dre had did that first. Yeah, yeah, that

799
00:41:11,400 --> 00:41:13,920
Speaker 2: that one. Yeah, it was crazy. Quite a few of them,

800
00:41:13,920 --> 00:41:15,360
Speaker 2: it's been a lot of them, had a.

801
00:41:15,400 --> 00:41:19,160
Speaker 3: Lot of damned that be he did real well, Oh

802
00:41:19,239 --> 00:41:19,759
Speaker 3: it killed it.

803
00:41:20,080 --> 00:41:22,879
Speaker 2: It was dope. It was dope. I love you better man. Yeah,

804
00:41:23,040 --> 00:41:25,440
Speaker 2: I wasn't talking about that. Working with the Neptunes, what

805
00:41:25,640 --> 00:41:29,520
Speaker 2: was man, It was amazing working with Pharrell and and

806
00:41:29,600 --> 00:41:33,480
Speaker 2: with Chad and uh that's when they worked together still too,

807
00:41:33,600 --> 00:41:35,920
Speaker 2: and it was like, I mean it was dope. I

808
00:41:36,120 --> 00:41:39,760
Speaker 2: just you know, the one thing you know, what's crazy.

809
00:41:39,920 --> 00:41:42,080
Speaker 2: I was so focused on working out and getting ready

810
00:41:42,760 --> 00:41:45,480
Speaker 2: for the video. This is gonna sound really crazy. I

811
00:41:45,560 --> 00:41:49,160
Speaker 2: forgot to ask Pharrell to be in the video. I

812
00:41:49,280 --> 00:41:56,320
Speaker 2: literally forgot because I forgot, like like like, I forgot

813
00:41:56,360 --> 00:41:59,439
Speaker 2: to ask you. I wanted because I wanted. I wanted

814
00:41:59,480 --> 00:42:01,080
Speaker 2: for Rell to sing on the hook for Real did

815
00:42:01,080 --> 00:42:03,400
Speaker 2: the intro? Why didn't he sing that? He was like, no,

816
00:42:03,480 --> 00:42:04,520
Speaker 2: I don't want to do it. I want to I

817
00:42:04,600 --> 00:42:06,640
Speaker 2: want to put my man on. I'm like okay. And

818
00:42:06,920 --> 00:42:09,320
Speaker 2: so once he put Mark on the hook, then I

819
00:42:09,520 --> 00:42:12,520
Speaker 2: forgot that. He yeah to ask for Real to be

820
00:42:12,640 --> 00:42:14,440
Speaker 2: in the video, and I seen them one day, like

821
00:42:14,480 --> 00:42:17,280
Speaker 2: you asked me to black. I just felt crazy.

822
00:42:18,360 --> 00:42:20,239
Speaker 3: But that's when you got that knife shelf down there

823
00:42:20,280 --> 00:42:21,839
Speaker 3: on your b So it was worth it for all

824
00:42:21,880 --> 00:42:22,799
Speaker 3: of us who was watching the.

825
00:42:22,880 --> 00:42:29,160
Speaker 2: Video up all right now.

826
00:42:29,239 --> 00:42:31,040
Speaker 1: I just want to know the things that we don't

827
00:42:31,080 --> 00:42:34,440
Speaker 1: know that's equivalent to chunking studios. For instance, do you

828
00:42:34,640 --> 00:42:36,719
Speaker 1: know who's singing on around the Way, girl?

829
00:42:37,440 --> 00:42:40,839
Speaker 2: Uh, it's the Flex right, that's like Chris, not Chris.

830
00:42:40,920 --> 00:42:44,040
Speaker 2: But it was the Black Street. It was black before

831
00:42:44,080 --> 00:42:47,319
Speaker 2: they were black streets. So Lighty, Darren, Lighty, and all

832
00:42:47,360 --> 00:42:50,000
Speaker 2: of Yeah, it was them guys. Yeah it was great.

833
00:42:50,400 --> 00:42:54,440
Speaker 2: Is the flex and the driver remember yeah, yeah, yeah,

834
00:42:54,480 --> 00:42:56,600
Speaker 2: I don't know it was No, it was Lighty and

835
00:42:56,719 --> 00:43:06,759
Speaker 2: the other one. And Eric's Eric Eric. His name is Erica. Okay,

836
00:43:06,800 --> 00:43:09,120
Speaker 2: all right? Oh, yes, as we rapidfire? What is the

837
00:43:09,239 --> 00:43:10,960
Speaker 2: meaning I've always want to ask you this, What is

838
00:43:11,040 --> 00:43:17,640
Speaker 2: the meaning of blow titious? Yo? Yo? I mean it's

839
00:43:17,680 --> 00:43:20,120
Speaker 2: just blowtitious? Like you know what I mean? Like yo,

840
00:43:20,320 --> 00:43:22,560
Speaker 2: you know, me and my man Tie fight, yo, Tie,

841
00:43:22,880 --> 00:43:26,200
Speaker 2: and you know, you hilarious with this man like me

842
00:43:26,320 --> 00:43:28,360
Speaker 2: and me and Tod were seeing each other in the

843
00:43:28,360 --> 00:43:33,480
Speaker 2: swept like blow ticious. And then I just put it

844
00:43:33,560 --> 00:43:35,960
Speaker 2: on the record. Now everybody said, yo, he's talking about

845
00:43:36,080 --> 00:43:38,759
Speaker 2: you know, is he talking about trans he? Was he

846
00:43:38,880 --> 00:43:40,839
Speaker 2: talking about? Is he going left?

847
00:43:41,080 --> 00:43:41,120
Speaker 1: Like?

848
00:43:41,960 --> 00:43:49,160
Speaker 2: It's just blow titious? Stevie Delicious, skeeee Stevie Delicious, Give

849
00:43:49,200 --> 00:43:54,560
Speaker 2: me coops coops love me? Good God, damn hollis the Hollywood? Yes,

850
00:43:54,719 --> 00:44:01,160
Speaker 2: like this again we got alright, So that was so

851
00:44:01,280 --> 00:44:05,200
Speaker 2: that on that you know what I'm saying. And I

852
00:44:05,200 --> 00:44:08,040
Speaker 2: actually had another verse on on on the Flavoring your

853
00:44:08,080 --> 00:44:11,399
Speaker 2: Ear remix, and then I changed it to that one,

854
00:44:11,640 --> 00:44:14,680
Speaker 2: Papa love it that that record, the one, Yeah, Yeah,

855
00:44:14,760 --> 00:44:16,200
Speaker 2: I love that. Yeah. That was a cool one too.

856
00:44:16,360 --> 00:44:18,200
Speaker 2: That was fun. Damn. You know some some of them joints.

857
00:44:18,680 --> 00:44:20,120
Speaker 2: This is the part of the show where he does

858
00:44:20,400 --> 00:44:21,120
Speaker 2: yeah but okay.

859
00:44:21,239 --> 00:44:24,320
Speaker 1: So, speaking of flavoring your ear, was there a rumor

860
00:44:25,120 --> 00:44:27,040
Speaker 1: I don't know who told me, maybe Zezriver told me.

861
00:44:28,040 --> 00:44:32,160
Speaker 1: Was that verse at all connected? I heard that that

862
00:44:32,360 --> 00:44:35,440
Speaker 1: was maybe he directed the Biggie or something like that

863
00:44:35,600 --> 00:44:36,560
Speaker 1: with why would I do that?

864
00:44:37,040 --> 00:44:39,960
Speaker 2: But then the who shot then the I shot you.

865
00:44:40,239 --> 00:44:42,799
Speaker 2: I was in the studio with Big when he did

866
00:44:43,040 --> 00:44:46,080
Speaker 2: shot you. I was literally, this is someone trying to

867
00:44:46,239 --> 00:44:48,879
Speaker 2: make something bugging out. Yet, let me tell you something,

868
00:44:48,960 --> 00:44:51,400
Speaker 2: let me say something. That's why I'm asking some of

869
00:44:51,480 --> 00:44:53,800
Speaker 2: my no, no, no, it's all good. My record, Like

870
00:44:53,880 --> 00:44:56,840
Speaker 2: these songs were like sometimes I like it's just like

871
00:44:56,960 --> 00:45:01,800
Speaker 2: head sprung right. Sometimes I just do comedy on them joints.

872
00:45:01,920 --> 00:45:06,200
Speaker 2: Sometimes I just do shit that's stupid. Like sometimes I'm

873
00:45:06,280 --> 00:45:10,880
Speaker 2: consciously doing like Big Ellie a bit silly, big Money,

874
00:45:11,120 --> 00:45:14,640
Speaker 2: big really really with an R. I didn't say Big

875
00:45:14,680 --> 00:45:18,080
Speaker 2: Willie and Big Billy and all these you know. So

876
00:45:18,440 --> 00:45:21,719
Speaker 2: so between that, like saying that or doing his ship low.

877
00:45:21,960 --> 00:45:23,160
Speaker 2: It just sounded good to me.

878
00:45:23,360 --> 00:45:26,919
Speaker 1: I will say that, Yes, you are your your level

879
00:45:26,920 --> 00:45:29,719
Speaker 1: of humor on record, and people ask me on your

880
00:45:29,719 --> 00:45:31,800
Speaker 1: scissor World, I'm like, oh, God, home and use this

881
00:45:32,080 --> 00:45:33,880
Speaker 1: because you know, everyone was like, give you your favorite

882
00:45:34,080 --> 00:45:36,520
Speaker 1: l record and I was like, Yo, I'm sorry, but

883
00:45:36,840 --> 00:45:37,520
Speaker 1: you can't dance.

884
00:45:37,520 --> 00:45:41,800
Speaker 2: It's my favorite song of all time. You look like

885
00:45:41,880 --> 00:45:45,839
Speaker 2: a moro. Yo. That's my favorite shit of all time. Yo.

886
00:45:46,000 --> 00:45:47,160
Speaker 2: They put a patch on it.

887
00:45:47,560 --> 00:45:50,160
Speaker 1: Yes, that's what I'm saying, Like for me, can you

888
00:45:50,719 --> 00:45:53,360
Speaker 1: your your level of humor? Your evil laughter?

889
00:45:53,960 --> 00:45:56,200
Speaker 2: All? That's my favorite shit of all time. I really

890
00:45:56,280 --> 00:45:58,520
Speaker 2: love the force the new song Oh thank You? So

891
00:45:59,239 --> 00:46:01,799
Speaker 2: you still get the same rush from writing a song

892
00:46:01,960 --> 00:46:04,040
Speaker 2: that you did when you made I Need to Beat

893
00:46:04,239 --> 00:46:09,040
Speaker 2: one hundred percent. I love it. I mean, you know, like,

894
00:46:09,680 --> 00:46:13,360
Speaker 2: I love the fact that the way people address the

895
00:46:13,440 --> 00:46:15,480
Speaker 2: idea of me having an album is going to be

896
00:46:15,600 --> 00:46:18,520
Speaker 2: very different after I put this record out, because right

897
00:46:18,600 --> 00:46:21,040
Speaker 2: now it's kind of like a warm and fuzzy cute.

898
00:46:21,120 --> 00:46:23,480
Speaker 2: All that's cute, and let's talk about what you've done,

899
00:46:24,200 --> 00:46:26,600
Speaker 2: because that's just the nature of our game, right Because

900
00:46:27,200 --> 00:46:30,359
Speaker 2: when you do something a long time the bar goes

901
00:46:30,480 --> 00:46:34,080
Speaker 2: up and the expectations go down. Right, So my bar

902
00:46:34,280 --> 00:46:37,400
Speaker 2: is up here and the expectations for what I'm going

903
00:46:37,480 --> 00:46:40,719
Speaker 2: to deliver is down here, and so we you know,

904
00:46:41,040 --> 00:46:42,920
Speaker 2: you have to be self aware with that, right. So

905
00:46:44,400 --> 00:46:47,520
Speaker 2: I love it, you know, I love you know, making songs,

906
00:46:47,600 --> 00:46:51,680
Speaker 2: and I love the challenge of showing people what's possible

907
00:46:51,680 --> 00:46:54,839
Speaker 2: in hip hop. We haven't had an artist that's been

908
00:46:54,880 --> 00:46:58,160
Speaker 2: out multiple decades to put records out that really have impact.

909
00:46:58,680 --> 00:47:02,719
Speaker 2: We've had quotables, we've had critical acclaim, you know, we've

910
00:47:02,760 --> 00:47:04,759
Speaker 2: had everything kind of in between there, but we haven't

911
00:47:04,800 --> 00:47:08,839
Speaker 2: heard anybody really smash them. Yeah, nah, man, it's change.

912
00:47:08,880 --> 00:47:10,800
Speaker 2: I was when we were at the four Stour.

913
00:47:11,480 --> 00:47:13,960
Speaker 4: I was just sitting there and I'm watching it and like,

914
00:47:14,080 --> 00:47:16,880
Speaker 4: you know, this is you know, rock Cam, this is everybody, Daylight,

915
00:47:16,960 --> 00:47:19,360
Speaker 4: everybody some of my favorite rap routs all time. But

916
00:47:19,560 --> 00:47:22,200
Speaker 4: I was just really watching your performance and it really

917
00:47:22,239 --> 00:47:23,920
Speaker 4: reminded me of something like a mirror you would say,

918
00:47:24,000 --> 00:47:25,759
Speaker 4: like how what you're saying like kind of like the

919
00:47:26,120 --> 00:47:27,840
Speaker 4: curse of the straight A students, so to speak, Like

920
00:47:28,000 --> 00:47:30,440
Speaker 4: no one you have so much longevity.

921
00:47:29,960 --> 00:47:32,760
Speaker 2: And so much consistently so good. We take it for granted, Taking.

922
00:47:32,600 --> 00:47:35,080
Speaker 4: For granted, And I'm just watching thefore and I'm like,

923
00:47:35,480 --> 00:47:37,560
Speaker 4: I'm watching it, but I'm like, yo, I know these

924
00:47:37,640 --> 00:47:39,600
Speaker 4: songs like and I don't think people really give you

925
00:47:39,680 --> 00:47:42,280
Speaker 4: that credit as an MC. They give you the credit

926
00:47:42,360 --> 00:47:44,480
Speaker 4: as you know, breaking being a pioneer and all that,

927
00:47:44,800 --> 00:47:46,160
Speaker 4: but I'm just like, yo, funck all that.

928
00:47:46,320 --> 00:47:49,600
Speaker 2: If we just talking RAPSG like ll is probably the

929
00:47:49,760 --> 00:47:53,040
Speaker 2: most quotable rapper ever, Like I knew all the songs.

930
00:47:53,160 --> 00:47:55,360
Speaker 2: I think that's I think that's I think that's probably

931
00:47:56,160 --> 00:47:59,279
Speaker 2: you know, Look, that's all subjective, right, Like, I don't

932
00:47:59,280 --> 00:48:02,400
Speaker 2: really concern myself with that part of it. What I

933
00:48:02,480 --> 00:48:05,279
Speaker 2: will tell you is this, obviously I'm good enough to

934
00:48:05,320 --> 00:48:16,120
Speaker 2: still be here. So that's a start. I mean, because

935
00:48:16,640 --> 00:48:17,960
Speaker 2: you were telling your story and I'm like, it's not

936
00:48:17,960 --> 00:48:21,840
Speaker 2: an eighty damn bro. And when the album comes a

937
00:48:21,880 --> 00:48:24,960
Speaker 2: lot of them gonna listen, They're gonna listen. Can you

938
00:48:25,000 --> 00:48:26,399
Speaker 2: tell us like you told us it was you and Tip.

939
00:48:26,440 --> 00:48:27,680
Speaker 2: That's really kind of all you told us.

940
00:48:27,680 --> 00:48:27,840
Speaker 1: Was you?

941
00:48:28,000 --> 00:48:32,680
Speaker 2: Right? Yeah? You know, I'll just just driving on what

942
00:48:32,840 --> 00:48:38,680
Speaker 2: season is it coming? What season is to be cold outside? Soon? Come?

943
00:48:39,000 --> 00:48:41,279
Speaker 2: How do you I'm regaining your masters back from that. Ye,

944
00:48:41,440 --> 00:48:44,120
Speaker 2: how did you do that? It just it just worked out.

945
00:48:44,239 --> 00:48:47,000
Speaker 2: I mean, you know people you own your masters? Yeah,

946
00:48:47,840 --> 00:48:51,919
Speaker 2: he should? Should you open that place? Crazy? By the way,

947
00:48:52,480 --> 00:48:54,759
Speaker 2: there's a song. So when I'm was teaching the n

948
00:48:54,880 --> 00:48:55,839
Speaker 2: y U there's a song.

949
00:48:56,680 --> 00:49:00,080
Speaker 1: I don't know how well now that poss explain to

950
00:49:00,160 --> 00:49:03,320
Speaker 1: me a whole like how two inch tapes are whatever

951
00:49:04,400 --> 00:49:09,839
Speaker 1: a rare commodity. There's an actual LL song on one

952
00:49:09,920 --> 00:49:14,560
Speaker 1: of the Nation a millions reels that I never heard before.

953
00:49:14,600 --> 00:49:18,000
Speaker 1: It was just like one verse, probably because that's probably

954
00:49:18,120 --> 00:49:20,439
Speaker 1: Rick Rick probably just like a raven shit And yeah,

955
00:49:21,120 --> 00:49:22,040
Speaker 1: probably that makes.

956
00:49:21,840 --> 00:49:24,279
Speaker 2: A lot of sense because you know, it's funny, like

957
00:49:24,400 --> 00:49:27,399
Speaker 2: a lot of the original Public Enemy songs. At the time,

958
00:49:27,520 --> 00:49:29,320
Speaker 2: Rick came to me and he was like, yo, he

959
00:49:29,440 --> 00:49:32,840
Speaker 2: wanted me to record Uzie ways a ton wow. And

960
00:49:32,960 --> 00:49:36,160
Speaker 2: I was like and I was like yeah, he was like,

961
00:49:36,200 --> 00:49:37,480
Speaker 2: do you want to record it? I'm like, well, what

962
00:49:37,520 --> 00:49:39,719
Speaker 2: do you mean. He's like, well, you just do the song.

963
00:49:39,760 --> 00:49:41,440
Speaker 2: I said no, I write my own rhymes though. Rick,

964
00:49:41,800 --> 00:49:44,279
Speaker 2: He's like, oh, okay, okay, okay, So then he did.

965
00:49:44,640 --> 00:49:47,920
Speaker 2: He ended up doing Public Enemy. You know what I'm saying, so,

966
00:49:48,360 --> 00:49:50,600
Speaker 2: you know, so he brought me UZI ways a ton.

967
00:49:50,640 --> 00:49:52,759
Speaker 2: He brought me like he wanted me to record a

968
00:49:52,800 --> 00:49:54,719
Speaker 2: lot of those PE songs. You know what I'm saying,

969
00:49:55,040 --> 00:49:56,880
Speaker 2: Oh my god, you had a reck I'm on the

970
00:49:56,920 --> 00:50:01,759
Speaker 2: Street Fight the soundtrack the Light, Yeah, yeah, yeah, yeah?

971
00:50:02,239 --> 00:50:05,080
Speaker 2: What was I was just wilding, man like, just having fun.

972
00:50:05,520 --> 00:50:07,840
Speaker 2: Like a lot of the songs are like become like

973
00:50:07,960 --> 00:50:11,000
Speaker 2: jam sessions, just vibing and then say, yo, I keep that.

974
00:50:11,120 --> 00:50:12,480
Speaker 2: I like it. You know what I'm saying. I don't

975
00:50:13,280 --> 00:50:15,400
Speaker 2: like for me to be honest with you, you know.

976
00:50:15,480 --> 00:50:17,719
Speaker 2: And this goes back to the MC comment that you

977
00:50:18,360 --> 00:50:21,200
Speaker 2: kind of that you were talking about. Like the difference

978
00:50:21,239 --> 00:50:22,960
Speaker 2: between me and a lot of the other guys is

979
00:50:23,040 --> 00:50:26,000
Speaker 2: that for a lot of them, they're always focused on

980
00:50:26,200 --> 00:50:29,080
Speaker 2: being as descriptive and as creative and as clever as

981
00:50:29,120 --> 00:50:32,440
Speaker 2: they possibly can lyrically on every song. I don't do that.

982
00:50:33,120 --> 00:50:36,160
Speaker 2: I go for the feeling of the song, whatever the

983
00:50:36,320 --> 00:50:39,279
Speaker 2: song requires to feel good. That's what I do. It

984
00:50:39,520 --> 00:50:42,040
Speaker 2: is I'm not so so what does But what that

985
00:50:42,239 --> 00:50:45,279
Speaker 2: does is you get in situations where you only need

986
00:50:45,360 --> 00:50:49,720
Speaker 2: twelve points to win, sometimes you need forty five. Sometimes

987
00:50:49,760 --> 00:50:53,000
Speaker 2: you need seven. Sometimes you need nineteen as opposed to

988
00:50:53,120 --> 00:50:55,960
Speaker 2: a guy who's always out there trying to go to

989
00:50:56,040 --> 00:51:01,520
Speaker 2: thirty forty every night. That's the so creatively, that's why

990
00:51:02,880 --> 00:51:05,440
Speaker 2: I probably am not in a lot of those conversations

991
00:51:05,480 --> 00:51:08,320
Speaker 2: because that's not my focus. I look at guards like

992
00:51:08,480 --> 00:51:10,440
Speaker 2: Michael Jackson. I look at Rick James, I look at

993
00:51:10,920 --> 00:51:15,360
Speaker 2: you know, James Brown. I look at you know, these artists,

994
00:51:15,400 --> 00:51:17,600
Speaker 2: Marvin Gay. I look at these different artists and the

995
00:51:17,680 --> 00:51:19,800
Speaker 2: thing that they all have in common is the feeling.

996
00:51:20,320 --> 00:51:24,399
Speaker 2: It wasn't about just the lyrics, right, the technical lyric

997
00:51:24,600 --> 00:51:27,680
Speaker 2: was not what made you feel good? You know what

998
00:51:27,719 --> 00:51:28,000
Speaker 2: I mean?

999
00:51:28,200 --> 00:51:30,160
Speaker 4: Nah, I mean because we sang the whole flavor in

1000
00:51:30,239 --> 00:51:32,439
Speaker 4: ear verse and blow t is ain't even real word,

1001
00:51:32,520 --> 00:51:36,120
Speaker 4: but it just it's so good, you know what I mean.

1002
00:51:36,200 --> 00:51:38,560
Speaker 2: But I bet you you know if if in a

1003
00:51:38,680 --> 00:51:43,800
Speaker 2: certain scenario, if you said you're like blow you know

1004
00:51:43,840 --> 00:51:45,840
Speaker 2: what I mean, like you just it's just a vibe,

1005
00:51:45,920 --> 00:51:49,160
Speaker 2: So that was you don't say I'm saying no. That's why,

1006
00:51:49,320 --> 00:51:52,719
Speaker 2: like my catalog is the way it is, because part

1007
00:51:52,760 --> 00:51:56,480
Speaker 2: of being able to run fast is being confident enough

1008
00:51:56,520 --> 00:52:01,160
Speaker 2: to run slow. Damn you know, you know, you know,

1009
00:52:01,320 --> 00:52:03,120
Speaker 2: being it, you know what I mean, that's part of it.

1010
00:52:03,239 --> 00:52:05,800
Speaker 2: I ain't all the time, you know, because you know

1011
00:52:05,920 --> 00:52:08,359
Speaker 2: you see Hussein boat jogging, You're like, oh, he ain't

1012
00:52:08,400 --> 00:52:14,160
Speaker 2: really fast. It's like he's jogging. Okay, you know you

1013
00:52:14,280 --> 00:52:18,800
Speaker 2: understand I'm saying. So that's kind of part of But

1014
00:52:18,920 --> 00:52:21,279
Speaker 2: I think that I have to stick with that. I

1015
00:52:21,440 --> 00:52:24,680
Speaker 2: have to be myself. I don't want to be fighting

1016
00:52:24,960 --> 00:52:27,440
Speaker 2: for my lyrical life on every song. That's not what

1017
00:52:27,560 --> 00:52:30,600
Speaker 2: it's about because people don't need that for me. For me,

1018
00:52:30,880 --> 00:52:32,840
Speaker 2: what they need is to be touched in their souls.

1019
00:52:33,200 --> 00:52:36,200
Speaker 2: So whatever the song requires, that's what I'm gonna do.

1020
00:52:36,600 --> 00:52:39,160
Speaker 2: You already do that for now.

1021
00:52:39,200 --> 00:52:41,399
Speaker 1: I have one point five questions because you already mentioned

1022
00:52:41,440 --> 00:52:45,000
Speaker 1: his name and I forgot what was it like? Cay

1023
00:52:45,080 --> 00:52:48,320
Speaker 1: telling the process of making serious effect with Michael Jackson.

1024
00:52:48,440 --> 00:52:51,560
Speaker 2: Mike is hilarious man. So like, first of all, you

1025
00:52:51,640 --> 00:52:53,799
Speaker 2: walk in the studios a ladies traffic, I'm like, yo,

1026
00:52:53,880 --> 00:52:57,279
Speaker 2: Mike's in traffic is hilaric. Like, but we had a

1027
00:52:57,320 --> 00:52:59,080
Speaker 2: good job, man, Yeah, we had sobody, you know, we

1028
00:52:59,160 --> 00:53:03,480
Speaker 2: had so much fun. And just what year was that made?

1029
00:53:03,600 --> 00:53:06,160
Speaker 2: Like I found this around on around the I'm bad

1030
00:53:06,320 --> 00:53:11,120
Speaker 2: around the bad a little bit after the bad area, like, no,

1031
00:53:11,239 --> 00:53:16,440
Speaker 2: my bad, there's a bad battle, yeah, Radio Lee Bay.

1032
00:53:18,680 --> 00:53:20,920
Speaker 2: Oh yeah, they came out on Radio School. I came

1033
00:53:20,960 --> 00:53:23,800
Speaker 2: out first, the Battle the bad albums. It's going to

1034
00:53:23,800 --> 00:53:26,960
Speaker 2: be right here, Yo, No, it definitely ain't. And so

1035
00:53:27,160 --> 00:53:30,480
Speaker 2: I was like, yo, you know, just working with Mike

1036
00:53:30,640 --> 00:53:32,120
Speaker 2: was just it was just a lot of fun, you

1037
00:53:32,160 --> 00:53:33,360
Speaker 2: know what I'm saying. We had a good time in

1038
00:53:33,400 --> 00:53:36,239
Speaker 2: the studio. We hung out, you know what I'm saying.

1039
00:53:36,280 --> 00:53:38,560
Speaker 2: We were always cool. It was great. Plus, you know,

1040
00:53:38,600 --> 00:53:41,640
Speaker 2: I spent so much much time with Quincy Jones. You know,

1041
00:53:42,680 --> 00:53:45,120
Speaker 2: he taught me a lot about career between him and

1042
00:53:45,200 --> 00:53:48,480
Speaker 2: Lino Richie. So now it was amazing. It was amazing.

1043
00:53:48,560 --> 00:53:52,560
Speaker 1: Okay, So my my final question is when when we

1044
00:53:52,760 --> 00:53:55,879
Speaker 1: first started rehearsing, we of course had to put off

1045
00:53:55,880 --> 00:54:00,399
Speaker 1: a few days because you just became a yeah yeah

1046
00:54:00,400 --> 00:54:05,200
Speaker 1: three times over, which made me think, like, how what

1047
00:54:05,400 --> 00:54:10,200
Speaker 1: advice could you give us those who are in budding relationships,

1048
00:54:10,280 --> 00:54:15,600
Speaker 1: dice who are newly married and whatever, how to maintain uh,

1049
00:54:16,280 --> 00:54:20,759
Speaker 1: your sanity and your family and also career be a

1050
00:54:20,920 --> 00:54:24,560
Speaker 1: career because I think I think it's rather like notable

1051
00:54:24,760 --> 00:54:28,440
Speaker 1: and applause worthy that you know, you and Simone have

1052
00:54:28,520 --> 00:54:29,320
Speaker 1: made it through the storm.

1053
00:54:29,440 --> 00:54:32,600
Speaker 2: You have kids and and all that successful business too.

1054
00:54:32,640 --> 00:54:35,839
Speaker 2: I would love some ear rings. We could work that out.

1055
00:54:35,920 --> 00:54:38,160
Speaker 2: I think. I think, Look, man, I think what I

1056
00:54:38,320 --> 00:54:42,160
Speaker 2: what I've learned, man, is where I'm starting as I

1057
00:54:42,160 --> 00:54:46,240
Speaker 2: ain't playing detective. Okay, it ain't gonna be no detective

1058
00:54:46,280 --> 00:54:50,000
Speaker 2: work involved. I'm not doing that. Okay, it's no detective work.

1059
00:54:50,560 --> 00:54:52,719
Speaker 2: So it's gonna be what it's gonna be. All right,

1060
00:54:53,000 --> 00:54:55,520
Speaker 2: I'm starting it. Let's go because I need sanity and

1061
00:54:55,600 --> 00:54:57,560
Speaker 2: I need to be calm and relaxed, and that's it.

1062
00:54:57,880 --> 00:55:00,279
Speaker 2: So I'm not doing no detective work. Okay, I ain't

1063
00:55:00,320 --> 00:55:04,839
Speaker 2: coughing nothing, and I ain't playing detective. So I'm out

1064
00:55:04,920 --> 00:55:08,319
Speaker 2: that game. Okay, So now you just take it off

1065
00:55:08,360 --> 00:55:11,640
Speaker 2: about fifty percent of your drama everything, right. I put

1066
00:55:11,719 --> 00:55:14,839
Speaker 2: that with that, just like, Okay, no detective work. That's

1067
00:55:14,840 --> 00:55:19,560
Speaker 2: first thing. Second thing is I'm gonna try to help

1068
00:55:19,640 --> 00:55:23,040
Speaker 2: facilitate your dreams, make your dreams come true, right, help

1069
00:55:23,080 --> 00:55:25,719
Speaker 2: you with your dream make sure you write. And then

1070
00:55:25,760 --> 00:55:28,800
Speaker 2: the third thing is I'm gonna always go after my

1071
00:55:28,960 --> 00:55:32,040
Speaker 2: dreams and my purpose wholeheartedly you know what I'm saying.

1072
00:55:32,480 --> 00:55:36,439
Speaker 2: And the better I take care of me, the better

1073
00:55:36,440 --> 00:55:38,439
Speaker 2: I can take care of you. You know what I'm saying.

1074
00:55:39,080 --> 00:55:41,279
Speaker 2: And then you know, then there's little things. You know,

1075
00:55:41,640 --> 00:55:44,239
Speaker 2: you can't be afraid of silence, man, you know what

1076
00:55:44,280 --> 00:55:46,680
Speaker 2: I'm saying, Like, we ain't got to be talking. Man,

1077
00:55:46,880 --> 00:55:47,600
Speaker 2: It's all right.

1078
00:55:49,840 --> 00:55:54,080
Speaker 1: When I tell you, when I tell you, there's one

1079
00:55:54,160 --> 00:55:57,759
Speaker 1: point by day for where the roof a daily tab

1080
00:55:58,400 --> 00:56:03,600
Speaker 1: on ll idioms her way past, like wake up and

1081
00:56:03,640 --> 00:56:08,600
Speaker 1: smell the coffee. I'm not playing literally, I'm going I

1082
00:56:08,920 --> 00:56:09,359
Speaker 1: missed out.

1083
00:56:11,120 --> 00:56:17,120
Speaker 2: Oh all right? In the house, yeah yeah, the one

1084
00:56:17,320 --> 00:56:20,480
Speaker 2: the pants leg? How did that? Was that? Just something? Yeah?

1085
00:56:20,480 --> 00:56:22,759
Speaker 2: I did it? Listen the bike messages in New York

1086
00:56:22,800 --> 00:56:25,800
Speaker 2: did it? I liked it because they used to do

1087
00:56:25,880 --> 00:56:28,080
Speaker 2: it for that episode of Oil. Wouldn't get on their chain,

1088
00:56:28,239 --> 00:56:31,279
Speaker 2: the chain, so I'm like, yo, I'm rolling my joint up.

1089
00:56:31,320 --> 00:56:31,400
Speaker 3: Man.

1090
00:56:31,440 --> 00:56:33,440
Speaker 2: I just started wearing it like that and it took

1091
00:56:33,480 --> 00:56:35,520
Speaker 2: on the life of his own. But my favorite thing

1092
00:56:35,520 --> 00:56:37,680
Speaker 2: about that is that's my son on the theme song

1093
00:56:38,080 --> 00:56:42,040
Speaker 2: in the house. Yeah yeah, yeah, yeah, yeah, wow, last

1094
00:56:42,120 --> 00:56:45,279
Speaker 2: yeah I put them on there. Debbie did a sitcom too, Yeah,

1095
00:56:45,320 --> 00:56:47,560
Speaker 2: I did the sitcom with Debbie Allen the last time

1096
00:56:47,600 --> 00:56:49,719
Speaker 2: she acted in the sitcom. It was amazing. Working with

1097
00:56:49,800 --> 00:56:51,600
Speaker 2: Debbie was great. She's she's amazing.

1098
00:56:51,680 --> 00:56:54,680
Speaker 3: Okay, last last question, No more films, because you've been

1099
00:56:55,280 --> 00:56:55,919
Speaker 3: asked for a minute.

1100
00:56:55,960 --> 00:56:57,919
Speaker 2: Well, I just we just wrapped and c I asked,

1101
00:56:57,960 --> 00:56:59,000
Speaker 2: we did fourteenth seasons.

1102
00:57:00,080 --> 00:57:00,400
Speaker 3: I have a.

1103
00:57:02,320 --> 00:57:03,880
Speaker 2: Well, I guess I could talk about a little bit

1104
00:57:03,920 --> 00:57:06,200
Speaker 2: with the tentative deal. I got to reoccur role on

1105
00:57:06,560 --> 00:57:10,200
Speaker 2: n CIS Hawaii, and then I got some films that

1106
00:57:10,520 --> 00:57:12,400
Speaker 2: that I'm looking at. Yeah, I got some films. I

1107
00:57:12,400 --> 00:57:14,680
Speaker 2: got some films I'm looking at for sure.

1108
00:57:14,760 --> 00:57:20,240
Speaker 1: I think we've asked absolutely everything. Cool, James Todd smith Man, No,

1109
00:57:20,360 --> 00:57:24,400
Speaker 1: for real. I I know every time we like thank

1110
00:57:24,440 --> 00:57:27,360
Speaker 1: you whatever and like give you the presidential but for real,

1111
00:57:27,520 --> 00:57:28,880
Speaker 1: when I say thank.

1112
00:57:28,720 --> 00:57:30,480
Speaker 2: You, I'm happy to be here. Man.

1113
00:57:30,600 --> 00:57:35,880
Speaker 1: You're literally one of my favorite creative human beings ever.

1114
00:57:36,160 --> 00:57:38,520
Speaker 1: And the thing is is that, as we said before,

1115
00:57:39,760 --> 00:57:41,920
Speaker 1: you make it look so effort like literally it's like

1116
00:57:42,000 --> 00:57:43,600
Speaker 1: Steph Curry, Like after a while you're.

1117
00:57:43,520 --> 00:57:46,000
Speaker 2: Just like, all right, great, it's going in like a

1118
00:57:46,040 --> 00:57:46,440
Speaker 2: big deal.

1119
00:57:46,640 --> 00:57:52,200
Speaker 1: All right. But yeah, and I think now, especially in

1120
00:57:52,360 --> 00:57:56,360
Speaker 1: light of the onslaught of death that hip hopics experience

1121
00:57:57,120 --> 00:58:01,320
Speaker 1: a lot of premature careers. Cut and Frank also seeing

1122
00:58:01,360 --> 00:58:04,680
Speaker 1: a lot of brothers just self sabotage their things, like

1123
00:58:05,040 --> 00:58:08,160
Speaker 1: that's why I'm watching people, and like you're you're a

1124
00:58:08,200 --> 00:58:12,240
Speaker 1: really exemplary of human beings that aren't afraid even if

1125
00:58:12,280 --> 00:58:12,760
Speaker 1: you make.

1126
00:58:12,640 --> 00:58:16,200
Speaker 2: A misstep, like it's like, okay, well that didn't work.

1127
00:58:16,360 --> 00:58:19,120
Speaker 2: What else is there in the territory? Right? And I

1128
00:58:19,160 --> 00:58:20,840
Speaker 2: would say this, I would say in terms of the

1129
00:58:21,360 --> 00:58:24,080
Speaker 2: self sabotage, just to just to put some words out

1130
00:58:24,120 --> 00:58:28,200
Speaker 2: there in the universe for people. You don't limit yourself, right,

1131
00:58:28,400 --> 00:58:31,640
Speaker 2: you know what I'm saying, You don't limit yourself. You

1132
00:58:31,760 --> 00:58:34,840
Speaker 2: have to be comfortable with them. We're seeing something bigger

1133
00:58:34,880 --> 00:58:37,800
Speaker 2: for your life, and you have to be comfortable with

1134
00:58:38,360 --> 00:58:41,160
Speaker 2: that idea. A lot of people think they're comfortable with it,

1135
00:58:41,320 --> 00:58:44,160
Speaker 2: but the reality is when they every time they say

1136
00:58:44,200 --> 00:58:46,600
Speaker 2: that they self talk to themselves about doing something big,

1137
00:58:46,920 --> 00:58:48,840
Speaker 2: there's a little voice that jumps in there and says

1138
00:58:48,880 --> 00:58:51,480
Speaker 2: it's not possible because it's gonna require you to change.

1139
00:58:51,840 --> 00:58:54,200
Speaker 2: It's gonna require you to change, And a lot of

1140
00:58:54,280 --> 00:58:57,400
Speaker 2: it is also just fear based and kind of feeling

1141
00:58:57,520 --> 00:59:00,800
Speaker 2: like everybody, a lot of people feel success is like

1142
00:59:00,880 --> 00:59:05,520
Speaker 2: hitting a lot of and it's not. You know what

1143
00:59:05,520 --> 00:59:09,520
Speaker 2: I'm saying, it's it's the effect is like hitting the

1144
00:59:09,560 --> 00:59:12,120
Speaker 2: lot of But the journey isn't, you know what I'm saying.

1145
00:59:12,520 --> 00:59:15,400
Speaker 2: So so, so, you gotta be willing to believe in

1146
00:59:15,480 --> 00:59:18,160
Speaker 2: yourself and that aspect of yourself, and you gotta really believe.

1147
00:59:18,680 --> 00:59:21,880
Speaker 2: You gotta believe, man, you can't be limited. You gotta

1148
00:59:21,960 --> 00:59:24,800
Speaker 2: believe in yourself and believe in the power inside of

1149
00:59:24,840 --> 00:59:26,520
Speaker 2: you to do something greater with your life. You know

1150
00:59:26,560 --> 00:59:29,640
Speaker 2: what I'm saying. And that really is something that you

1151
00:59:29,720 --> 00:59:32,320
Speaker 2: know when you when you're drifting off to sleep at night.

1152
00:59:32,640 --> 00:59:35,080
Speaker 2: You have to envision something greater for your life. You

1153
00:59:35,240 --> 00:59:37,360
Speaker 2: have to take make a conscious effort to control your

1154
00:59:37,400 --> 00:59:40,160
Speaker 2: thoughts on a daily basis so that you're seeing yourself

1155
00:59:40,200 --> 00:59:42,160
Speaker 2: go to the to the height you want to go to.

1156
00:59:42,280 --> 00:59:45,440
Speaker 2: You can't just be your Your mind shouldn't be like

1157
00:59:45,520 --> 00:59:48,800
Speaker 2: a cork just thrown in the ocean, just randomly bouncing around.

1158
00:59:49,000 --> 00:59:51,080
Speaker 2: You should be very intentional about what you want out

1159
00:59:51,080 --> 00:59:53,000
Speaker 2: of life. I need you to gather everyone in hip

1160
00:59:53,040 --> 01:00:00,280
Speaker 2: hop and just lock them in camp and just op. Yeah.

1161
01:00:00,800 --> 01:00:03,440
Speaker 2: I just yeah, that was a moment that was definitely

1162
01:00:04,000 --> 01:00:07,080
Speaker 2: put that off because they you know, they was, you

1163
01:00:07,200 --> 01:00:12,200
Speaker 2: can't do it. They can't I own this, Okay, so

1164
01:00:12,320 --> 01:00:21,040
Speaker 2: they knew no owned it, but ing below, I get it.

1165
01:00:21,200 --> 01:00:24,600
Speaker 2: I was the car side, didn't know what's your car?

1166
01:00:29,320 --> 01:00:30,440
Speaker 2: All right, I'm gonna be.

1167
01:00:30,480 --> 01:00:34,440
Speaker 1: Having Fan Tigelow and Sugar, Steve Man, unpaid Bill and

1168
01:00:34,560 --> 01:00:37,480
Speaker 1: Light yea man, I mean you don't want to rate?

1169
01:00:37,680 --> 01:00:38,400
Speaker 1: Why do what I do?

1170
01:00:38,760 --> 01:00:41,760
Speaker 2: Thank you great James Stott Smith has finally come on

1171
01:00:41,840 --> 01:00:43,600
Speaker 2: this question. We don't need no more. Episodes were good.

1172
01:00:43,880 --> 01:00:46,560
Speaker 2: Thank you so much. We appreciate it.

1173
01:00:46,680 --> 01:00:51,680
Speaker 5: Till on, loan bro, thank you, thank you for listening

1174
01:00:51,680 --> 01:00:54,000
Speaker 5: to The Quest Love Supreme. This podcast is hosted by

1175
01:00:54,040 --> 01:00:58,320
Speaker 5: a mere quest Love Thompson like Saint Claire, Vante Coleman, Sugar,

1176
01:00:58,360 --> 01:00:59,959
Speaker 5: Steve Mandell, and myself.

1177
01:01:00,080 --> 01:01:01,000
Speaker 2: Unpaid Bill Sherman.

1178
01:01:01,200 --> 01:01:04,440
Speaker 5: The executive producers are Mer just walked into the goddamn

1179
01:01:04,520 --> 01:01:09,000
Speaker 5: room Thompson, Sean g and Brian Calhoun. Produced by Britney Benjamin,

1180
01:01:09,120 --> 01:01:12,320
Speaker 5: Jake Pain and Ia Sinclair. Edited by Alex Conroy I

1181
01:01:12,400 --> 01:01:16,080
Speaker 5: know Alex Conroy. Produced for iHeart by Noel Brown and

1182
01:01:16,240 --> 01:01:19,960
Speaker 5: Mike Johns. Auto engineering by Graham Gibson at Iheart's La Studio.

1183
01:01:20,240 --> 01:01:20,960
Speaker 5: Thank You very Much.

1184
01:01:21,840 --> 01:01:24,680
Speaker 1: West Love Supreme is a production of iHeartRadio.

1185
01:01:27,520 --> 01:01:30,800
Speaker 2: For more podcasts from iHeart Radio, visit the iHeartRadio app,

1186
01:01:31,040 --> 01:01:34,080
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.