WEBVTT - Questlove Supreme: LL Cool J Part 2

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio.

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<v Speaker 2>What up, y'all?

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<v Speaker 3>Welcome back to Quest Love Supreme. So last week we

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<v Speaker 3>gave you part one of our conversations with L, who

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<v Speaker 3>Jack tapeed the iHeart Studios Hollywood. Make sure you check

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<v Speaker 3>that out because we asked L about as early as days,

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<v Speaker 3>rapping people, doubting I need love, new producers, and some

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<v Speaker 3>of those rabbit hole questions we always wanted to know.

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<v Speaker 2>Yeah, we only made it to talking about nineteen ninety.

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

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<v Speaker 2>Enjoy y'all.

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<v Speaker 1>So, also early with Wildcats with Toys or whatever, you're

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<v Speaker 1>one of the first people in the hip hop lane

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<v Speaker 1>to start pivoting to other mediums acting. Yeah, how easy

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<v Speaker 1>or hard was it to convince you? Because I've literally

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<v Speaker 1>met nobody in our industry that it wasn't a struggle.

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<v Speaker 1>Me too, I had to be talked and almost by

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<v Speaker 1>at gunpoint to direct this film I want to do it.

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<v Speaker 2>How easy was it for you to get into that lane?

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<v Speaker 2>I had no no problems with it, you know, as

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<v Speaker 2>long as as long as it didn't do anything that

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<v Speaker 2>was gonna undermine what I was doing, you know, in music,

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<v Speaker 2>you know what I'm saying, as long as it didn't

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<v Speaker 2>undermine that I was cool. You know. I always believed,

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<v Speaker 2>like my mother used to always tell me, you could

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<v Speaker 2>do anything you put your mind to, you know what

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

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<v Speaker 2>you know, watch Bruce Lee and dream about having movies

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<v Speaker 2>and me and my man Pierre would have the he'd

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<v Speaker 2>have the was it the thirty four millimeter or the

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<v Speaker 2>sixteen minute? The cameras the sixteen milimeter cameras and we'd

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<v Speaker 2>be making kung ful movies and all that. So I

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<v Speaker 2>was with it. I was I wanted to smoke. I

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<v Speaker 2>wanted all to smoke. I want to make movies, want

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<v Speaker 2>to do it all.

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<v Speaker 1>How easy was the transition to do though? Did you

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<v Speaker 1>have to get an acting coach?

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<v Speaker 2>I definitely study. I definitely have had many acting coaches.

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<v Speaker 2>I went to the Spies Academy. Uh. You know, I

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<v Speaker 2>work with a lot of acting coaches, Greta Secat, Winnie

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<v Speaker 2>Winnie Hill and my current coach. You know, I trained

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<v Speaker 2>and studied, you know read, you know Stanislavsky, and you

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<v Speaker 2>know and Uda Hagen and you know yo, yeah, oh yeah,

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<v Speaker 2>that technique. Oh yeahechnique. Oh yeah, oh yeah, of course

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<v Speaker 2>hundred percent. Like I listen, you have to you have

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<v Speaker 2>to and you have to respect the craft, right Like

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<v Speaker 2>people assume that I just kind of bounce into things,

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<v Speaker 2>but I you know, I watched I study everything, you

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

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<v Speaker 1>Was there a role that you passed up that was

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<v Speaker 1>sort of like, damn, I had first DIBs on blah

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<v Speaker 1>blah blah.

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<v Speaker 2>A role I passed up was the the Alan Payne

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

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<v Speaker 2>I passed on and I wanted to do it. My

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<v Speaker 2>father didn't want me to play a drug dealer, but

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<v Speaker 2>then you did. That's my decision, dad, you know, let

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

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<v Speaker 2>You for real, for real, straight up.

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<v Speaker 4>That probably is my favorite Movie's my favorite Thank you?

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<v Speaker 2>Thank you guess yeah, oh boy.

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<v Speaker 5>We haven't been on this show every time. Every once

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<v Speaker 5>in a while where we talk to people about the

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<v Speaker 5>Latin quarters, and nine of the ten times, everybody's story

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<v Speaker 5>starts with one time I was there and ll cool

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<v Speaker 5>J did this, and I'm not even I'm not even

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<v Speaker 5>making this up.

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

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<v Speaker 2>I feel like you were.

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<v Speaker 5>I feel do you have your favorite Latin Quarter story or.

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<v Speaker 2>We do it every time?

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<v Speaker 5>Very offensive, the.

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<v Speaker 2>Racist. It's just like if you sound like as a Mexican.

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<v Speaker 1>Country Latin, I totally forgot you are a hip hop

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<v Speaker 1>legend that was of age of the Latin corner. The

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<v Speaker 1>only reason why I'm obsessed with the Latin Quarter is

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<v Speaker 1>because to hear everyone tell the story, everyone tells of

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<v Speaker 1>the best time they've ever musically had in their lives,

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<v Speaker 1>like listening to hip hop, but it always comes on

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

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<v Speaker 1>why would you go to a place where something could

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<v Speaker 1>possibly happen to you just to hear what top billing

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<v Speaker 1>sounds like on the speaker system? Did you ever frequent

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<v Speaker 1>Latin Quarter or whatever? What is it like in your

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<v Speaker 1>like what's your take on the Latin Quarter?

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<v Speaker 2>I mean it was dangerous, dangerous, Like you know I

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<v Speaker 2>had to do it one time. Man, Like you know,

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

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<v Speaker 2>He's like, what's up? What's up? Like, what's up. I

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<v Speaker 2>look down at his hand. He got to raise a

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

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<v Speaker 2>that's what you know what I'm saying. So it's like

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<v Speaker 2>it was that kind of a spot. But then you

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<v Speaker 2>hear like amazing dancing and and like you know, it

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<v Speaker 2>was like a badge of honor to be able to

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<v Speaker 2>walk around in there with jewelry on. You know what

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<v Speaker 2>I'm saying. It was so for you.

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<v Speaker 1>Never think of a vulnerability like, yo, man that I

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<v Speaker 1>can't go there because like.

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<v Speaker 2>I start with you, no no, no, no, you gotta remember

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<v Speaker 2>like everybody, I ran with it, yo. No no no

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<v Speaker 2>no no no no no no no no. That wasn't

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

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

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<v Speaker 2>I was good. I was good. So you weren't a

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<v Speaker 2>roll with yourself person. You were a not in those

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<v Speaker 2>not when I went to certain clubs. Now, when I

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<v Speaker 2>went to the I would do that sometimes, but really honestly,

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<v Speaker 2>I would go downtown with some of them clubs by myself.

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

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

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<v Speaker 2>standing there and the like they got some punk rock

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

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<v Speaker 2>pistol or who it might be, and they be in

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<v Speaker 2>there performing at CBGB's. I might go there by myself,

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<v Speaker 2>but when I went to the Latin quarters, I usually

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<v Speaker 2>took a couple of dudes with me, you know, depending

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

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<v Speaker 2>we was moving around, it was we was good. Plus

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<v Speaker 2>like I said, you know, I was I was really

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<v Speaker 2>friendly with all of the guys in the town that

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<v Speaker 2>were really I had very few real problems, you know

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<v Speaker 2>with guys because I knew how to not be tough,

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<v Speaker 2>you know what I'm saying, like how to not and

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

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<v Speaker 2>So I didn't have like a lot of them problems

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<v Speaker 2>like you know, I just didn't you know what I'm saying.

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<v Speaker 1>Can you tell us the story of how you and

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<v Speaker 1>Arli Maum connected And yeah, what is the feeling of

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<v Speaker 1>the perception of being underestimated by that point in your career?

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<v Speaker 2>So first, the underestimated piece. The underestimated piece is kind

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<v Speaker 2>of like listen. I love a challenge, man, and you know,

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<v Speaker 2>I welcome those moments when people think that I'm not

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

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<v Speaker 2>I secretly relish the opportunity to prove that I'm more

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<v Speaker 2>than what you think I am, you know what I'm saying.

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<v Speaker 2>And so that part for me is like, you know,

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<v Speaker 2>being down in the fourth quarter is like I just

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<v Speaker 2>want the ball, like I love that. I live for it,

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

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

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

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<v Speaker 2>I just relished that. You know. In terms of me Molly,

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<v Speaker 2>it was like I used to go up to BLS

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<v Speaker 2>at the time and do interviews, and one day I

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<v Speaker 2>was up there and we was doing something and Mally

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

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<v Speaker 2>you know, he always had the great stuff, and he

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<v Speaker 2>had kind of the Juice Crew stuff had just cooled

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<v Speaker 2>off just enough, so he was kind of like in

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<v Speaker 2>a little bit of an in between phase. And I

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<v Speaker 2>was coming off a panther and so obviously, you know,

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<v Speaker 2>I had got booed at the use of Hawkins thing

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<v Speaker 2>and all that down down in New York because remember,

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

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<v Speaker 2>So when I came out with that walking with a panther,

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<v Speaker 2>the real issue with walking with a Panther wasn't yeah,

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<v Speaker 2>there's some songs on there people don't like whatever. The

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<v Speaker 2>real issue was the imagery. Imagery. So at that time,

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<v Speaker 2>it was about you had public enemy, you had ex clan,

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<v Speaker 2>you had care rests that everybody was on the area,

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

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<v Speaker 2>models on the back and cell phones, briefcases, cash I'm

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<v Speaker 2>going to CALLI getting five sixty benches, getting convertible tops, cutting,

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

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<v Speaker 2>you know. And see fast forward ten years now and

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<v Speaker 2>everybody was you know, when you asked for it to

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<v Speaker 2>ninety seven, ninety eight, ninety nine, it was different, right,

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<v Speaker 2>But at that time I was the first guy who

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<v Speaker 2>really did that, so it was looked, it was frowned upon, right,

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<v Speaker 2>So that was really the energy. So it felt like

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<v Speaker 2>I wanted to show that number. There was more to

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<v Speaker 2>it than just the trappings. Does that make sense? I

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<v Speaker 2>only show them there was more to it than the trappings,

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<v Speaker 2>like I really because I really loved this. I didn't

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<v Speaker 2>do it for the trappings. The trappings came, but I

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<v Speaker 2>did it for the for the love. And so I

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<v Speaker 2>got with Mally. Mally was like, Yo, what something, man,

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

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

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<v Speaker 2>do a remix. Let me get a remix. Someone said,

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

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<v Speaker 2>me the toys. So I gave Jingling Baby. Okay. And

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<v Speaker 2>when I gave Jingling Baby, you know, I had been

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<v Speaker 2>playing with it already, so I had that baseline on there.

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<v Speaker 2>You know what I'm saying, because I used to make

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

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<v Speaker 2>Like you know I'm a type of guy. I mean,

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<v Speaker 2>I made a lot of my beats. You know what

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<v Speaker 2>I'm saying. People don't realize that. So so I had

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<v Speaker 2>already had put that base on it. So I sent

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<v Speaker 2>it to him and he was like, yo. And when

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<v Speaker 2>that came in, when I walked in the studio he

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

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<v Speaker 2>how you got this on here? You ain't? So he

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<v Speaker 2>like chopped it in and put some stuff to it.

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<v Speaker 2>Then he put that walking on Sunshine in it, and

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<v Speaker 2>you know, he said, yo, I want you to readrough

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<v Speaker 2>the vocals though you know what I'm saying. I want

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<v Speaker 2>you because you always yelling on your Joe. I want

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

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<v Speaker 2>you know leads to booming.

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<v Speaker 1>All right, now, this is all right. This is something.

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<v Speaker 1>So every night, every night I would go to z

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<v Speaker 1>Trip right and I would say to him. I was like, yo,

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<v Speaker 1>are you guys? Is this all pro tools? He's like

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<v Speaker 1>what do you mean? I was like, is Yello doing

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

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

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<v Speaker 2>So about maybe six years later, I went to the

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<v Speaker 2>pro tools guy right, and I.

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<v Speaker 1>Said, let me see, let me see all the tracks

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<v Speaker 1>real quick, because this is something now as far as

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<v Speaker 1>I know. So the thing is is that in my mind,

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<v Speaker 1>Tarik's greatest gift as an MC is his breath control.

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<v Speaker 1>And when you watch the Hot ninety seven free style,

0:11:09.559 --> 0:11:13.120
<v Speaker 1>like you rarely hear whatever. So like Teriq's you know,

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<v Speaker 1>he is a communications major in college and so he

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<v Speaker 1>does his whole circular breath thing. But I never heard

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<v Speaker 1>a rapper ever use intonation and concert just like their

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<v Speaker 1>record like rock Kim, who's the king of monotone and

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<v Speaker 1>all this stuff, figure of a marital plant, Like he

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<v Speaker 1>goes loud and I was like, wait a minute, ll

0:11:35.440 --> 0:11:40.319
<v Speaker 1>would match note for note like his vocals on each song,

0:11:40.400 --> 0:11:43.600
<v Speaker 1>and it was blowing my mind that he wasn't yelling

0:11:44.480 --> 0:11:48.040
<v Speaker 1>and he was talking monotone and still projecting. So I

0:11:48.280 --> 0:11:51.800
<v Speaker 1>never like that to me, you never get enough credit

0:11:51.840 --> 0:11:53.760
<v Speaker 1>for that, And you know, I don't even know if

0:11:53.760 --> 0:11:56.200
<v Speaker 1>that's a thing to celebrate, Like, wow, you sound just

0:11:56.240 --> 0:12:00.320
<v Speaker 1>like your records, But I've never seen a human being,

0:12:01.200 --> 0:12:04.920
<v Speaker 1>never out of breath matching their vocals, and like that's hard.

0:12:05.040 --> 0:12:07.840
<v Speaker 4>Now a record, a record like Booming System, where you

0:12:07.960 --> 0:12:11.640
<v Speaker 4>kind of are more lowered to do that in an arena, Yeah, yeah, yeah,

0:12:11.640 --> 0:12:13.560
<v Speaker 4>that's like to keep it low like because yeah, but

0:12:13.800 --> 0:12:16.520
<v Speaker 4>you naturally as an MC, I mean, you're excited, you

0:12:16.640 --> 0:12:17.600
<v Speaker 4>naturally want.

0:12:17.360 --> 0:12:20.600
<v Speaker 1>To go being Yeah, but what makes Booming system is

0:12:20.640 --> 0:12:23.000
<v Speaker 1>the coolness of it, right, you know you know.

0:12:23.040 --> 0:12:26.400
<v Speaker 2>You hear boxes say keep your composure. You got to

0:12:26.440 --> 0:12:29.400
<v Speaker 2>keep keep your composure. You gotta you gotta trust it.

0:12:29.760 --> 0:12:31.400
<v Speaker 2>You know what I'm saying. The audience know what it is?

0:12:31.840 --> 0:12:34.920
<v Speaker 1>How do you know that and apply that, especially when

0:12:34.960 --> 0:12:37.400
<v Speaker 1>you live a life and walk a path in which

0:12:38.080 --> 0:12:41.480
<v Speaker 1>you almost got to justify every step that you're taking

0:12:42.240 --> 0:12:46.400
<v Speaker 1>and not performatively prove yourself every time. But literally, like

0:12:46.480 --> 0:12:49.880
<v Speaker 1>since Panther, every LL record's been an event to me

0:12:49.960 --> 0:12:51.959
<v Speaker 1>because I always been like, all right, I want to

0:12:52.000 --> 0:12:53.800
<v Speaker 1>see Like for me Panther, I was like, I wonder

0:12:53.800 --> 0:12:55.320
<v Speaker 1>what LL sounds like over.

0:12:55.559 --> 0:12:57.640
<v Speaker 2>Sample production, you know what I mean?

0:12:58.120 --> 0:13:00.120
<v Speaker 1>Next record is like I wonder what LL sound was

0:13:00.120 --> 0:13:02.840
<v Speaker 1>like in nineties production, like you know, topping the beat.

0:13:03.200 --> 0:13:07.240
<v Speaker 2>So it's almost like even from your biggest supporters, it's

0:13:07.320 --> 0:13:09.480
<v Speaker 2>like can he do it again? Can you do it?

0:13:10.480 --> 0:13:12.840
<v Speaker 2>I tell you, Like, like even this this new record

0:13:12.840 --> 0:13:14.920
<v Speaker 2>I just finished, right, I just finished this record with

0:13:14.960 --> 0:13:21.760
<v Speaker 2>Q tip and yeah, yeah, yeah something. No, No, that's

0:13:21.760 --> 0:13:25.520
<v Speaker 2>too that's too fancy. I need I need, I need

0:13:25.600 --> 0:13:27.880
<v Speaker 2>some cheaps. I need something I can get get right

0:13:27.920 --> 0:13:32.200
<v Speaker 2>to it, get right to the world. What I write,

0:13:32.480 --> 0:13:42.400
<v Speaker 2>Just what happened? Why never doing chapstick? And did they each? Yeah? Yeah,

0:13:43.600 --> 0:13:46.040
<v Speaker 2>everybody shastick for years my whole life. Yea, all that

0:13:46.120 --> 0:13:48.080
<v Speaker 2>aqua fall and all that run around with the shiny

0:13:48.120 --> 0:13:51.400
<v Speaker 2>lips like you know, like like I kissed the chicken

0:13:51.400 --> 0:13:56.120
<v Speaker 2>grease or something like I took the chicken. Yeah, like

0:13:56.120 --> 0:13:57.880
<v Speaker 2>like I've been like I've been kissing a pot of

0:13:57.960 --> 0:14:02.520
<v Speaker 2>chicken grease, knowing that you got up like everything I'm like,

0:14:02.800 --> 0:14:05.040
<v Speaker 2>I mean, be a while. It is my first application.

0:14:05.760 --> 0:14:14.079
<v Speaker 2>That's my first application, you know what I mean? For years,

0:14:14.080 --> 0:14:14.920
<v Speaker 2>like my whole life.

0:14:15.480 --> 0:14:20.000
<v Speaker 4>Sorry, nobody ever hear you about doing that?

0:14:20.040 --> 0:14:26.240
<v Speaker 2>Like getting your that's you your merch game. I swear

0:14:26.280 --> 0:14:32.320
<v Speaker 2>to God that it would sell out too damn long. Yes,

0:14:33.800 --> 0:14:36.320
<v Speaker 2>I'm sorry, broke, that's a good damn got.

0:14:36.360 --> 0:14:40.920
<v Speaker 1>My question doesn't matter, you know, it doesn't you know,

0:14:41.000 --> 0:14:44.640
<v Speaker 1>with your intonations and whatnot, like with how how do

0:14:44.720 --> 0:14:48.960
<v Speaker 1>you know like screaming when some of it applies for

0:14:49.080 --> 0:14:50.200
<v Speaker 1>us and when something.

0:14:50.280 --> 0:14:53.040
<v Speaker 2>Is just listen to it. I just listened to it,

0:14:53.200 --> 0:14:57.400
<v Speaker 2>not really really listen. I really make do the song.

0:14:58.520 --> 0:15:00.680
<v Speaker 2>Just do the song? What do you? What's all the

0:15:01.440 --> 0:15:01.880
<v Speaker 2>Just do the.

0:15:02.080 --> 0:15:05.360
<v Speaker 3>It's just that I think, right, you must meditate though,

0:15:05.360 --> 0:15:07.120
<v Speaker 3>because I think what a mirror two is asking is

0:15:07.200 --> 0:15:09.520
<v Speaker 3>like and even what Ponte said about just being nastural

0:15:09.600 --> 0:15:11.520
<v Speaker 3>on a stage and being excited, Yeah, you have to

0:15:11.560 --> 0:15:13.840
<v Speaker 3>have a certain still level of control from based on

0:15:13.840 --> 0:15:14.280
<v Speaker 3>what I'm sick.

0:15:14.360 --> 0:15:16.440
<v Speaker 2>Well, you have pat yourself. You have to well, you

0:15:16.520 --> 0:15:19.880
<v Speaker 2>have to be first of all, you know, in terms

0:15:19.880 --> 0:15:22.720
<v Speaker 2>of cardiovascular you gotta be in shape. You know what

0:15:22.720 --> 0:15:24.560
<v Speaker 2>I'm saying, because a lot of times, a lot of

0:15:24.600 --> 0:15:26.520
<v Speaker 2>the yelling and a lot of that can be attributed

0:15:26.560 --> 0:15:29.360
<v Speaker 2>to people just being out of breath. You're not in shape.

0:15:29.960 --> 0:15:31.440
<v Speaker 5>But I was going to ask what famly of youth

0:15:31.480 --> 0:15:33.240
<v Speaker 5>have you drank from? Because you don't seem to age

0:15:34.120 --> 0:15:35.520
<v Speaker 5>like you know, if you look the same as you

0:15:35.560 --> 0:15:37.800
<v Speaker 5>do from Helen your mouth?

0:15:37.960 --> 0:15:43.000
<v Speaker 2>God, little melon, little melanin on herb. Bro, no me game.

0:15:43.080 --> 0:15:44.520
<v Speaker 2>You know you got a cousin like, Yo, this is

0:15:44.560 --> 0:15:48.280
<v Speaker 2>my cousin. He's sixty one. He's like, yeah, what happening baby?

0:15:48.280 --> 0:15:49.080
<v Speaker 2>It was good? It's good.

0:15:49.760 --> 0:15:54.320
<v Speaker 3>Cook like you don't do Okay, I'm just gonna start

0:15:54.320 --> 0:16:00.880
<v Speaker 3>asking vitamins. Lion's main changa rachi like write him in deep.

0:16:01.400 --> 0:16:02.760
<v Speaker 2>Fronte's face right now?

0:16:03.000 --> 0:16:03.440
<v Speaker 5>Is that.

0:16:04.840 --> 0:16:08.160
<v Speaker 2>I was your mushrooms? You're healthy mushroom. I did not.

0:16:08.680 --> 0:16:10.440
<v Speaker 2>I've never heard of No one knows what I'm talking about.

0:16:10.960 --> 0:16:14.320
<v Speaker 2>I don't know what is. Yeah, I don't know. Yeah,

0:16:14.400 --> 0:16:15.520
<v Speaker 2>the rhythm to the boogey to be.

0:16:17.480 --> 0:16:21.000
<v Speaker 3>That's because spells no magic. I'm telling you healthy mushrooms

0:16:21.040 --> 0:16:21.840
<v Speaker 3>for you anyway?

0:16:21.880 --> 0:16:22.200
<v Speaker 2>What is?

0:16:22.440 --> 0:16:23.880
<v Speaker 3>What is the health situation?

0:16:24.080 --> 0:16:29.440
<v Speaker 2>Here? Are you vegetarian? Pest? Like I meet, I meet,

0:16:29.520 --> 0:16:31.640
<v Speaker 2>I got it, I got I got to have me

0:16:31.720 --> 0:16:34.440
<v Speaker 2>a porterhouse or something. Wait, i't to have it. Wait

0:16:34.480 --> 0:16:37.040
<v Speaker 2>a minute, I'm sorry, I'm an animal. This don't got

0:16:37.080 --> 0:16:39.160
<v Speaker 2>to have it. I love everybody. I want you to

0:16:39.240 --> 0:16:41.360
<v Speaker 2>be a vegetarian. I want you to do that. I

0:16:41.480 --> 0:16:43.280
<v Speaker 2>want you to be a pescatarian. I want you to

0:16:43.360 --> 0:16:47.360
<v Speaker 2>have herbs and spike like I gotta have the best.

0:16:48.240 --> 0:16:51.040
<v Speaker 2>He gets the best coming. Sorry, man, eat.

0:16:51.320 --> 0:16:54.080
<v Speaker 1>This reminds me of the very first time I went

0:16:54.160 --> 0:16:57.080
<v Speaker 1>on my health journey. Courtesy of Mark Jenkins, Right, yes,

0:16:57.200 --> 0:17:00.520
<v Speaker 1>remember so the second time I met ll and I

0:17:00.640 --> 0:17:01.400
<v Speaker 1>know you don't remember this.

0:17:01.920 --> 0:17:03.200
<v Speaker 2>This is like right when.

0:17:04.600 --> 0:17:06.280
<v Speaker 1>The tipping point was out, So it's like two thousand

0:17:06.280 --> 0:17:12.480
<v Speaker 1>and four. So Jenkins was in LA working out training

0:17:12.520 --> 0:17:19.040
<v Speaker 1>me and of course lobby call and you were passing

0:17:19.080 --> 0:17:22.560
<v Speaker 1>the Gower Street in La. So it's like, dog, I

0:17:22.600 --> 0:17:26.960
<v Speaker 1>gotta go to Roscoe's so fair right exactly, I cheat.

0:17:26.760 --> 0:17:30.560
<v Speaker 2>On my trainer. So I went in right now. You

0:17:30.840 --> 0:17:34.480
<v Speaker 2>worked out with Mark Jenkins before, So I walked in.

0:17:34.640 --> 0:17:37.760
<v Speaker 1>I know Jenkins was in LA working with me, him

0:17:38.080 --> 0:17:41.600
<v Speaker 1>and maybe like two others celebrity clientele. And Mark Jenkins

0:17:41.720 --> 0:17:44.399
<v Speaker 1>is the guy who his business one his stock went

0:17:44.480 --> 0:17:48.480
<v Speaker 1>up when he built then for the entitled video. So

0:17:49.920 --> 0:17:55.440
<v Speaker 1>you know I'm in roscos and pictures the Pink Panthers.

0:17:55.160 --> 0:18:12.879
<v Speaker 2>Theme, turn right right and and LL so you can't now.

0:18:12.960 --> 0:18:16.600
<v Speaker 1>The thing is, this is the second I've not met LL.

0:18:16.720 --> 0:18:18.440
<v Speaker 1>So I don't know if he knows what a quest

0:18:18.520 --> 0:18:20.800
<v Speaker 1>love is or who a quest love is whatever. So

0:18:22.600 --> 0:18:25.119
<v Speaker 1>right now I'm panicking because I'm like, oh damn, he

0:18:25.200 --> 0:18:30.360
<v Speaker 1>gonna tell. You're probably gonna tell. So I like gave

0:18:30.400 --> 0:18:32.159
<v Speaker 1>him pan I said, well, just coming from a fan

0:18:32.240 --> 0:18:35.760
<v Speaker 1>standpoints like yo, man, I said, by the way, I said,

0:18:35.800 --> 0:18:38.479
<v Speaker 1>you know, I'm a client of Mark Jenks as well,

0:18:38.560 --> 0:18:43.080
<v Speaker 1>so just you know small, he said, don't worry about it.

0:18:43.240 --> 0:18:54.880
<v Speaker 1>Your secret safe with me, worry about it secret safe.

0:18:57.359 --> 0:18:59.960
<v Speaker 2>The first time I met him, wait, at least that five.

0:19:00.080 --> 0:19:02.240
<v Speaker 1>But the first time I met him it was the

0:19:02.480 --> 0:19:06.680
<v Speaker 1>NAACP Awards. We were I think we were doing something

0:19:06.720 --> 0:19:08.879
<v Speaker 1>for for Bono, like a truth. You know, Bono just

0:19:08.920 --> 0:19:11.159
<v Speaker 1>started the Red Company for Africa or whatever, so they

0:19:11.200 --> 0:19:14.080
<v Speaker 1>gave him an award. So there's there's like.

0:19:14.200 --> 0:19:17.280
<v Speaker 2>Backstage, there's like a two second quick change booth. There's

0:19:17.320 --> 0:19:19.680
<v Speaker 2>two of them. Princess in one of them booths, so

0:19:19.760 --> 0:19:21.200
<v Speaker 2>it's like you can't get in there. Whatever.

0:19:21.359 --> 0:19:24.200
<v Speaker 1>So they're like, I thought there was a booge in

0:19:24.240 --> 0:19:25.960
<v Speaker 1>my nose or maybe a ZiT. I don't know, like

0:19:26.040 --> 0:19:29.160
<v Speaker 1>I saw something there, so I like ran in the room.

0:19:29.760 --> 0:19:32.720
<v Speaker 1>Now LLC is positioned right in front of the mirror.

0:19:33.440 --> 0:19:36.760
<v Speaker 1>I'm trying to like, you know, I just want a

0:19:36.920 --> 0:19:40.239
<v Speaker 1>good I want a good ten seconds, yes, to make

0:19:40.280 --> 0:19:42.159
<v Speaker 1>sure that everything's straight, but really see if I got

0:19:42.359 --> 0:19:43.080
<v Speaker 1>a bully or whatever.

0:19:43.600 --> 0:19:47.280
<v Speaker 2>But llll's not budget. You're just sitting there and I

0:19:47.320 --> 0:19:53.040
<v Speaker 2>don't want to be like yo. And he was like,

0:19:53.960 --> 0:19:55.640
<v Speaker 2>you say, your secret safe door.

0:19:55.640 --> 0:20:03.240
<v Speaker 1>You looked marvelous, you know, you just look at me like,

0:20:03.960 --> 0:20:13.159
<v Speaker 1>don't worry you Marvel's be like the second pop that Jordan.

0:20:14.600 --> 0:20:14.919
<v Speaker 2>Jesus.

0:20:19.600 --> 0:20:23.240
<v Speaker 4>I wanted to ask you about Chris Lighty because we

0:20:23.440 --> 0:20:25.080
<v Speaker 4>I had a chance sat down to you know, meet

0:20:25.119 --> 0:20:27.359
<v Speaker 4>and talk with him before he you know, before he passed,

0:20:27.680 --> 0:20:31.000
<v Speaker 4>and he talked about specifically the Mister Smith album and

0:20:31.200 --> 0:20:34.399
<v Speaker 4>for him how that really kind of set him up

0:20:34.560 --> 0:20:37.200
<v Speaker 4>at def Jam and like really people saw him as

0:20:37.359 --> 0:20:39.240
<v Speaker 4>you know, an executive and it you know, put him

0:20:39.240 --> 0:20:39.880
<v Speaker 4>on another level.

0:20:40.400 --> 0:20:42.760
<v Speaker 2>What was that Mister Smith album for you and working

0:20:42.800 --> 0:20:45.639
<v Speaker 2>with him? What was that experience like? Because that was

0:20:45.680 --> 0:20:50.640
<v Speaker 2>almost like another comeback. Every album is for me most

0:20:50.680 --> 0:20:53.240
<v Speaker 2>of the time takes on that type of energy. You know.

0:20:53.560 --> 0:20:57.080
<v Speaker 2>It's because I take so long between records and because

0:20:57.080 --> 0:21:00.440
<v Speaker 2>I make so few albums that every time it's like, okay,

0:21:00.560 --> 0:21:03.879
<v Speaker 2>well what's it gonna be? But that one was an

0:21:03.880 --> 0:21:08.600
<v Speaker 2>amazing experience working with Chris. I trusted him completely in

0:21:08.760 --> 0:21:13.440
<v Speaker 2>terms of his creative, his ear. What actually happened was

0:21:13.480 --> 0:21:15.480
<v Speaker 2>I made a whole album called Mister Smith. I made

0:21:15.480 --> 0:21:17.399
<v Speaker 2>a whole album. I didn't like it, so then I

0:21:17.960 --> 0:21:20.400
<v Speaker 2>threw it away. You know, I do that a lot. Yeah,

0:21:21.119 --> 0:21:23.239
<v Speaker 2>we're gonna talk about that too. Yeah, So I did

0:21:23.320 --> 0:21:25.800
<v Speaker 2>this album. I did an original a mister Smith album

0:21:25.880 --> 0:21:27.720
<v Speaker 2>with a whole bunch of other songs. It was called

0:21:27.760 --> 0:21:29.879
<v Speaker 2>Mister Smith. But I didn't love the album. So I

0:21:30.000 --> 0:21:32.480
<v Speaker 2>was like, eh, I kept that one song with shot

0:21:32.520 --> 0:21:34.720
<v Speaker 2>skills of mister Smith, but the rest of it I

0:21:34.720 --> 0:21:39.359
<v Speaker 2>didn't like. I kept that yeahs re peace. So me

0:21:39.440 --> 0:21:42.800
<v Speaker 2>and Chris we just started working. He started finding tracks,

0:21:42.840 --> 0:21:47.040
<v Speaker 2>finding beats, and I ended up getting with track masters

0:21:47.080 --> 0:21:50.040
<v Speaker 2>and then getting with Rashad and you know, it just

0:21:50.160 --> 0:21:53.560
<v Speaker 2>came together. It came together, and you know, working with

0:21:53.680 --> 0:21:55.600
<v Speaker 2>them was you know, he was a good dude, man.

0:21:55.760 --> 0:21:58.879
<v Speaker 2>And you know, I remember Chris, you know, when he

0:21:58.960 --> 0:22:01.520
<v Speaker 2>first started, we all got along because you know, Chris

0:22:01.640 --> 0:22:04.280
<v Speaker 2>used to be security at the tunnel, you know what

0:22:04.320 --> 0:22:06.440
<v Speaker 2>I'm saying. So when he was when he was like

0:22:06.720 --> 0:22:08.359
<v Speaker 2>working the door at the tunnel, he always gave me

0:22:08.480 --> 0:22:11.280
<v Speaker 2>love and we always got along very very well. And

0:22:12.560 --> 0:22:15.520
<v Speaker 2>you know, well she was still here. Yeah, man, I

0:22:15.680 --> 0:22:16.879
<v Speaker 2>was one of my favorite records on that.

0:22:16.920 --> 0:22:18.639
<v Speaker 4>When you were talking about I Need a Beat and

0:22:18.720 --> 0:22:20.520
<v Speaker 4>how you pretty much played it live and then right

0:22:20.680 --> 0:22:21.679
<v Speaker 4>over it made me think of.

0:22:21.720 --> 0:22:28.040
<v Speaker 2>No, are oh yeah, let's do that? Yeah yeah, yeah, yeah, yeah,

0:22:28.040 --> 0:22:30.639
<v Speaker 2>that was I think, my man, I think Chad might

0:22:30.720 --> 0:22:33.840
<v Speaker 2>have did that. Doctor, I think so. I think I

0:22:33.920 --> 0:22:36.720
<v Speaker 2>think so. I think Chad did that. That's my think.

0:22:36.920 --> 0:22:41.680
<v Speaker 2>Favorite Cha No, No, No, Chad Elliott. Chad Elliott. Yeah,

0:22:42.359 --> 0:22:44.240
<v Speaker 2>they used to work with Jodasi and all of them

0:22:44.680 --> 0:22:46.720
<v Speaker 2>and all that. Okay, you know what I'm saying. I

0:22:46.760 --> 0:22:49.200
<v Speaker 2>was only impression that the track masters of the entire

0:22:49.280 --> 0:22:52.399
<v Speaker 2>record didn't they know, they didn't do everything Rashard did

0:22:52.520 --> 0:22:56.560
<v Speaker 2>doing it. You know, there was a few other few

0:22:56.600 --> 0:22:59.200
<v Speaker 2>other producers, but they finished it. What happened was we

0:22:59.440 --> 0:23:01.760
<v Speaker 2>actually work on the album and I was doing songs,

0:23:01.840 --> 0:23:04.320
<v Speaker 2>and then track messages came in kind of midway and

0:23:04.440 --> 0:23:07.480
<v Speaker 2>finished the album. So we didn't start the album together.

0:23:07.560 --> 0:23:10.480
<v Speaker 2>We finished the album. So they they actually made it

0:23:10.560 --> 0:23:13.879
<v Speaker 2>a cohesive body of work. I have to give Stout

0:23:13.960 --> 0:23:16.920
<v Speaker 2>some credit, and give Tone and Polk credit, and give

0:23:17.320 --> 0:23:19.320
<v Speaker 2>Chris Lighty credit because they came in and helped me

0:23:19.760 --> 0:23:22.679
<v Speaker 2>kind of finish the project and make it a cohesive

0:23:23.000 --> 0:23:25.240
<v Speaker 2>what we felt was at that time a cohesive body

0:23:25.280 --> 0:23:26.160
<v Speaker 2>of work. You know what I'm saying.

0:23:26.320 --> 0:23:28.359
<v Speaker 4>Nah, that's one of like that record mad because I

0:23:28.400 --> 0:23:30.800
<v Speaker 4>mean the singles or the singles were like no airplay,

0:23:31.160 --> 0:23:32.480
<v Speaker 4>Hollis the Hollywood like.

0:23:32.720 --> 0:23:35.200
<v Speaker 2>Yeah, that was fun. That was fun, yo, you know.

0:23:35.280 --> 0:23:37.200
<v Speaker 2>I mean that's why, you know, I'm really excited to

0:23:37.400 --> 0:23:39.240
<v Speaker 2>like for people to hear this record I do with Tip,

0:23:39.800 --> 0:23:44.240
<v Speaker 2>because this is gonna be I think how many songs

0:23:44.480 --> 0:23:49.840
<v Speaker 2>which Tip so you did? He produced it, He did everything,

0:23:49.920 --> 0:23:52.040
<v Speaker 2>he did all the beats, he did everything sound. Yes,

0:23:52.240 --> 0:23:56.960
<v Speaker 2>he did everything. I think it's fourteen songs, fourteen here

0:23:57.000 --> 0:23:59.760
<v Speaker 2>for this, Yeah, it's fourteen and it's all like like

0:23:59.840 --> 0:24:02.520
<v Speaker 2>a whole new thing. So that's gonna be a lot

0:24:02.520 --> 0:24:03.119
<v Speaker 2>of fun. You know.

0:24:03.640 --> 0:24:05.360
<v Speaker 3>I was just gonna ask about another person, since we're

0:24:05.359 --> 0:24:07.640
<v Speaker 3>talking about having a happy sad moment with Chris Lighty,

0:24:07.640 --> 0:24:08.960
<v Speaker 3>I was gonna say, the last time I was in

0:24:09.040 --> 0:24:11.080
<v Speaker 3>a room with you, I was fortunate to be in

0:24:11.160 --> 0:24:13.640
<v Speaker 3>a room with you, Biz and Greg nice As y'all

0:24:13.640 --> 0:24:17.600
<v Speaker 3>were taping an episode for Serious and so I wanted

0:24:17.720 --> 0:24:19.960
<v Speaker 3>you to talk about give us a fun Biz story,

0:24:20.000 --> 0:24:22.920
<v Speaker 3>but also talk about why you even tap Biz to

0:24:23.080 --> 0:24:24.600
<v Speaker 3>be on your radio station.

0:24:24.600 --> 0:24:27.760
<v Speaker 2>Rock the Bell. So so, Biz, I've known Biz forever,

0:24:27.960 --> 0:24:32.040
<v Speaker 2>you know, before we made records, and then before Biz

0:24:32.160 --> 0:24:34.040
<v Speaker 2>made records, he used to just come to my house

0:24:34.640 --> 0:24:36.320
<v Speaker 2>all the time, coming to the basement. I'd be down

0:24:36.359 --> 0:24:37.920
<v Speaker 2>there right in rhymes. He'd be sitting there. Yo. He

0:24:38.000 --> 0:24:39.480
<v Speaker 2>used to just make me laugh. He was just the

0:24:40.000 --> 0:24:42.080
<v Speaker 2>funniest dude in the world. And me, I love that dude.

0:24:42.080 --> 0:24:44.320
<v Speaker 2>You know what I'm saying. I love biz man like business,

0:24:44.400 --> 0:24:46.440
<v Speaker 2>my man, you know what I'm saying. And you know,

0:24:46.520 --> 0:24:48.359
<v Speaker 2>we knew each other from Long Island. I would see him, he,

0:24:48.400 --> 0:24:49.879
<v Speaker 2>I would see him, Nona. He we'd come to Queens,

0:24:49.880 --> 0:24:52.960
<v Speaker 2>he would come to the house. So so in terms

0:24:53.000 --> 0:24:56.920
<v Speaker 2>of the tapping them to be on salute the sample

0:24:56.960 --> 0:24:59.679
<v Speaker 2>on Rock the Bells, I started Rock the Bells because

0:25:00.440 --> 0:25:04.040
<v Speaker 2>I felt like the artist that I love, Like when

0:25:04.040 --> 0:25:06.000
<v Speaker 2>I look at the way Bob Dylan is treated and

0:25:06.160 --> 0:25:09.159
<v Speaker 2>held in high regard, and Mick Jaggers held in high regard,

0:25:09.280 --> 0:25:13.520
<v Speaker 2>and you know these various artists, Paul McCartney is held

0:25:13.560 --> 0:25:16.520
<v Speaker 2>in high regard, I felt like, you know, the Bismarcks

0:25:16.560 --> 0:25:18.440
<v Speaker 2>and the Big Daddy Kanes and the rock hymns and

0:25:18.480 --> 0:25:20.960
<v Speaker 2>the public enemies and all of them deserved that kind

0:25:20.960 --> 0:25:22.760
<v Speaker 2>of treatment as well, and I felt like they weren't

0:25:22.800 --> 0:25:25.239
<v Speaker 2>getting it. And I felt like, you know, mc light

0:25:25.359 --> 0:25:27.480
<v Speaker 2>wasn't getting it. Queen Latifa wasn't getting it when I

0:25:27.560 --> 0:25:30.840
<v Speaker 2>look at and then when I would listen to the channel,

0:25:31.680 --> 0:25:33.480
<v Speaker 2>you know, which was Backspin at the time, it was

0:25:33.560 --> 0:25:35.720
<v Speaker 2>like a glorified jukebox, you know what I'm saying. But

0:25:35.800 --> 0:25:37.720
<v Speaker 2>it wasn't really about the coach and it wasn't really

0:25:37.760 --> 0:25:40.320
<v Speaker 2>about us. We shouldn't have to make excuses for having

0:25:40.800 --> 0:25:43.840
<v Speaker 2>long story careers with a lot of success. You should

0:25:43.840 --> 0:25:46.800
<v Speaker 2>be celebrated for that, not persecuted and penalized for it.

0:25:47.040 --> 0:25:49.440
<v Speaker 2>And I felt like I felt like the industry was

0:25:49.480 --> 0:25:52.760
<v Speaker 2>turning hip hop into it was commoditizing hip hop and

0:25:52.880 --> 0:25:56.080
<v Speaker 2>turning everybody into cardboard boxes. In other words, if you

0:25:56.119 --> 0:25:57.920
<v Speaker 2>know it it's an old box or older box, you

0:25:58.040 --> 0:26:00.280
<v Speaker 2>just throw it away and you just kind of they

0:26:00.320 --> 0:26:03.080
<v Speaker 2>weren't treating the culture the way it needed to be treated,

0:26:03.160 --> 0:26:05.560
<v Speaker 2>and I wanted to. So what I said, I said,

0:26:05.600 --> 0:26:07.920
<v Speaker 2>you know what what I'm gonna do is I'm gonna

0:26:07.920 --> 0:26:09.600
<v Speaker 2>do for hip hop culture what I did for me

0:26:09.640 --> 0:26:12.400
<v Speaker 2>in my own career. So all I did was I said,

0:26:12.600 --> 0:26:15.840
<v Speaker 2>so the mindset that I applied to me that helped

0:26:15.920 --> 0:26:17.920
<v Speaker 2>me be here, by the grace of God, for so

0:26:18.000 --> 0:26:20.320
<v Speaker 2>many years and be successful. I said, I'm gonna do

0:26:20.359 --> 0:26:22.960
<v Speaker 2>that for the whole culture. And so I took BIS

0:26:23.000 --> 0:26:25.520
<v Speaker 2>and put them on the channel in Shante and all

0:26:25.560 --> 0:26:27.920
<v Speaker 2>of these artists and got them all, you know, Grand

0:26:27.960 --> 0:26:31.080
<v Speaker 2>Master Kaz and and all of them. And now you know,

0:26:31.200 --> 0:26:34.080
<v Speaker 2>I watched this whole renaissance of hip hop happen. You

0:26:34.119 --> 0:26:35.720
<v Speaker 2>know what I'm saying. When we did Rock the Bell's

0:26:35.760 --> 0:26:38.000
<v Speaker 2>Festival and the Cruisers and Rock the Bell's Resorts and

0:26:38.040 --> 0:26:40.560
<v Speaker 2>all of this stuff, getting that on MTV, thank you,

0:26:40.720 --> 0:26:43.040
<v Speaker 2>thank you. Yeah, we streamed it. The thing the thing

0:26:43.119 --> 0:26:45.560
<v Speaker 2>about it is that is that I wanted to do

0:26:45.880 --> 0:26:48.480
<v Speaker 2>what I did for me for the entire culture because

0:26:48.520 --> 0:26:51.119
<v Speaker 2>it can't be about you forever. It has to There

0:26:51.200 --> 0:26:53.960
<v Speaker 2>has to be more in your life in terms of

0:26:54.040 --> 0:26:56.000
<v Speaker 2>your journey. You have to want to see others succeed.

0:26:56.359 --> 0:26:59.240
<v Speaker 2>That's why even when we did the Force Tour, I

0:26:59.280 --> 0:27:02.679
<v Speaker 2>didn't do the normal headlining thing and like snatch all

0:27:02.760 --> 0:27:05.280
<v Speaker 2>of the production and make them kind of rap and

0:27:05.680 --> 0:27:07.920
<v Speaker 2>give them ten feet of stage and no, no, you

0:27:08.040 --> 0:27:10.400
<v Speaker 2>have the same sound, you have the same lighting package,

0:27:10.720 --> 0:27:13.040
<v Speaker 2>you have the same opportunities to rock the stage that

0:27:13.160 --> 0:27:16.480
<v Speaker 2>I do. Because I want us all to succeed, and

0:27:16.600 --> 0:27:18.159
<v Speaker 2>I want to see us treat it that way. I

0:27:18.200 --> 0:27:20.240
<v Speaker 2>want them the same way they treat Bono. I want

0:27:20.280 --> 0:27:23.280
<v Speaker 2>them to treat DMC. I don't want to see a difference.

0:27:23.560 --> 0:27:24.800
<v Speaker 4>No, man, I don't get it was one of the

0:27:24.840 --> 0:27:27.120
<v Speaker 4>biggest things I saw when I went to the tour.

0:27:27.640 --> 0:27:31.760
<v Speaker 4>I always admire how just the professionalism first and foremost.

0:27:31.920 --> 0:27:34.920
<v Speaker 4>And you know, I really think it's something that every

0:27:35.080 --> 0:27:37.800
<v Speaker 4>young artist, like every young MC's I really think there's

0:27:37.800 --> 0:27:40.720
<v Speaker 4>something that they should really see because it very rarely

0:27:41.119 --> 0:27:44.400
<v Speaker 4>hearing your story. You know, you were first in like everything,

0:27:45.080 --> 0:27:47.600
<v Speaker 4>so there was no blueprint to follow. But now we're

0:27:47.680 --> 0:27:50.040
<v Speaker 4>thankful enough that we have a blueprint. And I'm like, yo,

0:27:50.600 --> 0:27:53.080
<v Speaker 4>go Seel go see Rod, go see the roots. This

0:27:53.200 --> 0:27:56.280
<v Speaker 4>is what it looks like to be fifty years old

0:27:56.400 --> 0:28:00.520
<v Speaker 4>and still killing it like they're still a late right right,

0:28:00.880 --> 0:28:04.080
<v Speaker 4>not on some like oh okay, but like no, still vibrant,

0:28:04.200 --> 0:28:05.000
<v Speaker 4>like still jamming.

0:28:05.280 --> 0:28:08.440
<v Speaker 2>Yeah. Well that's because hip hop. You know, it was

0:28:08.480 --> 0:28:10.600
<v Speaker 2>being served in a greasy brown paper bag unless you

0:28:10.720 --> 0:28:12.800
<v Speaker 2>had a new hit out, and I wanted it served

0:28:12.840 --> 0:28:16.600
<v Speaker 2>on the silver platter regardless. You know, Rock Kim deserves

0:28:16.640 --> 0:28:19.000
<v Speaker 2>to have the biggest stage and the biggest platform, regardless.

0:28:19.280 --> 0:28:21.119
<v Speaker 2>When we do the Grammy special, we're putting you on

0:28:21.160 --> 0:28:24.600
<v Speaker 2>the biggest stage regardless. I don't need to. There's no

0:28:24.800 --> 0:28:28.520
<v Speaker 2>reason why they should be treated otherwise. We live in.

0:28:28.560 --> 0:28:32.119
<v Speaker 2>It's a strange world, right because like I have, I

0:28:32.240 --> 0:28:34.840
<v Speaker 2>literally have millions and millions of fans all over the world.

0:28:35.359 --> 0:28:38.120
<v Speaker 2>But because not the majority of them aren't fourteen, that

0:28:38.200 --> 0:28:41.360
<v Speaker 2>doesn't make them last valuable. Right, So you're like, my

0:28:41.480 --> 0:28:44.680
<v Speaker 2>fans just had birthdays with me. They didn't disappear, you

0:28:44.680 --> 0:28:46.480
<v Speaker 2>know what I mean? You know, you know, so like

0:28:47.240 --> 0:28:48.920
<v Speaker 2>we got to kind of get out of this kind

0:28:48.960 --> 0:28:51.560
<v Speaker 2>of this this state of mind of like if you're

0:28:51.640 --> 0:28:54.400
<v Speaker 2>not you know, if it's not the brand new thing

0:28:54.480 --> 0:28:56.800
<v Speaker 2>and you've been out three years, it doesn't count. It's

0:28:56.840 --> 0:29:00.000
<v Speaker 2>not how it works. Like I don't know, rolland Stone

0:29:00.120 --> 0:29:02.160
<v Speaker 2>was discography front the back, but when they come in

0:29:02.240 --> 0:29:03.960
<v Speaker 2>town to do a show, I go, I don't know,

0:29:04.080 --> 0:29:06.160
<v Speaker 2>you two's discard back to back. But when they come

0:29:06.200 --> 0:29:07.680
<v Speaker 2>in town, I go to the show. I love the show.

0:29:07.880 --> 0:29:12.360
<v Speaker 2>What I'm saying is, yo, people want to see Elo

0:29:12.480 --> 0:29:14.680
<v Speaker 2>cool J, and they want to see the Beasties, and

0:29:14.720 --> 0:29:16.200
<v Speaker 2>they want to see run the EMC. They want to

0:29:16.200 --> 0:29:18.840
<v Speaker 2>see public enemy, they want to see ice T. You

0:29:19.000 --> 0:29:20.760
<v Speaker 2>just got to put them in a position to be seen,

0:29:21.720 --> 0:29:24.360
<v Speaker 2>you know what I'm saying. And stop trying to pretend

0:29:24.440 --> 0:29:27.760
<v Speaker 2>that it's not they don't want to be seen, because

0:29:27.760 --> 0:29:30.960
<v Speaker 2>that's all. That's just a game. It's not real. Because

0:29:30.960 --> 0:29:33.200
<v Speaker 2>the reality is the fans love it. They want to

0:29:33.240 --> 0:29:34.880
<v Speaker 2>buy the music, they want to come to the show.

0:29:34.920 --> 0:29:36.959
<v Speaker 2>And we saw those arenas and we saw those crowds

0:29:37.400 --> 0:29:40.160
<v Speaker 2>and so they're there. And guess what if we went

0:29:40.400 --> 0:29:43.280
<v Speaker 2>a second time now, it'd be even bigger, you know

0:29:43.360 --> 0:29:45.160
<v Speaker 2>what I'm saying. It would be even bigger. And we

0:29:45.240 --> 0:29:47.440
<v Speaker 2>did very well, but it would be even bigger because

0:29:47.560 --> 0:29:50.920
<v Speaker 2>it because people now see that Yo. Now they know

0:29:51.040 --> 0:29:53.440
<v Speaker 2>it's real and like a word, ah man.

0:29:53.560 --> 0:29:55.680
<v Speaker 3>And the regional aspect that y'all add too, when you know,

0:29:55.800 --> 0:29:57.680
<v Speaker 3>like you go a certain region and they might bring

0:29:57.800 --> 0:29:59.680
<v Speaker 3>out so and so and so and so I can't

0:29:59.680 --> 0:30:01.760
<v Speaker 3>wait for ought to come back to LA because shoot.

0:30:01.480 --> 0:30:04.240
<v Speaker 2>It's about absolutely.

0:30:04.480 --> 0:30:06.600
<v Speaker 4>I really brought up p D and uh yeah, and

0:30:06.640 --> 0:30:11.560
<v Speaker 4>by I brought up Pea absolutely, David Banner, no.

0:30:12.440 --> 0:30:18.680
<v Speaker 1>Doubt, like ran in the third tier, Beady and David

0:30:18.760 --> 0:30:22.880
<v Speaker 1>tod Up, I love it. Yeah, okay, so I'll be

0:30:23.040 --> 0:30:26.520
<v Speaker 1>remiss if I don't ask this question. And I'm certain

0:30:26.560 --> 0:30:28.840
<v Speaker 1>that you've spoken about it before, and I might have

0:30:28.880 --> 0:30:32.320
<v Speaker 1>missed the story. But just as a lover of them

0:30:32.440 --> 0:30:40.440
<v Speaker 1>sees the four three two one situation, Wait, don't do

0:30:40.520 --> 0:30:41.400
<v Speaker 1>the cynical giggle.

0:30:41.520 --> 0:30:44.080
<v Speaker 2>Yeah, let me ask the question. Ready, let's go take

0:30:44.120 --> 0:30:44.800
<v Speaker 2>it back, let's go.

0:30:45.720 --> 0:30:52.160
<v Speaker 1>Like, I'm under the impression that Cannabis was paying tribute

0:30:52.160 --> 0:30:54.920
<v Speaker 1>to your arm or whatever. Like I never knew the

0:30:54.960 --> 0:30:57.160
<v Speaker 1>story behind that. I didn't even know it was a

0:30:57.400 --> 0:30:59.800
<v Speaker 1>this like, sorry for making rehab on.

0:31:00.800 --> 0:31:03.719
<v Speaker 2>Look, you know, cannabis really ain't do nothing wrong, man,

0:31:04.240 --> 0:31:07.000
<v Speaker 2>I just you know, cannabis just touched the third rail.

0:31:09.120 --> 0:31:12.720
<v Speaker 2>Oh lord, No, he didn't do nothing street, He didn't

0:31:12.760 --> 0:31:16.640
<v Speaker 2>do nothing room street. You know what I'm saying. Yeah, yeah, yeah, yeah, yeah,

0:31:16.640 --> 0:31:18.560
<v Speaker 2>you know what I mean. He touched the third rail.

0:31:18.640 --> 0:31:21.600
<v Speaker 2>He and said because we had met downstairs earlier, and

0:31:22.280 --> 0:31:25.320
<v Speaker 2>you know, he said, yo, yo, hell man, like you

0:31:25.400 --> 0:31:27.400
<v Speaker 2>tell him get a tattooed just like yours. And instead

0:31:27.400 --> 0:31:29.400
<v Speaker 2>of me saying all right, man, do you think, I'm like, nah,

0:31:29.960 --> 0:31:32.080
<v Speaker 2>I get your own, I'm like territory and all that

0:31:32.200 --> 0:31:35.360
<v Speaker 2>on the microe and so, and I just said that

0:31:35.440 --> 0:31:36.760
<v Speaker 2>to him. And then when I played it when I

0:31:36.840 --> 0:31:38.640
<v Speaker 2>heard him on the record, because I said, all right,

0:31:38.640 --> 0:31:40.040
<v Speaker 2>he's gonna go thro his vocal, I'm like, yeah, do

0:31:40.120 --> 0:31:41.720
<v Speaker 2>you think when I heard him on the record, He's like,

0:31:41.840 --> 0:31:43.120
<v Speaker 2>is that a mic on your arm? Let me bo?

0:31:43.320 --> 0:31:47.280
<v Speaker 2>I'm like, oh, we just had this conversation a so

0:31:47.400 --> 0:31:50.360
<v Speaker 2>that and that was the original. Yeah, yeah right, and

0:31:50.480 --> 0:31:53.840
<v Speaker 2>so he actually it was really more about me being

0:31:53.840 --> 0:31:56.560
<v Speaker 2>a little bit more oversensitive. I think, you know what

0:31:56.560 --> 0:31:59.160
<v Speaker 2>I'm saying. I think it was more about that, you know,

0:31:59.560 --> 0:32:02.760
<v Speaker 2>that being said, Look what I try to do with him?

0:32:03.280 --> 0:32:05.720
<v Speaker 2>I say, look, you know, after it happened, I thought

0:32:05.760 --> 0:32:07.880
<v Speaker 2>about it. I'm like, yo, you know what, I don't know,

0:32:08.200 --> 0:32:11.280
<v Speaker 2>say something on the record or something. Nobody'll know what

0:32:11.320 --> 0:32:13.320
<v Speaker 2>I'm talking about. Just you know, just flip it and

0:32:13.440 --> 0:32:15.840
<v Speaker 2>do something else or you know. And he didn't want to,

0:32:16.120 --> 0:32:18.160
<v Speaker 2>you know, go with that. And then he made the record,

0:32:18.240 --> 0:32:21.080
<v Speaker 2>and you know, but I tried to embrace him later,

0:32:21.200 --> 0:32:23.680
<v Speaker 2>like I did shows with him at Barclays and you know,

0:32:23.840 --> 0:32:25.920
<v Speaker 2>I did a show with him. I brought him out Barclays.

0:32:25.920 --> 0:32:27.920
<v Speaker 2>I brought him out different concerts. I try to give

0:32:27.960 --> 0:32:30.680
<v Speaker 2>him love because I want him and his fans to

0:32:30.760 --> 0:32:32.680
<v Speaker 2>know that, you know, I got love for him, you

0:32:32.760 --> 0:32:34.960
<v Speaker 2>know what I'm saying. It just you know, it was

0:32:35.040 --> 0:32:37.720
<v Speaker 2>just hip hop. It was just an MC hip hop thing.

0:32:38.000 --> 0:32:40.240
<v Speaker 2>You know. I didn't really wish him any real ill

0:32:40.320 --> 0:32:41.560
<v Speaker 2>will you know what I'm saying.

0:32:42.080 --> 0:32:45.080
<v Speaker 4>How was the with the You spoke earlier about working

0:32:45.120 --> 0:32:46.840
<v Speaker 4>with track masters? I want to ask you about the

0:32:46.840 --> 0:32:47.840
<v Speaker 4>Phenomenon album?

0:32:48.000 --> 0:32:50.440
<v Speaker 2>Yeah, what was what was that like?

0:32:50.560 --> 0:32:54.640
<v Speaker 4>And did y'all had yall relationship changed coming off either

0:32:54.800 --> 0:32:56.920
<v Speaker 4>for better for words, coming off of mister Smith going

0:32:57.000 --> 0:32:57.880
<v Speaker 4>in the Phenomenon, you.

0:32:57.920 --> 0:33:00.640
<v Speaker 2>Know, Phenomenon like like the Phenomenon album was one of

0:33:00.680 --> 0:33:02.840
<v Speaker 2>those things where I just wanted to experiment. So I

0:33:02.920 --> 0:33:05.080
<v Speaker 2>went in the studio with Puff and messing around with

0:33:05.160 --> 0:33:09.040
<v Speaker 2>the Phenomenon song, and you know, me and Steve, you know,

0:33:09.120 --> 0:33:12.120
<v Speaker 2>had a conversation about it recently because I think now

0:33:12.240 --> 0:33:14.240
<v Speaker 2>in hindsight, they probably looked at it like I was

0:33:14.320 --> 0:33:16.080
<v Speaker 2>just kind of baling on them a little bit, But

0:33:16.200 --> 0:33:19.240
<v Speaker 2>in reality, I was trying to just be creative and

0:33:19.360 --> 0:33:22.360
<v Speaker 2>do different things and just work with different people in

0:33:22.480 --> 0:33:25.320
<v Speaker 2>experiment because I like working with different producers. I like

0:33:25.400 --> 0:33:28.440
<v Speaker 2>hearing different things. I like to I like that. I

0:33:28.640 --> 0:33:30.560
<v Speaker 2>enjoy it because I do this for fun too. I

0:33:30.600 --> 0:33:35.240
<v Speaker 2>don't do this just for a chart position or money.

0:33:35.400 --> 0:33:37.600
<v Speaker 2>I do it because I love it. So part of

0:33:37.720 --> 0:33:41.040
<v Speaker 2>that love is working with different artists and different producers

0:33:41.080 --> 0:33:43.480
<v Speaker 2>and being creative. So the phenomenon was fun, you know

0:33:43.520 --> 0:33:46.480
<v Speaker 2>what I'm saying, Like, you know, it was great. You

0:33:46.520 --> 0:33:50.800
<v Speaker 2>know Sally Richison on the records, I'm you know what

0:33:50.800 --> 0:33:56.400
<v Speaker 2>I'm saying, like an hour yeah, yeah, yeah, she was ooh,

0:33:56.720 --> 0:34:03.800
<v Speaker 2>mister Smith, Yeah yeah, yeah, she's cool. Wow, man, you

0:34:03.960 --> 0:34:05.960
<v Speaker 2>had I was gonna ask you had a record that drop?

0:34:06.040 --> 0:34:08.320
<v Speaker 2>It was. This has been some years ago. It was

0:34:08.400 --> 0:34:12.240
<v Speaker 2>called Take It. Oh yeah, Joe, Yeah, what happened? What happened?

0:34:12.440 --> 0:34:14.200
<v Speaker 2>It was? It wasn't It was a record that I

0:34:14.280 --> 0:34:17.000
<v Speaker 2>did on a I did it on a little independent label.

0:34:17.360 --> 0:34:20.040
<v Speaker 2>I did the album and I did a few, quite

0:34:20.040 --> 0:34:22.400
<v Speaker 2>a few songs with track masters on there, and I

0:34:22.560 --> 0:34:25.359
<v Speaker 2>just it didn't have distribution. And it was right around

0:34:25.400 --> 0:34:28.160
<v Speaker 2>the time when I started my TV show and see

0:34:28.200 --> 0:34:30.120
<v Speaker 2>I asked Los Angeles at the time, and I just

0:34:30.200 --> 0:34:33.239
<v Speaker 2>didn't have I didn't make the time to promote it

0:34:33.360 --> 0:34:35.799
<v Speaker 2>and really go after it and perform it and get

0:34:35.840 --> 0:34:39.320
<v Speaker 2>it out there. It was, it was it was on authentic.

0:34:39.400 --> 0:34:42.480
<v Speaker 2>It was yeah, it was on authentic and authentic as

0:34:42.520 --> 0:34:45.520
<v Speaker 2>an album was just kind of created in a little

0:34:45.520 --> 0:34:48.160
<v Speaker 2>bit of a vacuum. And you know, I was on

0:34:48.239 --> 0:34:52.520
<v Speaker 2>a TV set, you know, I just was experimented the

0:34:52.640 --> 0:34:56.320
<v Speaker 2>accidental racist. Damn right, let's talk about it. So you

0:34:56.440 --> 0:34:59.160
<v Speaker 2>know what I was trying to say with that song,

0:34:59.520 --> 0:35:02.840
<v Speaker 2>At least I thought I was articulating, because nobody absolutely agreed.

0:35:05.000 --> 0:35:09.240
<v Speaker 2>That's pretty clear, that's pretty obvious. What I was trying

0:35:09.320 --> 0:35:12.240
<v Speaker 2>to say is that you keep your shit to yourself.

0:35:12.440 --> 0:35:15.000
<v Speaker 2>I'll keep minding myself. How about that. Let's start there.

0:35:15.480 --> 0:35:17.440
<v Speaker 2>You know what I'm saying, like like we just knock going.

0:35:17.640 --> 0:35:20.680
<v Speaker 2>You know, you know, you keep your symbolism over there,

0:35:21.800 --> 0:35:23.640
<v Speaker 2>and I'll keep my symbolism over it. That's what I

0:35:23.760 --> 0:35:26.960
<v Speaker 2>was trying to say. But there is a level of

0:35:27.040 --> 0:35:30.120
<v Speaker 2>false equivalence there. It's hard to really connect the dots

0:35:30.160 --> 0:35:33.400
<v Speaker 2>on that because you can't compare you know, honestly, you

0:35:33.480 --> 0:35:38.800
<v Speaker 2>know what a Confederate flag stands for to what somebody

0:35:38.880 --> 0:35:41.839
<v Speaker 2>may perceive an outfit. To me, you just can't really

0:35:42.080 --> 0:35:44.560
<v Speaker 2>you can't really connect those you know what I mean,

0:35:44.640 --> 0:35:47.320
<v Speaker 2>I can't really connect that. So what I was trying

0:35:47.400 --> 0:35:49.320
<v Speaker 2>to say, what I was looking to say, is that

0:35:49.719 --> 0:35:52.479
<v Speaker 2>if we could get a little bit less judgment, maybe

0:35:52.560 --> 0:35:55.680
<v Speaker 2>it would help us function. You know, if we focused

0:35:55.760 --> 0:35:58.080
<v Speaker 2>more on what works and less on what doesn't work,

0:35:58.360 --> 0:36:00.840
<v Speaker 2>maybe it'll help us function better. That's what I was

0:36:00.920 --> 0:36:02.960
<v Speaker 2>trying to say. But I just didn't you know, I

0:36:03.040 --> 0:36:04.640
<v Speaker 2>just didn't get there. You know, I just missed the

0:36:04.719 --> 0:36:06.520
<v Speaker 2>jump shot. You know what I'm saying, Like it is

0:36:06.600 --> 0:36:08.839
<v Speaker 2>what it is. It's just that that ship bounced off

0:36:08.880 --> 0:36:13.359
<v Speaker 2>the back of the rim, crazy exploded, the backboard fell down,

0:36:13.800 --> 0:36:21.040
<v Speaker 2>the scoreboard fell down, My shorts ripped fell off that record.

0:36:21.120 --> 0:36:24.600
<v Speaker 2>The thing I remember about that record specifically, it came

0:36:24.640 --> 0:36:27.120
<v Speaker 2>out around the time when it was Twitter. It was

0:36:27.160 --> 0:36:29.759
<v Speaker 2>like Twitter was all about going ship with gold on

0:36:29.880 --> 0:36:33.600
<v Speaker 2>top of that ship went gold. It might be platting.

0:36:34.840 --> 0:36:40.719
<v Speaker 2>That's even even worse, you know what I mean, when

0:36:40.760 --> 0:36:45.200
<v Speaker 2>they started making the basketball player. So yeah, I did

0:36:45.320 --> 0:36:47.200
<v Speaker 2>not know that. Yeah, yeah it would go, but I

0:36:47.280 --> 0:36:49.919
<v Speaker 2>forgot about I got a back off that joint. Wow,

0:36:50.160 --> 0:36:54.439
<v Speaker 2>that was I'm just thinking that one back, yo, ill Bomb. Yeah,

0:36:54.640 --> 0:36:57.520
<v Speaker 2>that one, like Bill Bomb Now, that one a lot

0:36:57.560 --> 0:37:00.160
<v Speaker 2>of fun. That was like, you know, running around down

0:37:00.200 --> 0:37:02.560
<v Speaker 2>in the city, run around at queens, me and Bem

0:37:02.680 --> 0:37:05.239
<v Speaker 2>and you know, just run around in the city. And

0:37:05.520 --> 0:37:07.439
<v Speaker 2>you know, Flex asked me if I wanted to do something.

0:37:07.480 --> 0:37:09.840
<v Speaker 2>Scratch made the beat. I just went went in the

0:37:09.880 --> 0:37:12.000
<v Speaker 2>studio and everything I was saying on the record was

0:37:12.080 --> 0:37:13.400
<v Speaker 2>kind of like what we was living. We had the

0:37:13.440 --> 0:37:16.040
<v Speaker 2>strobe lights flashing on the trucks and all that. It

0:37:16.160 --> 0:37:19.120
<v Speaker 2>was all, you know, it was real. It was very real.

0:37:19.360 --> 0:37:19.960
<v Speaker 2>It was very real.

0:37:20.040 --> 0:37:23.720
<v Speaker 1>I was gonna say, also, what's my joint on exits thirteen?

0:37:25.440 --> 0:37:28.359
<v Speaker 2>You better watch me? Oh yeah, okay, So here's the thing.

0:37:28.480 --> 0:37:32.440
<v Speaker 1>So I don't know if you know christ Chris Rocks

0:37:32.920 --> 0:37:39.600
<v Speaker 1>nickname is so what Guile Siri dubs Chris Rock. He

0:37:39.680 --> 0:37:43.959
<v Speaker 1>always calls him track nine because Chris is the type

0:37:43.960 --> 0:37:48.799
<v Speaker 1>of music fan that like doesn't go for the hit.

0:37:48.960 --> 0:37:51.960
<v Speaker 1>He goes for the filler. You know, He'll go for

0:37:52.040 --> 0:37:56.680
<v Speaker 1>Stevie Wonder's Yeah, like the filler cut that lets you

0:37:56.719 --> 0:37:59.080
<v Speaker 1>know he's a deep music fan. And when it came out,

0:37:59.200 --> 0:38:01.919
<v Speaker 1>he was just like, this is the one. How come

0:38:02.239 --> 0:38:05.640
<v Speaker 1>I wish like why was it more made of you?

0:38:05.760 --> 0:38:07.279
<v Speaker 1>Better watch me like that to me?

0:38:07.520 --> 0:38:09.080
<v Speaker 2>You know, you know what's funny, man, I'll tell you

0:38:09.160 --> 0:38:11.480
<v Speaker 2>that it was like a winner. I think one of

0:38:11.560 --> 0:38:15.600
<v Speaker 2>the things that that happens, you know, and this happens

0:38:15.640 --> 0:38:19.080
<v Speaker 2>with labels, this happens with artists. You get so so

0:38:19.320 --> 0:38:22.800
<v Speaker 2>spoiled by instantaneous reactions that when you have records that

0:38:23.719 --> 0:38:27.200
<v Speaker 2>kind of hit a different part of your audience that

0:38:27.640 --> 0:38:32.840
<v Speaker 2>is not as reactive, you just don't know, you know,

0:38:32.960 --> 0:38:35.680
<v Speaker 2>don't know how to gauge it, you know what I'm saying.

0:38:35.880 --> 0:38:37.400
<v Speaker 2>Like I've had a lot of songs like that, Like

0:38:37.520 --> 0:38:40.920
<v Speaker 2>the dou Wop was a song that people like back

0:38:41.000 --> 0:38:44.200
<v Speaker 2>in the days, really really like. But I didn't know

0:38:44.560 --> 0:38:47.760
<v Speaker 2>back then how to react to that, how to react

0:38:47.800 --> 0:38:49.160
<v Speaker 2>to it, you know what I'm saying. I was gonna

0:38:49.160 --> 0:38:49.440
<v Speaker 2>ask you.

0:38:49.400 --> 0:38:51.359
<v Speaker 1>If we could do that on tour, but I would

0:38:51.960 --> 0:38:54.920
<v Speaker 1>you know what after like we I mean, we kept

0:38:54.920 --> 0:38:57.840
<v Speaker 1>mister goodbar, but then there's like some other you just

0:38:57.920 --> 0:38:58.640
<v Speaker 1>kept cutting them off.

0:38:58.760 --> 0:39:01.640
<v Speaker 2>Was like, ah, I don't never get Yeah, no, we did, Nitro,

0:39:02.080 --> 0:39:04.239
<v Speaker 2>he dropped it. Nitro. I was like, oh my god,

0:39:04.480 --> 0:39:08.239
<v Speaker 2>like oh boy, yeah, oh boy, oh boy, that's an

0:39:08.239 --> 0:39:11.719
<v Speaker 2>at wheeler right there? Good God? What was it life

0:39:11.760 --> 0:39:15.920
<v Speaker 2>working with the Bomb Squad? Excellent? Eric Yoor, Eric Sadler,

0:39:16.440 --> 0:39:19.239
<v Speaker 2>Keith and Hanks, Shockley, the way they worked on them,

0:39:19.320 --> 0:39:21.560
<v Speaker 2>the way they could. They built the beat in front

0:39:21.600 --> 0:39:24.520
<v Speaker 2>of you or is it wow? Yes, they built them

0:39:24.560 --> 0:39:27.360
<v Speaker 2>in front of me. Yeah. Yeah. It was crazy. Nitro

0:39:27.560 --> 0:39:28.840
<v Speaker 2>was crazy and it gets no rougher.

0:39:33.560 --> 0:39:38.120
<v Speaker 1>You mentioned earlier that you have absolutely no qualms whatsoever

0:39:38.160 --> 0:39:44.240
<v Speaker 1>about scrapping an entire record, So just based on your history,

0:39:45.840 --> 0:39:50.360
<v Speaker 1>how much is in the ll cool J Cannon vault

0:39:50.560 --> 0:39:54.080
<v Speaker 1>from radio down to the Forest album?

0:39:54.120 --> 0:39:55.560
<v Speaker 2>And will we ever see any of it? Will you

0:39:55.600 --> 0:39:58.680
<v Speaker 2>ever released of it? I'll never put any of it out.

0:39:58.760 --> 0:40:02.000
<v Speaker 2>I probably have you at least won't put none, and

0:40:02.040 --> 0:40:04.600
<v Speaker 2>you will like this can't come out possumously or I'm

0:40:04.600 --> 0:40:08.239
<v Speaker 2>not gonna do that. Not gonna do that. But we

0:40:08.320 --> 0:40:11.560
<v Speaker 2>got to see who lives? You know, we don't you

0:40:11.640 --> 0:40:17.520
<v Speaker 2>know no telling how that's gonna play. Give my help, Gerald, No, no,

0:40:17.600 --> 0:40:19.719
<v Speaker 2>I'm saying that, Gerald, We don't know no player. But

0:40:21.760 --> 0:40:23.920
<v Speaker 2>hey listen, I'm not talking tough in that one. I

0:40:23.960 --> 0:40:27.360
<v Speaker 2>don't know. I'm just so can you reveal? Can you

0:40:27.480 --> 0:40:30.360
<v Speaker 2>reveal what you revealed to me. Yeah, probably songs if

0:40:30.400 --> 0:40:33.000
<v Speaker 2>you made with you know who, oh to start there.

0:40:33.400 --> 0:40:36.080
<v Speaker 2>Oh so with Dre, me and Dre probably have about

0:40:36.160 --> 0:40:40.239
<v Speaker 2>forty songs. Yeah, did we doctor Dre? Yeah we had

0:40:40.280 --> 0:40:42.440
<v Speaker 2>we got we had Zoom that was on the bulwark

0:40:42.760 --> 0:40:45.320
<v Speaker 2>right right right, but we had you know, but we

0:40:45.400 --> 0:40:47.200
<v Speaker 2>got a lot of songs in the can, Like I

0:40:47.280 --> 0:40:48.680
<v Speaker 2>had a lot, Like I'll tell you a record that

0:40:48.800 --> 0:40:51.680
<v Speaker 2>was mine that he obviously he took my vocals off

0:40:51.680 --> 0:40:53.600
<v Speaker 2>because he ended up doing it because I was all

0:40:53.680 --> 0:40:59.800
<v Speaker 2>over the place. But that you know, that song I

0:40:59.880 --> 0:41:04.279
<v Speaker 2>was that was one of my points that yeah. Yeah, yeah,

0:41:04.360 --> 0:41:11.040
<v Speaker 2>me and Dre had did that first. Yeah, yeah, that

0:41:11.400 --> 0:41:13.920
<v Speaker 2>that one. Yeah, it was crazy. Quite a few of them,

0:41:13.920 --> 0:41:15.360
<v Speaker 2>it's been a lot of them, had a.

0:41:15.400 --> 0:41:19.160
<v Speaker 3>Lot of damned that be he did real well, Oh

0:41:19.239 --> 0:41:19.759
<v Speaker 3>it killed it.

0:41:20.080 --> 0:41:22.879
<v Speaker 2>It was dope. It was dope. I love you better man. Yeah,

0:41:23.040 --> 0:41:25.440
<v Speaker 2>I wasn't talking about that. Working with the Neptunes, what

0:41:25.640 --> 0:41:29.520
<v Speaker 2>was man, It was amazing working with Pharrell and and

0:41:29.600 --> 0:41:33.480
<v Speaker 2>with Chad and uh that's when they worked together still too,

0:41:33.600 --> 0:41:35.920
<v Speaker 2>and it was like, I mean it was dope. I

0:41:36.120 --> 0:41:39.760
<v Speaker 2>just you know, the one thing you know, what's crazy.

0:41:39.920 --> 0:41:42.080
<v Speaker 2>I was so focused on working out and getting ready

0:41:42.760 --> 0:41:45.480
<v Speaker 2>for the video. This is gonna sound really crazy. I

0:41:45.560 --> 0:41:49.160
<v Speaker 2>forgot to ask Pharrell to be in the video. I

0:41:49.280 --> 0:41:56.320
<v Speaker 2>literally forgot because I forgot, like like like, I forgot

0:41:56.360 --> 0:41:59.439
<v Speaker 2>to ask you. I wanted because I wanted. I wanted

0:41:59.480 --> 0:42:01.080
<v Speaker 2>for Rell to sing on the hook for Real did

0:42:01.080 --> 0:42:03.400
<v Speaker 2>the intro? Why didn't he sing that? He was like, no,

0:42:03.480 --> 0:42:04.520
<v Speaker 2>I don't want to do it. I want to I

0:42:04.600 --> 0:42:06.640
<v Speaker 2>want to put my man on. I'm like okay. And

0:42:06.920 --> 0:42:09.320
<v Speaker 2>so once he put Mark on the hook, then I

0:42:09.520 --> 0:42:12.520
<v Speaker 2>forgot that. He yeah to ask for Real to be

0:42:12.640 --> 0:42:14.440
<v Speaker 2>in the video, and I seen them one day, like

0:42:14.480 --> 0:42:17.280
<v Speaker 2>you asked me to black. I just felt crazy.

0:42:18.360 --> 0:42:20.239
<v Speaker 3>But that's when you got that knife shelf down there

0:42:20.280 --> 0:42:21.839
<v Speaker 3>on your b So it was worth it for all

0:42:21.880 --> 0:42:22.799
<v Speaker 3>of us who was watching the.

0:42:22.880 --> 0:42:29.160
<v Speaker 2>Video up all right now.

0:42:29.239 --> 0:42:31.040
<v Speaker 1>I just want to know the things that we don't

0:42:31.080 --> 0:42:34.440
<v Speaker 1>know that's equivalent to chunking studios. For instance, do you

0:42:34.640 --> 0:42:36.719
<v Speaker 1>know who's singing on around the Way, girl?

0:42:37.440 --> 0:42:40.839
<v Speaker 2>Uh, it's the Flex right, that's like Chris, not Chris.

0:42:40.920 --> 0:42:44.040
<v Speaker 2>But it was the Black Street. It was black before

0:42:44.080 --> 0:42:47.319
<v Speaker 2>they were black streets. So Lighty, Darren, Lighty, and all

0:42:47.360 --> 0:42:50.000
<v Speaker 2>of Yeah, it was them guys. Yeah it was great.

0:42:50.400 --> 0:42:54.440
<v Speaker 2>Is the flex and the driver remember yeah, yeah, yeah,

0:42:54.480 --> 0:42:56.600
<v Speaker 2>I don't know it was No, it was Lighty and

0:42:56.719 --> 0:43:06.759
<v Speaker 2>the other one. And Eric's Eric Eric. His name is Erica. Okay,

0:43:06.800 --> 0:43:09.120
<v Speaker 2>all right? Oh, yes, as we rapidfire? What is the

0:43:09.239 --> 0:43:10.960
<v Speaker 2>meaning I've always want to ask you this, What is

0:43:11.040 --> 0:43:17.640
<v Speaker 2>the meaning of blow titious? Yo? Yo? I mean it's

0:43:17.680 --> 0:43:20.120
<v Speaker 2>just blowtitious? Like you know what I mean? Like yo,

0:43:20.320 --> 0:43:22.560
<v Speaker 2>you know, me and my man Tie fight, yo, Tie,

0:43:22.880 --> 0:43:26.200
<v Speaker 2>and you know, you hilarious with this man like me

0:43:26.320 --> 0:43:28.360
<v Speaker 2>and me and Tod were seeing each other in the

0:43:28.360 --> 0:43:33.480
<v Speaker 2>swept like blow ticious. And then I just put it

0:43:33.560 --> 0:43:35.960
<v Speaker 2>on the record. Now everybody said, yo, he's talking about

0:43:36.080 --> 0:43:38.759
<v Speaker 2>you know, is he talking about trans he? Was he

0:43:38.880 --> 0:43:40.839
<v Speaker 2>talking about? Is he going left?

0:43:41.080 --> 0:43:41.120
<v Speaker 1>Like?

0:43:41.960 --> 0:43:49.160
<v Speaker 2>It's just blow titious? Stevie Delicious, skeeee Stevie Delicious, Give

0:43:49.200 --> 0:43:54.560
<v Speaker 2>me coops coops love me? Good God, damn hollis the Hollywood? Yes,

0:43:54.719 --> 0:44:01.160
<v Speaker 2>like this again we got alright, So that was so

0:44:01.280 --> 0:44:05.200
<v Speaker 2>that on that you know what I'm saying. And I

0:44:05.200 --> 0:44:08.040
<v Speaker 2>actually had another verse on on on the Flavoring your

0:44:08.080 --> 0:44:11.399
<v Speaker 2>Ear remix, and then I changed it to that one,

0:44:11.640 --> 0:44:14.680
<v Speaker 2>Papa love it that that record, the one, Yeah, Yeah,

0:44:14.760 --> 0:44:16.200
<v Speaker 2>I love that. Yeah. That was a cool one too.

0:44:16.360 --> 0:44:18.200
<v Speaker 2>That was fun. Damn. You know some some of them joints.

0:44:18.680 --> 0:44:20.120
<v Speaker 2>This is the part of the show where he does

0:44:20.400 --> 0:44:21.120
<v Speaker 2>yeah but okay.

0:44:21.239 --> 0:44:24.320
<v Speaker 1>So, speaking of flavoring your ear, was there a rumor

0:44:25.120 --> 0:44:27.040
<v Speaker 1>I don't know who told me, maybe Zezriver told me.

0:44:28.040 --> 0:44:32.160
<v Speaker 1>Was that verse at all connected? I heard that that

0:44:32.360 --> 0:44:35.440
<v Speaker 1>was maybe he directed the Biggie or something like that

0:44:35.600 --> 0:44:36.560
<v Speaker 1>with why would I do that?

0:44:37.040 --> 0:44:39.960
<v Speaker 2>But then the who shot then the I shot you.

0:44:40.239 --> 0:44:42.799
<v Speaker 2>I was in the studio with Big when he did

0:44:43.040 --> 0:44:46.080
<v Speaker 2>shot you. I was literally, this is someone trying to

0:44:46.239 --> 0:44:48.879
<v Speaker 2>make something bugging out. Yet, let me tell you something,

0:44:48.960 --> 0:44:51.400
<v Speaker 2>let me say something. That's why I'm asking some of

0:44:51.480 --> 0:44:53.800
<v Speaker 2>my no, no, no, it's all good. My record, Like

0:44:53.880 --> 0:44:56.840
<v Speaker 2>these songs were like sometimes I like it's just like

0:44:56.960 --> 0:45:01.800
<v Speaker 2>head sprung right. Sometimes I just do comedy on them joints.

0:45:01.920 --> 0:45:06.200
<v Speaker 2>Sometimes I just do shit that's stupid. Like sometimes I'm

0:45:06.280 --> 0:45:10.880
<v Speaker 2>consciously doing like Big Ellie a bit silly, big Money,

0:45:11.120 --> 0:45:14.640
<v Speaker 2>big really really with an R. I didn't say Big

0:45:14.680 --> 0:45:18.080
<v Speaker 2>Willie and Big Billy and all these you know. So

0:45:18.440 --> 0:45:21.719
<v Speaker 2>so between that, like saying that or doing his ship low.

0:45:21.960 --> 0:45:23.160
<v Speaker 2>It just sounded good to me.

0:45:23.360 --> 0:45:26.919
<v Speaker 1>I will say that, Yes, you are your your level

0:45:26.920 --> 0:45:29.719
<v Speaker 1>of humor on record, and people ask me on your

0:45:29.719 --> 0:45:31.800
<v Speaker 1>scissor World, I'm like, oh, God, home and use this

0:45:32.080 --> 0:45:33.880
<v Speaker 1>because you know, everyone was like, give you your favorite

0:45:34.080 --> 0:45:36.520
<v Speaker 1>l record and I was like, Yo, I'm sorry, but

0:45:36.840 --> 0:45:37.520
<v Speaker 1>you can't dance.

0:45:37.520 --> 0:45:41.800
<v Speaker 2>It's my favorite song of all time. You look like

0:45:41.880 --> 0:45:45.839
<v Speaker 2>a moro. Yo. That's my favorite shit of all time. Yo.

0:45:46.000 --> 0:45:47.160
<v Speaker 2>They put a patch on it.

0:45:47.560 --> 0:45:50.160
<v Speaker 1>Yes, that's what I'm saying, Like for me, can you

0:45:50.719 --> 0:45:53.360
<v Speaker 1>your your level of humor? Your evil laughter?

0:45:53.960 --> 0:45:56.200
<v Speaker 2>All? That's my favorite shit of all time. I really

0:45:56.280 --> 0:45:58.520
<v Speaker 2>love the force the new song Oh thank You? So

0:45:59.239 --> 0:46:01.799
<v Speaker 2>you still get the same rush from writing a song

0:46:01.960 --> 0:46:04.040
<v Speaker 2>that you did when you made I Need to Beat

0:46:04.239 --> 0:46:09.040
<v Speaker 2>one hundred percent. I love it. I mean, you know, like,

0:46:09.680 --> 0:46:13.360
<v Speaker 2>I love the fact that the way people address the

0:46:13.440 --> 0:46:15.480
<v Speaker 2>idea of me having an album is going to be

0:46:15.600 --> 0:46:18.520
<v Speaker 2>very different after I put this record out, because right

0:46:18.600 --> 0:46:21.040
<v Speaker 2>now it's kind of like a warm and fuzzy cute.

0:46:21.120 --> 0:46:23.480
<v Speaker 2>All that's cute, and let's talk about what you've done,

0:46:24.200 --> 0:46:26.600
<v Speaker 2>because that's just the nature of our game, right Because

0:46:27.200 --> 0:46:30.359
<v Speaker 2>when you do something a long time the bar goes

0:46:30.480 --> 0:46:34.080
<v Speaker 2>up and the expectations go down. Right, So my bar

0:46:34.280 --> 0:46:37.400
<v Speaker 2>is up here and the expectations for what I'm going

0:46:37.480 --> 0:46:40.719
<v Speaker 2>to deliver is down here, and so we you know,

0:46:41.040 --> 0:46:42.920
<v Speaker 2>you have to be self aware with that, right. So

0:46:44.400 --> 0:46:47.520
<v Speaker 2>I love it, you know, I love you know, making songs,

0:46:47.600 --> 0:46:51.680
<v Speaker 2>and I love the challenge of showing people what's possible

0:46:51.680 --> 0:46:54.839
<v Speaker 2>in hip hop. We haven't had an artist that's been

0:46:54.880 --> 0:46:58.160
<v Speaker 2>out multiple decades to put records out that really have impact.

0:46:58.680 --> 0:47:02.719
<v Speaker 2>We've had quotables, we've had critical acclaim, you know, we've

0:47:02.760 --> 0:47:04.759
<v Speaker 2>had everything kind of in between there, but we haven't

0:47:04.800 --> 0:47:08.839
<v Speaker 2>heard anybody really smash them. Yeah, nah, man, it's change.

0:47:08.880 --> 0:47:10.800
<v Speaker 2>I was when we were at the four Stour.

0:47:11.480 --> 0:47:13.960
<v Speaker 4>I was just sitting there and I'm watching it and like,

0:47:14.080 --> 0:47:16.880
<v Speaker 4>you know, this is you know, rock Cam, this is everybody, Daylight,

0:47:16.960 --> 0:47:19.360
<v Speaker 4>everybody some of my favorite rap routs all time. But

0:47:19.560 --> 0:47:22.200
<v Speaker 4>I was just really watching your performance and it really

0:47:22.239 --> 0:47:23.920
<v Speaker 4>reminded me of something like a mirror you would say,

0:47:24.000 --> 0:47:25.759
<v Speaker 4>like how what you're saying like kind of like the

0:47:26.120 --> 0:47:27.840
<v Speaker 4>curse of the straight A students, so to speak, Like

0:47:28.000 --> 0:47:30.440
<v Speaker 4>no one you have so much longevity.

0:47:29.960 --> 0:47:32.760
<v Speaker 2>And so much consistently so good. We take it for granted, Taking.

0:47:32.600 --> 0:47:35.080
<v Speaker 4>For granted, And I'm just watching thefore and I'm like,

0:47:35.480 --> 0:47:37.560
<v Speaker 4>I'm watching it, but I'm like, yo, I know these

0:47:37.640 --> 0:47:39.600
<v Speaker 4>songs like and I don't think people really give you

0:47:39.680 --> 0:47:42.280
<v Speaker 4>that credit as an MC. They give you the credit

0:47:42.360 --> 0:47:44.480
<v Speaker 4>as you know, breaking being a pioneer and all that,

0:47:44.800 --> 0:47:46.160
<v Speaker 4>but I'm just like, yo, funck all that.

0:47:46.320 --> 0:47:49.600
<v Speaker 2>If we just talking RAPSG like ll is probably the

0:47:49.760 --> 0:47:53.040
<v Speaker 2>most quotable rapper ever, Like I knew all the songs.

0:47:53.160 --> 0:47:55.360
<v Speaker 2>I think that's I think that's I think that's probably

0:47:56.160 --> 0:47:59.279
<v Speaker 2>you know, Look, that's all subjective, right, Like, I don't

0:47:59.280 --> 0:48:02.400
<v Speaker 2>really concern myself with that part of it. What I

0:48:02.480 --> 0:48:05.279
<v Speaker 2>will tell you is this, obviously I'm good enough to

0:48:05.320 --> 0:48:16.120
<v Speaker 2>still be here. So that's a start. I mean, because

0:48:16.640 --> 0:48:17.960
<v Speaker 2>you were telling your story and I'm like, it's not

0:48:17.960 --> 0:48:21.840
<v Speaker 2>an eighty damn bro. And when the album comes a

0:48:21.880 --> 0:48:24.960
<v Speaker 2>lot of them gonna listen, They're gonna listen. Can you

0:48:25.000 --> 0:48:26.399
<v Speaker 2>tell us like you told us it was you and Tip.

0:48:26.440 --> 0:48:27.680
<v Speaker 2>That's really kind of all you told us.

0:48:27.680 --> 0:48:27.840
<v Speaker 1>Was you?

0:48:28.000 --> 0:48:32.680
<v Speaker 2>Right? Yeah? You know, I'll just just driving on what

0:48:32.840 --> 0:48:38.680
<v Speaker 2>season is it coming? What season is to be cold outside? Soon? Come?

0:48:39.000 --> 0:48:41.279
<v Speaker 2>How do you I'm regaining your masters back from that. Ye,

0:48:41.440 --> 0:48:44.120
<v Speaker 2>how did you do that? It just it just worked out.

0:48:44.239 --> 0:48:47.000
<v Speaker 2>I mean, you know people you own your masters? Yeah,

0:48:47.840 --> 0:48:51.919
<v Speaker 2>he should? Should you open that place? Crazy? By the way,

0:48:52.480 --> 0:48:54.759
<v Speaker 2>there's a song. So when I'm was teaching the n

0:48:54.880 --> 0:48:55.839
<v Speaker 2>y U there's a song.

0:48:56.680 --> 0:49:00.080
<v Speaker 1>I don't know how well now that poss explain to

0:49:00.160 --> 0:49:03.320
<v Speaker 1>me a whole like how two inch tapes are whatever

0:49:04.400 --> 0:49:09.839
<v Speaker 1>a rare commodity. There's an actual LL song on one

0:49:09.920 --> 0:49:14.560
<v Speaker 1>of the Nation a millions reels that I never heard before.

0:49:14.600 --> 0:49:18.000
<v Speaker 1>It was just like one verse, probably because that's probably

0:49:18.120 --> 0:49:20.439
<v Speaker 1>Rick Rick probably just like a raven shit And yeah,

0:49:21.120 --> 0:49:22.040
<v Speaker 1>probably that makes.

0:49:21.840 --> 0:49:24.279
<v Speaker 2>A lot of sense because you know, it's funny, like

0:49:24.400 --> 0:49:27.399
<v Speaker 2>a lot of the original Public Enemy songs. At the time,

0:49:27.520 --> 0:49:29.320
<v Speaker 2>Rick came to me and he was like, yo, he

0:49:29.440 --> 0:49:32.840
<v Speaker 2>wanted me to record Uzie ways a ton wow. And

0:49:32.960 --> 0:49:36.160
<v Speaker 2>I was like and I was like yeah, he was like,

0:49:36.200 --> 0:49:37.480
<v Speaker 2>do you want to record it? I'm like, well, what

0:49:37.520 --> 0:49:39.719
<v Speaker 2>do you mean. He's like, well, you just do the song.

0:49:39.760 --> 0:49:41.440
<v Speaker 2>I said no, I write my own rhymes though. Rick,

0:49:41.800 --> 0:49:44.279
<v Speaker 2>He's like, oh, okay, okay, okay, So then he did.

0:49:44.640 --> 0:49:47.920
<v Speaker 2>He ended up doing Public Enemy. You know what I'm saying, so,

0:49:48.360 --> 0:49:50.600
<v Speaker 2>you know, so he brought me UZI ways a ton.

0:49:50.640 --> 0:49:52.759
<v Speaker 2>He brought me like he wanted me to record a

0:49:52.800 --> 0:49:54.719
<v Speaker 2>lot of those PE songs. You know what I'm saying,

0:49:55.040 --> 0:49:56.880
<v Speaker 2>Oh my god, you had a reck I'm on the

0:49:56.920 --> 0:50:01.759
<v Speaker 2>Street Fight the soundtrack the Light, Yeah, yeah, yeah, yeah?

0:50:02.239 --> 0:50:05.080
<v Speaker 2>What was I was just wilding, man like, just having fun.

0:50:05.520 --> 0:50:07.840
<v Speaker 2>Like a lot of the songs are like become like

0:50:07.960 --> 0:50:11.000
<v Speaker 2>jam sessions, just vibing and then say, yo, I keep that.

0:50:11.120 --> 0:50:12.480
<v Speaker 2>I like it. You know what I'm saying. I don't

0:50:13.280 --> 0:50:15.400
<v Speaker 2>like for me to be honest with you, you know.

0:50:15.480 --> 0:50:17.719
<v Speaker 2>And this goes back to the MC comment that you

0:50:18.360 --> 0:50:21.200
<v Speaker 2>kind of that you were talking about. Like the difference

0:50:21.239 --> 0:50:22.960
<v Speaker 2>between me and a lot of the other guys is

0:50:23.040 --> 0:50:26.000
<v Speaker 2>that for a lot of them, they're always focused on

0:50:26.200 --> 0:50:29.080
<v Speaker 2>being as descriptive and as creative and as clever as

0:50:29.120 --> 0:50:32.440
<v Speaker 2>they possibly can lyrically on every song. I don't do that.

0:50:33.120 --> 0:50:36.160
<v Speaker 2>I go for the feeling of the song, whatever the

0:50:36.320 --> 0:50:39.279
<v Speaker 2>song requires to feel good. That's what I do. It

0:50:39.520 --> 0:50:42.040
<v Speaker 2>is I'm not so so what does But what that

0:50:42.239 --> 0:50:45.279
<v Speaker 2>does is you get in situations where you only need

0:50:45.360 --> 0:50:49.720
<v Speaker 2>twelve points to win, sometimes you need forty five. Sometimes

0:50:49.760 --> 0:50:53.000
<v Speaker 2>you need seven. Sometimes you need nineteen as opposed to

0:50:53.120 --> 0:50:55.960
<v Speaker 2>a guy who's always out there trying to go to

0:50:56.040 --> 0:51:01.520
<v Speaker 2>thirty forty every night. That's the so creatively, that's why

0:51:02.880 --> 0:51:05.440
<v Speaker 2>I probably am not in a lot of those conversations

0:51:05.480 --> 0:51:08.320
<v Speaker 2>because that's not my focus. I look at guards like

0:51:08.480 --> 0:51:10.440
<v Speaker 2>Michael Jackson. I look at Rick James, I look at

0:51:10.920 --> 0:51:15.360
<v Speaker 2>you know, James Brown. I look at you know, these artists,

0:51:15.400 --> 0:51:17.600
<v Speaker 2>Marvin Gay. I look at these different artists and the

0:51:17.680 --> 0:51:19.800
<v Speaker 2>thing that they all have in common is the feeling.

0:51:20.320 --> 0:51:24.399
<v Speaker 2>It wasn't about just the lyrics, right, the technical lyric

0:51:24.600 --> 0:51:27.680
<v Speaker 2>was not what made you feel good? You know what

0:51:27.719 --> 0:51:28.000
<v Speaker 2>I mean?

0:51:28.200 --> 0:51:30.160
<v Speaker 4>Nah, I mean because we sang the whole flavor in

0:51:30.239 --> 0:51:32.439
<v Speaker 4>ear verse and blow t is ain't even real word,

0:51:32.520 --> 0:51:36.120
<v Speaker 4>but it just it's so good, you know what I mean.

0:51:36.200 --> 0:51:38.560
<v Speaker 2>But I bet you you know if if in a

0:51:38.680 --> 0:51:43.800
<v Speaker 2>certain scenario, if you said you're like blow you know

0:51:43.840 --> 0:51:45.840
<v Speaker 2>what I mean, like you just it's just a vibe,

0:51:45.920 --> 0:51:49.160
<v Speaker 2>So that was you don't say I'm saying no. That's why,

0:51:49.320 --> 0:51:52.719
<v Speaker 2>like my catalog is the way it is, because part

0:51:52.760 --> 0:51:56.480
<v Speaker 2>of being able to run fast is being confident enough

0:51:56.520 --> 0:52:01.160
<v Speaker 2>to run slow. Damn you know, you know, you know,

0:52:01.320 --> 0:52:03.120
<v Speaker 2>being it, you know what I mean, that's part of it.

0:52:03.239 --> 0:52:05.800
<v Speaker 2>I ain't all the time, you know, because you know

0:52:05.920 --> 0:52:08.359
<v Speaker 2>you see Hussein boat jogging, You're like, oh, he ain't

0:52:08.400 --> 0:52:14.160
<v Speaker 2>really fast. It's like he's jogging. Okay, you know you

0:52:14.280 --> 0:52:18.800
<v Speaker 2>understand I'm saying. So that's kind of part of But

0:52:18.920 --> 0:52:21.279
<v Speaker 2>I think that I have to stick with that. I

0:52:21.440 --> 0:52:24.680
<v Speaker 2>have to be myself. I don't want to be fighting

0:52:24.960 --> 0:52:27.440
<v Speaker 2>for my lyrical life on every song. That's not what

0:52:27.560 --> 0:52:30.600
<v Speaker 2>it's about because people don't need that for me. For me,

0:52:30.880 --> 0:52:32.840
<v Speaker 2>what they need is to be touched in their souls.

0:52:33.200 --> 0:52:36.200
<v Speaker 2>So whatever the song requires, that's what I'm gonna do.

0:52:36.600 --> 0:52:39.160
<v Speaker 2>You already do that for now.

0:52:39.200 --> 0:52:41.399
<v Speaker 1>I have one point five questions because you already mentioned

0:52:41.440 --> 0:52:45.000
<v Speaker 1>his name and I forgot what was it like? Cay

0:52:45.080 --> 0:52:48.320
<v Speaker 1>telling the process of making serious effect with Michael Jackson.

0:52:48.440 --> 0:52:51.560
<v Speaker 2>Mike is hilarious man. So like, first of all, you

0:52:51.640 --> 0:52:53.799
<v Speaker 2>walk in the studios a ladies traffic, I'm like, yo,

0:52:53.880 --> 0:52:57.279
<v Speaker 2>Mike's in traffic is hilaric. Like, but we had a

0:52:57.320 --> 0:52:59.080
<v Speaker 2>good job, man, Yeah, we had sobody, you know, we

0:52:59.160 --> 0:53:03.480
<v Speaker 2>had so much fun. And just what year was that made?

0:53:03.600 --> 0:53:06.160
<v Speaker 2>Like I found this around on around the I'm bad

0:53:06.320 --> 0:53:11.120
<v Speaker 2>around the bad a little bit after the bad area, like, no,

0:53:11.239 --> 0:53:16.440
<v Speaker 2>my bad, there's a bad battle, yeah, Radio Lee Bay.

0:53:18.680 --> 0:53:20.920
<v Speaker 2>Oh yeah, they came out on Radio School. I came

0:53:20.960 --> 0:53:23.800
<v Speaker 2>out first, the Battle the bad albums. It's going to

0:53:23.800 --> 0:53:26.960
<v Speaker 2>be right here, Yo, No, it definitely ain't. And so

0:53:27.160 --> 0:53:30.480
<v Speaker 2>I was like, yo, you know, just working with Mike

0:53:30.640 --> 0:53:32.120
<v Speaker 2>was just it was just a lot of fun, you

0:53:32.160 --> 0:53:33.360
<v Speaker 2>know what I'm saying. We had a good time in

0:53:33.400 --> 0:53:36.239
<v Speaker 2>the studio. We hung out, you know what I'm saying.

0:53:36.280 --> 0:53:38.560
<v Speaker 2>We were always cool. It was great. Plus, you know,

0:53:38.600 --> 0:53:41.640
<v Speaker 2>I spent so much much time with Quincy Jones. You know,

0:53:42.680 --> 0:53:45.120
<v Speaker 2>he taught me a lot about career between him and

0:53:45.200 --> 0:53:48.480
<v Speaker 2>Lino Richie. So now it was amazing. It was amazing.

0:53:48.560 --> 0:53:52.560
<v Speaker 1>Okay, So my my final question is when when we

0:53:52.760 --> 0:53:55.879
<v Speaker 1>first started rehearsing, we of course had to put off

0:53:55.880 --> 0:54:00.399
<v Speaker 1>a few days because you just became a yeah yeah

0:54:00.400 --> 0:54:05.200
<v Speaker 1>three times over, which made me think, like, how what

0:54:05.400 --> 0:54:10.200
<v Speaker 1>advice could you give us those who are in budding relationships,

0:54:10.280 --> 0:54:15.600
<v Speaker 1>dice who are newly married and whatever, how to maintain uh,

0:54:16.280 --> 0:54:20.759
<v Speaker 1>your sanity and your family and also career be a

0:54:20.920 --> 0:54:24.560
<v Speaker 1>career because I think I think it's rather like notable

0:54:24.760 --> 0:54:28.440
<v Speaker 1>and applause worthy that you know, you and Simone have

0:54:28.520 --> 0:54:29.320
<v Speaker 1>made it through the storm.

0:54:29.440 --> 0:54:32.600
<v Speaker 2>You have kids and and all that successful business too.

0:54:32.640 --> 0:54:35.839
<v Speaker 2>I would love some ear rings. We could work that out.

0:54:35.920 --> 0:54:38.160
<v Speaker 2>I think. I think, Look, man, I think what I

0:54:38.320 --> 0:54:42.160
<v Speaker 2>what I've learned, man, is where I'm starting as I

0:54:42.160 --> 0:54:46.240
<v Speaker 2>ain't playing detective. Okay, it ain't gonna be no detective

0:54:46.280 --> 0:54:50.000
<v Speaker 2>work involved. I'm not doing that. Okay, it's no detective work.

0:54:50.560 --> 0:54:52.719
<v Speaker 2>So it's gonna be what it's gonna be. All right,

0:54:53.000 --> 0:54:55.520
<v Speaker 2>I'm starting it. Let's go because I need sanity and

0:54:55.600 --> 0:54:57.560
<v Speaker 2>I need to be calm and relaxed, and that's it.

0:54:57.880 --> 0:55:00.279
<v Speaker 2>So I'm not doing no detective work. Okay, I ain't

0:55:00.320 --> 0:55:04.839
<v Speaker 2>coughing nothing, and I ain't playing detective. So I'm out

0:55:04.920 --> 0:55:08.319
<v Speaker 2>that game. Okay, So now you just take it off

0:55:08.360 --> 0:55:11.640
<v Speaker 2>about fifty percent of your drama everything, right. I put

0:55:11.719 --> 0:55:14.839
<v Speaker 2>that with that, just like, Okay, no detective work. That's

0:55:14.840 --> 0:55:19.560
<v Speaker 2>first thing. Second thing is I'm gonna try to help

0:55:19.640 --> 0:55:23.040
<v Speaker 2>facilitate your dreams, make your dreams come true, right, help

0:55:23.080 --> 0:55:25.719
<v Speaker 2>you with your dream make sure you write. And then

0:55:25.760 --> 0:55:28.800
<v Speaker 2>the third thing is I'm gonna always go after my

0:55:28.960 --> 0:55:32.040
<v Speaker 2>dreams and my purpose wholeheartedly you know what I'm saying.

0:55:32.480 --> 0:55:36.439
<v Speaker 2>And the better I take care of me, the better

0:55:36.440 --> 0:55:38.439
<v Speaker 2>I can take care of you. You know what I'm saying.

0:55:39.080 --> 0:55:41.279
<v Speaker 2>And then you know, then there's little things. You know,

0:55:41.640 --> 0:55:44.239
<v Speaker 2>you can't be afraid of silence, man, you know what

0:55:44.280 --> 0:55:46.680
<v Speaker 2>I'm saying, Like, we ain't got to be talking. Man,

0:55:46.880 --> 0:55:47.600
<v Speaker 2>It's all right.

0:55:49.840 --> 0:55:54.080
<v Speaker 1>When I tell you, when I tell you, there's one

0:55:54.160 --> 0:55:57.759
<v Speaker 1>point by day for where the roof a daily tab

0:55:58.400 --> 0:56:03.600
<v Speaker 1>on ll idioms her way past, like wake up and

0:56:03.640 --> 0:56:08.600
<v Speaker 1>smell the coffee. I'm not playing literally, I'm going I

0:56:08.920 --> 0:56:09.359
<v Speaker 1>missed out.

0:56:11.120 --> 0:56:17.120
<v Speaker 2>Oh all right? In the house, yeah yeah, the one

0:56:17.320 --> 0:56:20.480
<v Speaker 2>the pants leg? How did that? Was that? Just something? Yeah?

0:56:20.480 --> 0:56:22.759
<v Speaker 2>I did it? Listen the bike messages in New York

0:56:22.800 --> 0:56:25.800
<v Speaker 2>did it? I liked it because they used to do

0:56:25.880 --> 0:56:28.080
<v Speaker 2>it for that episode of Oil. Wouldn't get on their chain,

0:56:28.239 --> 0:56:31.279
<v Speaker 2>the chain, so I'm like, yo, I'm rolling my joint up.

0:56:31.320 --> 0:56:31.400
<v Speaker 3>Man.

0:56:31.440 --> 0:56:33.440
<v Speaker 2>I just started wearing it like that and it took

0:56:33.480 --> 0:56:35.520
<v Speaker 2>on the life of his own. But my favorite thing

0:56:35.520 --> 0:56:37.680
<v Speaker 2>about that is that's my son on the theme song

0:56:38.080 --> 0:56:42.040
<v Speaker 2>in the house. Yeah yeah, yeah, yeah, yeah, wow, last

0:56:42.120 --> 0:56:45.279
<v Speaker 2>yeah I put them on there. Debbie did a sitcom too, Yeah,

0:56:45.320 --> 0:56:47.560
<v Speaker 2>I did the sitcom with Debbie Allen the last time

0:56:47.600 --> 0:56:49.719
<v Speaker 2>she acted in the sitcom. It was amazing. Working with

0:56:49.800 --> 0:56:51.600
<v Speaker 2>Debbie was great. She's she's amazing.

0:56:51.680 --> 0:56:54.680
<v Speaker 3>Okay, last last question, No more films, because you've been

0:56:55.280 --> 0:56:55.919
<v Speaker 3>asked for a minute.

0:56:55.960 --> 0:56:57.919
<v Speaker 2>Well, I just we just wrapped and c I asked,

0:56:57.960 --> 0:56:59.000
<v Speaker 2>we did fourteenth seasons.

0:57:00.080 --> 0:57:00.400
<v Speaker 3>I have a.

0:57:02.320 --> 0:57:03.880
<v Speaker 2>Well, I guess I could talk about a little bit

0:57:03.920 --> 0:57:06.200
<v Speaker 2>with the tentative deal. I got to reoccur role on

0:57:06.560 --> 0:57:10.200
<v Speaker 2>n CIS Hawaii, and then I got some films that

0:57:10.520 --> 0:57:12.400
<v Speaker 2>that I'm looking at. Yeah, I got some films. I

0:57:12.400 --> 0:57:14.680
<v Speaker 2>got some films I'm looking at for sure.

0:57:14.760 --> 0:57:20.240
<v Speaker 1>I think we've asked absolutely everything. Cool, James Todd smith Man, No,

0:57:20.360 --> 0:57:24.400
<v Speaker 1>for real. I I know every time we like thank

0:57:24.440 --> 0:57:27.360
<v Speaker 1>you whatever and like give you the presidential but for real,

0:57:27.520 --> 0:57:28.880
<v Speaker 1>when I say thank.

0:57:28.720 --> 0:57:30.480
<v Speaker 2>You, I'm happy to be here. Man.

0:57:30.600 --> 0:57:35.880
<v Speaker 1>You're literally one of my favorite creative human beings ever.

0:57:36.160 --> 0:57:38.520
<v Speaker 1>And the thing is is that, as we said before,

0:57:39.760 --> 0:57:41.920
<v Speaker 1>you make it look so effort like literally it's like

0:57:42.000 --> 0:57:43.600
<v Speaker 1>Steph Curry, Like after a while you're.

0:57:43.520 --> 0:57:46.000
<v Speaker 2>Just like, all right, great, it's going in like a

0:57:46.040 --> 0:57:46.440
<v Speaker 2>big deal.

0:57:46.640 --> 0:57:52.200
<v Speaker 1>All right. But yeah, and I think now, especially in

0:57:52.360 --> 0:57:56.360
<v Speaker 1>light of the onslaught of death that hip hopics experience

0:57:57.120 --> 0:58:01.320
<v Speaker 1>a lot of premature careers. Cut and Frank also seeing

0:58:01.360 --> 0:58:04.680
<v Speaker 1>a lot of brothers just self sabotage their things, like

0:58:05.040 --> 0:58:08.160
<v Speaker 1>that's why I'm watching people, and like you're you're a

0:58:08.200 --> 0:58:12.240
<v Speaker 1>really exemplary of human beings that aren't afraid even if

0:58:12.280 --> 0:58:12.760
<v Speaker 1>you make.

0:58:12.640 --> 0:58:16.200
<v Speaker 2>A misstep, like it's like, okay, well that didn't work.

0:58:16.360 --> 0:58:19.120
<v Speaker 2>What else is there in the territory? Right? And I

0:58:19.160 --> 0:58:20.840
<v Speaker 2>would say this, I would say in terms of the

0:58:21.360 --> 0:58:24.080
<v Speaker 2>self sabotage, just to just to put some words out

0:58:24.120 --> 0:58:28.200
<v Speaker 2>there in the universe for people. You don't limit yourself, right,

0:58:28.400 --> 0:58:31.640
<v Speaker 2>you know what I'm saying, You don't limit yourself. You

0:58:31.760 --> 0:58:34.840
<v Speaker 2>have to be comfortable with them. We're seeing something bigger

0:58:34.880 --> 0:58:37.800
<v Speaker 2>for your life, and you have to be comfortable with

0:58:38.360 --> 0:58:41.160
<v Speaker 2>that idea. A lot of people think they're comfortable with it,

0:58:41.320 --> 0:58:44.160
<v Speaker 2>but the reality is when they every time they say

0:58:44.200 --> 0:58:46.600
<v Speaker 2>that they self talk to themselves about doing something big,

0:58:46.920 --> 0:58:48.840
<v Speaker 2>there's a little voice that jumps in there and says

0:58:48.880 --> 0:58:51.480
<v Speaker 2>it's not possible because it's gonna require you to change.

0:58:51.840 --> 0:58:54.200
<v Speaker 2>It's gonna require you to change, And a lot of

0:58:54.280 --> 0:58:57.400
<v Speaker 2>it is also just fear based and kind of feeling

0:58:57.520 --> 0:59:00.800
<v Speaker 2>like everybody, a lot of people feel success is like

0:59:00.880 --> 0:59:05.520
<v Speaker 2>hitting a lot of and it's not. You know what

0:59:05.520 --> 0:59:09.520
<v Speaker 2>I'm saying, it's it's the effect is like hitting the

0:59:09.560 --> 0:59:12.120
<v Speaker 2>lot of But the journey isn't, you know what I'm saying.

0:59:12.520 --> 0:59:15.400
<v Speaker 2>So so, so, you gotta be willing to believe in

0:59:15.480 --> 0:59:18.160
<v Speaker 2>yourself and that aspect of yourself, and you gotta really believe.

0:59:18.680 --> 0:59:21.880
<v Speaker 2>You gotta believe, man, you can't be limited. You gotta

0:59:21.960 --> 0:59:24.800
<v Speaker 2>believe in yourself and believe in the power inside of

0:59:24.840 --> 0:59:26.520
<v Speaker 2>you to do something greater with your life. You know

0:59:26.560 --> 0:59:29.640
<v Speaker 2>what I'm saying. And that really is something that you

0:59:29.720 --> 0:59:32.320
<v Speaker 2>know when you when you're drifting off to sleep at night.

0:59:32.640 --> 0:59:35.080
<v Speaker 2>You have to envision something greater for your life. You

0:59:35.240 --> 0:59:37.360
<v Speaker 2>have to take make a conscious effort to control your

0:59:37.400 --> 0:59:40.160
<v Speaker 2>thoughts on a daily basis so that you're seeing yourself

0:59:40.200 --> 0:59:42.160
<v Speaker 2>go to the to the height you want to go to.

0:59:42.280 --> 0:59:45.440
<v Speaker 2>You can't just be your Your mind shouldn't be like

0:59:45.520 --> 0:59:48.800
<v Speaker 2>a cork just thrown in the ocean, just randomly bouncing around.

0:59:49.000 --> 0:59:51.080
<v Speaker 2>You should be very intentional about what you want out

0:59:51.080 --> 0:59:53.000
<v Speaker 2>of life. I need you to gather everyone in hip

0:59:53.040 --> 1:00:00.280
<v Speaker 2>hop and just lock them in camp and just op. Yeah.

1:00:00.800 --> 1:00:03.440
<v Speaker 2>I just yeah, that was a moment that was definitely

1:00:04.000 --> 1:00:07.080
<v Speaker 2>put that off because they you know, they was, you

1:00:07.200 --> 1:00:12.200
<v Speaker 2>can't do it. They can't I own this, Okay, so

1:00:12.320 --> 1:00:21.040
<v Speaker 2>they knew no owned it, but ing below, I get it.

1:00:21.200 --> 1:00:24.600
<v Speaker 2>I was the car side, didn't know what's your car?

1:00:29.320 --> 1:00:30.440
<v Speaker 2>All right, I'm gonna be.

1:00:30.480 --> 1:00:34.440
<v Speaker 1>Having Fan Tigelow and Sugar, Steve Man, unpaid Bill and

1:00:34.560 --> 1:00:37.480
<v Speaker 1>Light yea man, I mean you don't want to rate?

1:00:37.680 --> 1:00:38.400
<v Speaker 1>Why do what I do?

1:00:38.760 --> 1:00:41.760
<v Speaker 2>Thank you great James Stott Smith has finally come on

1:00:41.840 --> 1:00:43.600
<v Speaker 2>this question. We don't need no more. Episodes were good.

1:00:43.880 --> 1:00:46.560
<v Speaker 2>Thank you so much. We appreciate it.

1:00:46.680 --> 1:00:51.680
<v Speaker 5>Till on, loan bro, thank you, thank you for listening

1:00:51.680 --> 1:00:54.000
<v Speaker 5>to The Quest Love Supreme. This podcast is hosted by

1:00:54.040 --> 1:00:58.320
<v Speaker 5>a mere quest Love Thompson like Saint Claire, Vante Coleman, Sugar,

1:00:58.360 --> 1:00:59.959
<v Speaker 5>Steve Mandell, and myself.

1:01:00.080 --> 1:01:01.000
<v Speaker 2>Unpaid Bill Sherman.

1:01:01.200 --> 1:01:04.440
<v Speaker 5>The executive producers are Mer just walked into the goddamn

1:01:04.520 --> 1:01:09.000
<v Speaker 5>room Thompson, Sean g and Brian Calhoun. Produced by Britney Benjamin,

1:01:09.120 --> 1:01:12.320
<v Speaker 5>Jake Pain and Ia Sinclair. Edited by Alex Conroy I

1:01:12.400 --> 1:01:16.080
<v Speaker 5>know Alex Conroy. Produced for iHeart by Noel Brown and

1:01:16.240 --> 1:01:19.960
<v Speaker 5>Mike Johns. Auto engineering by Graham Gibson at Iheart's La Studio.

1:01:20.240 --> 1:01:20.960
<v Speaker 5>Thank You very Much.

1:01:21.840 --> 1:01:24.680
<v Speaker 1>West Love Supreme is a production of iHeartRadio.

1:01:27.520 --> 1:01:30.800
<v Speaker 2>For more podcasts from iHeart Radio, visit the iHeartRadio app,

1:01:31.040 --> 1:01:34.080
<v Speaker 2>Apple Podcasts, or wherever you listen to your favorite shows.