1
00:00:00,240 --> 00:00:02,960
Speaker 1: We like to welcome every one to another episode Against

2
00:00:03,000 --> 00:00:07,920
Speaker 1: the Chronicles podcast. Now am Big steal Shure and we

3
00:00:07,960 --> 00:00:11,600
Speaker 1: have a special guests again this week, Sorren Baker.

4
00:00:11,840 --> 00:00:13,520
Speaker 2: Thanks for having me. All appreciate it for.

5
00:00:13,520 --> 00:00:18,040
Speaker 1: Sure, hip hop journalist extraording there. So before we continue

6
00:00:18,040 --> 00:00:20,560
Speaker 1: on this list, felas we got my boy eight back

7
00:00:20,600 --> 00:00:22,200
Speaker 1: this week and give him a round of applause. I

8
00:00:22,200 --> 00:00:25,360
Speaker 1: missed you. Dog was crying, So I was missing you

9
00:00:25,440 --> 00:00:28,680
Speaker 1: last week. But you know, we've been having this discussion

10
00:00:28,760 --> 00:00:35,120
Speaker 1: about the top fifty albums in gangs the rap pretty interesting.

11
00:00:35,600 --> 00:00:38,879
Speaker 1: You know. We've definitely went back three and four times,

12
00:00:39,040 --> 00:00:42,319
Speaker 1: changed stuff around a lot of it. Surprisingly, a lot

13
00:00:42,320 --> 00:00:45,080
Speaker 1: of things that we picked we all mutually agreed upon.

14
00:00:46,080 --> 00:00:46,959
Speaker 2: Yeah, that was a good thing.

15
00:00:47,280 --> 00:00:48,839
Speaker 1: You know. A lot of this stuff shows we got

16
00:00:48,880 --> 00:00:50,040
Speaker 1: pretty good tastes, I believe.

17
00:00:51,200 --> 00:00:52,200
Speaker 2: Yeah.

18
00:00:52,360 --> 00:00:52,560
Speaker 1: Yeah.

19
00:00:52,600 --> 00:00:57,680
Speaker 3: I try to go back to to the beginning when

20
00:00:57,680 --> 00:01:00,800
Speaker 3: I first started to listen in the hip hop and

21
00:01:02,560 --> 00:01:05,760
Speaker 3: there's a lot of records that came out that might

22
00:01:07,640 --> 00:01:11,880
Speaker 3: not necessarily been whole albums and shit, but to me,

23
00:01:13,000 --> 00:01:14,680
Speaker 3: we're pretty significant.

24
00:01:14,959 --> 00:01:17,000
Speaker 4: You know, if you want to.

25
00:01:19,360 --> 00:01:23,240
Speaker 3: On our opinion of what hip hop fifty or gangster

26
00:01:23,400 --> 00:01:28,600
Speaker 3: rap reality rap whatever. It's a lot of songs that

27
00:01:28,800 --> 00:01:31,720
Speaker 3: I listened to as a gangster in the hood with

28
00:01:31,880 --> 00:01:37,160
Speaker 3: a gang of gangster niggas that probably wasn't considered gangster rap,

29
00:01:37,680 --> 00:01:41,320
Speaker 3: but to us it was our gangster music.

30
00:01:41,600 --> 00:01:45,679
Speaker 1: You feel me, like something like Buffalo Girls exactly.

31
00:01:50,000 --> 00:01:54,120
Speaker 3: I'm kind of motherfucking we time club man. I'm about

32
00:01:54,160 --> 00:01:56,960
Speaker 3: to pause right now because I got songs on my

33
00:01:57,120 --> 00:02:03,040
Speaker 3: list like like, it wasn't gang but to us gangsters,

34
00:02:03,600 --> 00:02:05,040
Speaker 3: that was gangster music.

35
00:02:05,160 --> 00:02:07,760
Speaker 1: To us, that's a very interesting thing because it's.

36
00:02:07,680 --> 00:02:09,640
Speaker 4: Gonna it's gonna be a interest in today.

37
00:02:09,840 --> 00:02:12,040
Speaker 1: You feel me, yeah, because when you think about it,

38
00:02:12,120 --> 00:02:15,240
Speaker 1: most g's don't really listen to a lot of rap music.

39
00:02:15,480 --> 00:02:18,040
Speaker 3: I mean, because you gotta listen. I mean to say,

40
00:02:19,440 --> 00:02:22,440
Speaker 3: the top fifty gangster rap records.

41
00:02:22,480 --> 00:02:28,320
Speaker 2: It's like, man, it's a hard, hard hit me like, because.

42
00:02:29,800 --> 00:02:33,679
Speaker 3: There was a lot of shit that I considered gangster music,

43
00:02:34,440 --> 00:02:38,720
Speaker 3: not necessarily like niggas was like, I'm a hood nigga,

44
00:02:38,880 --> 00:02:43,240
Speaker 3: but to me when I was fucking fifteen, riding around

45
00:02:43,280 --> 00:02:46,280
Speaker 3: in the back seat with the homies, it's what the

46
00:02:46,320 --> 00:02:49,040
Speaker 3: nigga was bumping and had shit to do with.

47
00:02:49,200 --> 00:02:52,240
Speaker 4: No fucking gangster rap, you feel me.

48
00:02:52,639 --> 00:02:56,600
Speaker 3: But to us nigga, that made us those signs out

49
00:02:56,639 --> 00:02:59,800
Speaker 3: the window and you know what I'm saying, ready to scrape?

50
00:03:00,120 --> 00:03:03,440
Speaker 3: You know you today a nigga, be like, Nigga, what

51
00:03:03,480 --> 00:03:06,520
Speaker 3: the fuck was the y'all listening to? To us, Nigga,

52
00:03:06,560 --> 00:03:08,640
Speaker 3: that ship was hard you feel me?

53
00:03:08,720 --> 00:03:14,840
Speaker 5: So to your point, I remember the super crazy gangster

54
00:03:14,919 --> 00:03:20,480
Speaker 5: dudes that I knew that from growing up in Maryland, man,

55
00:03:20,720 --> 00:03:22,640
Speaker 5: and as I got.

56
00:03:22,440 --> 00:03:23,600
Speaker 2: To know people like you and.

57
00:03:25,320 --> 00:03:27,360
Speaker 1: Me, but it's further up because they're not.

58
00:03:28,720 --> 00:03:33,239
Speaker 3: But to us it was nigga five minutes of folk

59
00:03:33,400 --> 00:03:39,320
Speaker 3: and one love and nigga, nigga please man, That to us, nigga,

60
00:03:39,360 --> 00:03:43,360
Speaker 3: that was hood music. You feel me sood music definitely.

61
00:03:43,520 --> 00:03:45,320
Speaker 1: But as you know what that brings us to the

62
00:03:45,320 --> 00:03:47,680
Speaker 1: first part of debate because one of the things we've

63
00:03:47,680 --> 00:03:51,080
Speaker 1: been having, like not no arguments over, but discussions over

64
00:03:51,120 --> 00:03:54,600
Speaker 1: you know, really just and we all make pretty compelling arguments,

65
00:03:54,640 --> 00:03:58,040
Speaker 1: I think, but with should be considered. I don't like

66
00:03:58,080 --> 00:04:01,600
Speaker 1: the term gangster rap because that's not reality rap. Righteous

67
00:04:04,800 --> 00:04:05,240
Speaker 1: I go.

68
00:04:05,600 --> 00:04:08,800
Speaker 3: I feel like when you trying to put it on

69
00:04:08,880 --> 00:04:14,000
Speaker 3: that aspect, to me, it's anything that is affiliated to

70
00:04:14,280 --> 00:04:21,440
Speaker 3: neighborhood music. You get me, and shit, that's just an

71
00:04:21,720 --> 00:04:25,080
Speaker 3: any situation where a nigga might be trying to relate

72
00:04:25,600 --> 00:04:29,760
Speaker 3: to a situation of gangsterism or some shit like that.

73
00:04:30,000 --> 00:04:33,640
Speaker 3: So that's how I look at a reality rap, because

74
00:04:33,640 --> 00:04:36,960
Speaker 3: I don't like to say gangster rap either, because to me,

75
00:04:37,040 --> 00:04:42,560
Speaker 3: it's a difference between niggas who spit reality and there's

76
00:04:42,560 --> 00:04:45,520
Speaker 3: some niggas who just straight up nigga, I'm from here,

77
00:04:45,640 --> 00:04:48,640
Speaker 3: I'm from here. This is my color. I'm a crip,

78
00:04:48,680 --> 00:04:51,520
Speaker 3: I'm a blood, and that's what it's about. You know,

79
00:04:51,680 --> 00:04:54,159
Speaker 3: perfect example, fucking banging on wax.

80
00:04:54,640 --> 00:04:58,919
Speaker 5: That was gangster Rap's gangster rap.

81
00:04:59,000 --> 00:05:02,640
Speaker 3: You get me, nigga, I'm from this neighborhood. This my

82
00:05:02,880 --> 00:05:06,640
Speaker 3: color of my band Dana, we blast on the enemy,

83
00:05:07,080 --> 00:05:07,920
Speaker 3: blah blah.

84
00:05:07,960 --> 00:05:10,000
Speaker 4: That's gangster rap to me, and it.

85
00:05:10,080 --> 00:05:12,920
Speaker 1: Spurred the whole genre of music. There are still people

86
00:05:12,920 --> 00:05:15,680
Speaker 1: out there that they're like, you got blood rappers like

87
00:05:15,760 --> 00:05:17,960
Speaker 1: makes you slick, kind of crossed over from all that

88
00:05:18,120 --> 00:05:20,280
Speaker 1: righteous you know, like like Mixy's you know, shout out

89
00:05:20,320 --> 00:05:21,800
Speaker 1: to the homie makes you slick, Make you slick? Is

90
00:05:21,800 --> 00:05:24,279
Speaker 1: one of those guys in San Diego that kind of

91
00:05:24,320 --> 00:05:27,520
Speaker 1: crossed over from that music, you know, doing the real neighborhood.

92
00:05:27,560 --> 00:05:29,240
Speaker 1: Like he had the one song that was pretty big

93
00:05:29,240 --> 00:05:31,640
Speaker 1: on the underground, I won't stop being a blood you know.

94
00:05:31,839 --> 00:05:33,640
Speaker 4: Oh definitely he had that record.

95
00:05:33,960 --> 00:05:36,080
Speaker 1: But then you had Big June out of San Diego,

96
00:05:36,120 --> 00:05:38,000
Speaker 1: the one dude. You know, Big June been around a

97
00:05:38,040 --> 00:05:39,960
Speaker 1: long time putting me in work. I don't know that

98
00:05:40,080 --> 00:05:41,760
Speaker 1: any of the brothers from the crip car, but you

99
00:05:41,839 --> 00:05:44,159
Speaker 1: got brothers from out of here that like really on

100
00:05:44,240 --> 00:05:47,200
Speaker 1: some gang banging music. They really Yeah, they've got they

101
00:05:47,240 --> 00:05:49,920
Speaker 1: make cryp music or they make blood music. Definitely, there

102
00:05:49,960 --> 00:05:53,919
Speaker 1: you go. You know what I'm saying. So I guess

103
00:05:53,920 --> 00:05:56,240
Speaker 1: that's what it is to me. What I define is

104
00:05:56,560 --> 00:05:59,640
Speaker 1: reality rap. I don't care if you're talking about slinging,

105
00:05:59,720 --> 00:06:03,440
Speaker 1: moving work, if you talk about pimping, if you talk

106
00:06:03,480 --> 00:06:06,200
Speaker 1: about doing anything against the society that's outside of the

107
00:06:06,200 --> 00:06:09,200
Speaker 1: parameters of the law to meet us gangster ship.

108
00:06:09,680 --> 00:06:14,080
Speaker 3: Yeah, yeah, that would be considered. You know what I'm saying,

109
00:06:14,520 --> 00:06:18,159
Speaker 3: because that's what a lot of dudes consider themselves on

110
00:06:18,240 --> 00:06:21,640
Speaker 3: the gangster tip. You know, if you if it has

111
00:06:21,720 --> 00:06:26,640
Speaker 3: any uh references to the underworld, you feel me and

112
00:06:27,080 --> 00:06:28,640
Speaker 3: it's a gainst ship, you know.

113
00:06:28,800 --> 00:06:30,720
Speaker 1: And that's what I told someone we was talking about

114
00:06:30,720 --> 00:06:34,000
Speaker 1: a particular artist. I said, Bruh, this motherfucker said about

115
00:06:34,000 --> 00:06:41,320
Speaker 1: fifteen bricks every album he shoot about, he break at

116
00:06:41,400 --> 00:06:43,320
Speaker 1: least a couple of people out of e xail. He's

117
00:06:43,320 --> 00:06:44,680
Speaker 1: against the ship.

118
00:06:44,760 --> 00:06:47,360
Speaker 4: But I dig is a motherfucking cabatdo rapper.

119
00:06:47,440 --> 00:06:47,960
Speaker 1: That's what that.

120
00:06:48,440 --> 00:06:52,760
Speaker 3: Yeah, he's a gangster, did with the helicopters, his own

121
00:06:52,920 --> 00:06:53,520
Speaker 3: charter jets.

122
00:06:54,560 --> 00:06:56,320
Speaker 1: You know what I'm saying. It's like, man, you know,

123
00:06:56,440 --> 00:06:59,719
Speaker 1: and that's the thing, man, You know, when you're writing raps,

124
00:06:59,800 --> 00:07:01,960
Speaker 1: you writing about the realities of the hood, but you're

125
00:07:02,000 --> 00:07:04,039
Speaker 1: trying to make that shit fly as a motherfucker. You

126
00:07:04,040 --> 00:07:05,919
Speaker 1: know when you say it, you know you don't you

127
00:07:06,040 --> 00:07:07,919
Speaker 1: might not want to say, like, what's the what's the

128
00:07:07,960 --> 00:07:10,720
Speaker 1: young boy? Like T Grizzly, he said, what was our

129
00:07:10,720 --> 00:07:13,400
Speaker 1: getaway guard zagg portfolio? The motherfuckers fight was in a

130
00:07:13,400 --> 00:07:15,240
Speaker 1: penna or some shit. But he had to make it

131
00:07:15,280 --> 00:07:17,520
Speaker 1: sound sexy like we skirted off of the jag, you

132
00:07:17,520 --> 00:07:19,720
Speaker 1: know what I mean? Right right? Definitely?

133
00:07:19,960 --> 00:07:26,040
Speaker 3: Yeah, it's always it's always exaggeration and in the hip hop,

134
00:07:26,080 --> 00:07:28,600
Speaker 3: but you know that depends on where you're trying to

135
00:07:28,640 --> 00:07:33,960
Speaker 3: come from. So, I guess with dealing with U reality

136
00:07:34,120 --> 00:07:37,920
Speaker 3: rap or gangster rap or just street reference shit period.

137
00:07:38,040 --> 00:07:40,400
Speaker 3: You know what I'm saying, it's a different aspect. You know,

138
00:07:40,480 --> 00:07:44,880
Speaker 3: you try to keep it to where it's not too braggadocious.

139
00:07:45,080 --> 00:07:45,760
Speaker 1: You feel me.

140
00:07:46,280 --> 00:07:48,040
Speaker 5: To your point eight? This is something that I learned

141
00:07:48,080 --> 00:07:50,960
Speaker 5: from Iced Tea. He had told me many times over

142
00:07:50,960 --> 00:07:56,040
Speaker 5: the years that it's faction. Exact facts were intermingled with

143
00:07:56,080 --> 00:07:57,920
Speaker 5: some fiction. It might not have happened on this day,

144
00:07:58,520 --> 00:08:00,360
Speaker 5: or it might have been in a different car, whatever,

145
00:08:00,400 --> 00:08:01,880
Speaker 5: But I gotta make this story better.

146
00:08:01,920 --> 00:08:04,280
Speaker 2: So it's like it's faction, it's both.

147
00:08:05,160 --> 00:08:09,520
Speaker 1: Yeah, it is. So I guess before we continue our

148
00:08:09,560 --> 00:08:13,280
Speaker 1: breakdown what we all came with with last week? All right,

149
00:08:13,640 --> 00:08:16,160
Speaker 1: you know, we factored in each other's list and a

150
00:08:16,200 --> 00:08:18,880
Speaker 1: lot of songs. We have more than one album surprisingly

151
00:08:18,960 --> 00:08:22,360
Speaker 1: that we all you know, mutually agreed upon. We have

152
00:08:22,600 --> 00:08:26,680
Speaker 1: number forty one Project Pack, Gaddy Green forty two Schooley

153
00:08:26,760 --> 00:08:30,760
Speaker 1: d Smoked Some Kill forty three, Ice Cube The Predator

154
00:08:31,360 --> 00:08:35,920
Speaker 1: forty four, DJ Quick Safe and Sound forty five, Ice

155
00:08:36,000 --> 00:08:39,199
Speaker 1: T the Iceberg album Freedom Speaks. Wi's what you say

156
00:08:40,800 --> 00:08:44,480
Speaker 1: forty six, Criminal Mind to Beat DP, Bookie Down Productions

157
00:08:44,520 --> 00:08:47,440
Speaker 1: forty seven, Lord three two and Big Mike, The Homies

158
00:08:47,559 --> 00:08:51,960
Speaker 1: The Convicts forty eight, UGK Ryan thirty forty nine, east Side,

159
00:08:52,000 --> 00:08:55,400
Speaker 1: It's Deuces and Trays number fifty. And this was kind

160
00:08:55,400 --> 00:08:57,600
Speaker 1: of interesting to me because it's a Snoop Dogg album

161
00:08:57,640 --> 00:09:01,400
Speaker 1: Snoop is like the motherfucking the logo for this gangst

162
00:09:01,400 --> 00:09:03,400
Speaker 1: the rap shit, you know, but he has number fifty

163
00:09:03,480 --> 00:09:05,880
Speaker 1: album And we kind of explain why as we go

164
00:09:05,960 --> 00:09:07,920
Speaker 1: along on this list, because this is the top fifty

165
00:09:09,080 --> 00:09:13,280
Speaker 1: best gangst the Rap albums of all time to even

166
00:09:13,320 --> 00:09:16,160
Speaker 1: be mentioned in the breath of that stuff, because you've

167
00:09:16,160 --> 00:09:18,959
Speaker 1: got classic albums in its final ten. When we talked

168
00:09:18,960 --> 00:09:21,040
Speaker 1: about some of these and that as you broke down

169
00:09:21,080 --> 00:09:23,160
Speaker 1: your logic and you made your arguments with stuff, and

170
00:09:23,160 --> 00:09:26,680
Speaker 1: when as we factored in certain things, it's some bad

171
00:09:26,760 --> 00:09:27,960
Speaker 1: motherfuckers on this list.

172
00:09:28,000 --> 00:09:30,040
Speaker 2: Man, would you got to shut out no Limit top Dog?

173
00:09:30,800 --> 00:09:33,080
Speaker 1: Yeah, Yeah, that's what it is. Snoop Dog, no Limit,

174
00:09:33,120 --> 00:09:39,040
Speaker 1: top Dog, no limit top Dog. You know it is.

175
00:09:39,120 --> 00:09:42,000
Speaker 1: And you know, when you talk about the it's kind

176
00:09:42,000 --> 00:09:44,800
Speaker 1: of hard to be to me to stay objective when

177
00:09:44,800 --> 00:09:47,760
Speaker 1: you're doing a list like this because like I love

178
00:09:47,840 --> 00:09:52,800
Speaker 1: the dating family for example, love top authority, a lot

179
00:09:52,840 --> 00:09:55,600
Speaker 1: of projects. Man, but when you got motherfuckers like this

180
00:09:55,679 --> 00:09:59,960
Speaker 1: man sitting next to us, Scarface, ice Cube, you know,

181
00:10:00,120 --> 00:10:03,160
Speaker 1: Snoop Dogg, they go, of course take up a lot

182
00:10:03,160 --> 00:10:05,360
Speaker 1: of slots on there because you can't. You can't. This

183
00:10:05,400 --> 00:10:08,559
Speaker 1: ain't fairness. This ain't youth sports to where everybody get

184
00:10:08,559 --> 00:10:11,240
Speaker 1: a trophy. It's about who had the best, who stood

185
00:10:11,240 --> 00:10:13,679
Speaker 1: the test of time. Right. You know, most of these

186
00:10:13,720 --> 00:10:17,800
Speaker 1: guys on this list, you know career's debuty back in

187
00:10:18,000 --> 00:10:21,640
Speaker 1: like ninety three, ninety four, ninety five, and they're still

188
00:10:21,760 --> 00:10:26,480
Speaker 1: around to some of them earlier, Hey, when did you

189
00:10:26,559 --> 00:10:29,280
Speaker 1: jump off the porch? About thirteen?

190
00:10:30,400 --> 00:10:30,800
Speaker 2: Wow?

191
00:10:32,240 --> 00:10:34,320
Speaker 1: When when did your first record come on? Home? Were you?

192
00:10:35,960 --> 00:10:39,400
Speaker 3: My first record came out? I was about seventeen eighteen

193
00:10:40,280 --> 00:10:43,959
Speaker 3: when I did the Compton compilation. My first song rhymes

194
00:10:44,000 --> 00:10:46,000
Speaker 3: too Funky And.

195
00:10:45,960 --> 00:10:47,200
Speaker 1: This man got a kid.

196
00:10:47,200 --> 00:10:50,240
Speaker 2: You know grown children now Classic cover too.

197
00:10:50,280 --> 00:10:52,400
Speaker 1: Yeah, Yeah, he got a dope children now and he's

198
00:10:52,440 --> 00:10:55,480
Speaker 1: still doing it. So it's a testament to why people

199
00:10:55,600 --> 00:10:57,600
Speaker 1: make lists like this. A lot of these people are

200
00:10:57,640 --> 00:10:59,960
Speaker 1: still relevant today, and we got a few new guys

201
00:11:00,120 --> 00:11:03,000
Speaker 1: in there. It's not just confined the dudes whose careers

202
00:11:03,000 --> 00:11:05,680
Speaker 1: started back in the nineties and eighties. There's new dudes

203
00:11:05,720 --> 00:11:08,480
Speaker 1: out here putting in work. So with that being said,

204
00:11:08,720 --> 00:11:11,640
Speaker 1: I know it's gonna be a long night. Let's get

205
00:11:11,640 --> 00:11:15,680
Speaker 1: into our picks for this thirty one through forty.

206
00:11:16,480 --> 00:11:18,640
Speaker 2: I think we should start at forty though, still.

207
00:11:18,480 --> 00:11:21,480
Speaker 4: Oh yeah, we can start at forty. Okay, yeah, get yeah.

208
00:11:21,600 --> 00:11:23,920
Speaker 5: You gotta still get I'll start factor this is this,

209
00:11:23,960 --> 00:11:26,720
Speaker 5: is this. You had a lot of weight in this one.

210
00:11:26,600 --> 00:11:29,440
Speaker 1: So yeah I did, and you know, our man still

211
00:11:29,440 --> 00:11:31,600
Speaker 1: gotta agree on it because we're doing everything fair. And

212
00:11:31,600 --> 00:11:33,520
Speaker 1: it's a voting system. You know, we got we got

213
00:11:33,520 --> 00:11:36,720
Speaker 1: a tear system. It's a voting system. Number forty I

214
00:11:36,760 --> 00:11:39,160
Speaker 1: had Rick Ross tifline down.

215
00:11:41,160 --> 00:11:41,480
Speaker 2: Again.

216
00:11:41,640 --> 00:11:44,200
Speaker 1: Rick Ross is one of those guys that he may

217
00:11:44,280 --> 00:11:47,360
Speaker 1: not necessarily be on this album set tripping, but my

218
00:11:47,440 --> 00:11:50,040
Speaker 1: man is gonna sell you a brick of cocaine. He

219
00:11:50,120 --> 00:11:51,760
Speaker 1: gonna sell you a couple of bricks cocaine.

220
00:11:51,800 --> 00:11:52,880
Speaker 2: Every song he.

221
00:11:52,920 --> 00:11:55,000
Speaker 1: Gonna shoot you. He gonna talk about the big booty

222
00:11:55,000 --> 00:11:57,160
Speaker 1: bits at the Strip club. The scan list that you

223
00:11:57,200 --> 00:11:59,080
Speaker 1: know that that love money and he bought are in

224
00:11:59,080 --> 00:12:01,240
Speaker 1: there for Home Girl a bad and had a Menaja

225
00:12:01,240 --> 00:12:06,280
Speaker 1: troad with him. He's a gangster, well, I say too.

226
00:12:06,320 --> 00:12:09,160
Speaker 1: He had the mc hammers on that album. BMF is

227
00:12:09,200 --> 00:12:10,720
Speaker 1: on that album.

228
00:12:10,720 --> 00:12:13,800
Speaker 5: Tears of Joys referencing Gucci Time by schooly D. There's

229
00:12:13,840 --> 00:12:16,319
Speaker 5: a lot of gangsterism on the album for sure. It

230
00:12:16,480 --> 00:12:21,320
Speaker 5: is a cinematic or sonically the Justice League and others.

231
00:12:21,400 --> 00:12:24,880
Speaker 5: The production on there is pretty phenomenal and should be

232
00:12:24,960 --> 00:12:26,280
Speaker 5: used for like movie scores.

233
00:12:26,559 --> 00:12:29,000
Speaker 1: Yeah, it is Rick Ross. That's what I said, Rick Ross.

234
00:12:29,040 --> 00:12:31,440
Speaker 1: He creates movies when he's when you listen to him

235
00:12:31,440 --> 00:12:37,080
Speaker 1: as cinematic and just his whole he stays in character. Yeah,

236
00:12:37,520 --> 00:12:39,800
Speaker 1: but he does give you a human element every once

237
00:12:39,800 --> 00:12:41,079
Speaker 1: in a while. And that's what I like about. He

238
00:12:41,120 --> 00:12:43,800
Speaker 1: gives you a human element once in a while. And

239
00:12:45,800 --> 00:12:47,960
Speaker 1: he came out, you know, he was just coming from

240
00:12:48,000 --> 00:12:50,959
Speaker 1: his whole, like a little war with fifty cent. Well,

241
00:12:50,960 --> 00:12:53,760
Speaker 1: at the time was in the motherfucker's careers and I

242
00:12:53,760 --> 00:12:55,800
Speaker 1: thought when those pictures came out of Ross, you know,

243
00:12:55,840 --> 00:12:58,560
Speaker 1: working as a CEO, he stuck with the music, that

244
00:12:58,600 --> 00:13:01,240
Speaker 1: shit didn't matter because this music was just so much more.

245
00:13:01,360 --> 00:13:04,960
Speaker 1: I don't like to use the word superior. But he

246
00:13:05,040 --> 00:13:08,600
Speaker 1: was making some banging ass music. He had and to

247
00:13:08,640 --> 00:13:10,959
Speaker 1: wear all that shit you know about the CEO, and

248
00:13:11,040 --> 00:13:14,079
Speaker 1: he worked like this. And then Rick Ross he summed

249
00:13:14,200 --> 00:13:16,560
Speaker 1: the best on one of his songs, but this was

250
00:13:16,600 --> 00:13:19,920
Speaker 1: on the album before it. This is before the album

251
00:13:19,960 --> 00:13:23,840
Speaker 1: tapt fund down. He said, our shovel shit, our CEO,

252
00:13:24,000 --> 00:13:26,120
Speaker 1: so we can borrow here and pray over the meat loaf.

253
00:13:27,040 --> 00:13:29,160
Speaker 1: That was a cold ass bar right there, Like I

254
00:13:29,320 --> 00:13:31,960
Speaker 1: do whatever the fuck he said for me to feed

255
00:13:32,040 --> 00:13:35,480
Speaker 1: my kids. I get two gigs, our shovel shit, our CEO,

256
00:13:35,800 --> 00:13:38,000
Speaker 1: so we can borrow here and pray over the meat loaf.

257
00:13:38,600 --> 00:13:40,520
Speaker 1: That was a hard ass bar, like, fuck what you're

258
00:13:40,520 --> 00:13:41,959
Speaker 1: talking about. I'm gonna do what I gotta do to

259
00:13:42,000 --> 00:13:44,640
Speaker 1: feed my family. That don't make me not a real motherfucker,

260
00:13:45,000 --> 00:13:47,400
Speaker 1: right And I think that's when it was kind of

261
00:13:47,440 --> 00:13:49,199
Speaker 1: like the term right there, this dude don't won the

262
00:13:49,240 --> 00:13:53,600
Speaker 1: battle kind of. So that's why I picked Rick Ross

263
00:13:54,480 --> 00:14:02,040
Speaker 1: thirty nine. Master piek ghetto d When you talk about

264
00:14:02,160 --> 00:14:06,240
Speaker 1: gangster shit, gangster shit to me also means ghetto master

265
00:14:06,280 --> 00:14:09,480
Speaker 1: p is like the logo for ghetto shit, ghetto ass movies,

266
00:14:09,920 --> 00:14:12,680
Speaker 1: ghetawa ass records and people fuck with him when master

267
00:14:12,720 --> 00:14:14,520
Speaker 1: P had this movement going, who fucked with him?

268
00:14:15,000 --> 00:14:17,480
Speaker 2: Oh? He was number one in the game.

269
00:14:18,000 --> 00:14:19,920
Speaker 1: Yeah, he was like, he was that dude, So you

270
00:14:20,040 --> 00:14:24,840
Speaker 1: can't he can't never be marked off as insignificant, you

271
00:14:24,840 --> 00:14:27,240
Speaker 1: feel what I mean. I didn't like every record he

272
00:14:27,320 --> 00:14:29,760
Speaker 1: came up with. I didn't like every album, but I

273
00:14:29,840 --> 00:14:33,000
Speaker 1: respected the shit out that dude, and the hood loved him.

274
00:14:33,840 --> 00:14:34,840
Speaker 1: And the hood loved him.

275
00:14:34,840 --> 00:14:37,600
Speaker 5: Mom No, he had like throw them up, pass me

276
00:14:37,640 --> 00:14:40,280
Speaker 5: them things. Let's get him the ghetto dude. The title

277
00:14:40,360 --> 00:14:44,040
Speaker 5: track was basically kind of did the ten Crack Commandments

278
00:14:44,080 --> 00:14:45,760
Speaker 5: type of thing, giving you the recipe on how to

279
00:14:45,800 --> 00:14:48,360
Speaker 5: make crack flipping airp and rock him.

280
00:14:48,680 --> 00:14:53,040
Speaker 2: I mean, come and get some. He was like, Hey,

281
00:14:53,040 --> 00:14:53,840
Speaker 2: this is where we're at.

282
00:14:53,920 --> 00:14:57,440
Speaker 5: If you want to come get it so and then

283
00:14:57,520 --> 00:15:01,080
Speaker 5: beats make him say, uh, of course it is the biggest.

284
00:15:01,240 --> 00:15:03,000
Speaker 4: You're just gonna give off your whole ten.

285
00:15:04,120 --> 00:15:05,280
Speaker 1: No, what we're doing.

286
00:15:05,320 --> 00:15:06,920
Speaker 2: We know what we're doing.

287
00:15:07,960 --> 00:15:10,440
Speaker 1: I'm telling the ten. We discussing them and if like,

288
00:15:10,520 --> 00:15:12,640
Speaker 1: and then after we do the discussion, we talk about

289
00:15:12,640 --> 00:15:14,640
Speaker 1: what we didn't like other songs, you know what I mean?

290
00:15:14,920 --> 00:15:18,120
Speaker 1: We factory and everything else like that. I'm just naming

291
00:15:18,120 --> 00:15:20,360
Speaker 1: the songs right now for us to have a discussion about.

292
00:15:20,480 --> 00:15:20,520
Speaker 2: No.

293
00:15:20,680 --> 00:15:23,720
Speaker 3: I was just figuring you was gonna say your forty.

294
00:15:23,920 --> 00:15:26,960
Speaker 3: I say my forty. He say it's forty. You run

295
00:15:27,000 --> 00:15:29,880
Speaker 3: through your whole ten. We're gonna be discussing your whole

296
00:15:29,920 --> 00:15:31,160
Speaker 3: ten for the next hour.

297
00:15:31,320 --> 00:15:33,680
Speaker 1: That's the whole thing about it. We gotta be got

298
00:15:33,720 --> 00:15:49,160
Speaker 1: something to talk about them, but figure in don't.

299
00:15:49,200 --> 00:15:51,360
Speaker 3: But then how the fuck we gonna be able to

300
00:15:51,360 --> 00:15:53,840
Speaker 3: say on our ten No, it's t know the.

301
00:15:53,800 --> 00:15:56,000
Speaker 1: Thing else you're gonna be able to say. After I

302
00:15:56,040 --> 00:15:58,040
Speaker 1: say my team, you say yours. Then we have a small,

303
00:15:58,160 --> 00:15:59,120
Speaker 1: you know, discussion about it.

304
00:15:59,120 --> 00:16:01,200
Speaker 4: We come up, we discuss sit in every song.

305
00:16:01,360 --> 00:16:06,520
Speaker 3: If no, I'm just seeing my team run your list list, Okay,

306
00:16:06,560 --> 00:16:11,520
Speaker 3: west Side Connection bout thirty eight, thirty seven, the game

307
00:16:11,960 --> 00:16:16,720
Speaker 3: Theesus Yo, Jesus yo yo, your bottom from the fifty.

308
00:16:16,720 --> 00:16:18,320
Speaker 1: Year hold on, bro we got a whole.

309
00:16:18,200 --> 00:16:21,760
Speaker 2: Lot more to go holding hold on.

310
00:16:22,200 --> 00:16:24,400
Speaker 3: I'm just saying, I'm just thinking that would be a

311
00:16:24,440 --> 00:16:25,320
Speaker 3: little higher.

312
00:16:25,360 --> 00:16:25,560
Speaker 1: Man.

313
00:16:25,680 --> 00:16:28,320
Speaker 3: You can see you got West Side Connection down at

314
00:16:28,320 --> 00:16:29,120
Speaker 3: the thirty eight.

315
00:16:29,120 --> 00:16:32,960
Speaker 1: And it's some bad in that top thirty forty.

316
00:16:33,120 --> 00:16:35,320
Speaker 2: Hey, this is some bad mother card man.

317
00:16:35,600 --> 00:16:38,400
Speaker 1: It's small people. Okay, go ahead, lay right off my list.

318
00:16:38,440 --> 00:16:43,120
Speaker 1: Off Game, the Red Album, Ice Tea Power Scarface, deeply

319
00:16:43,200 --> 00:16:47,160
Speaker 1: rooted Ghetto Boys to Death, Do us Apart? Cypress, Temples

320
00:16:47,160 --> 00:16:51,160
Speaker 1: of Boom CMW Music to Drive By Vince Staples, Summertime

321
00:16:51,200 --> 00:16:55,720
Speaker 1: O six Man Vince Staples is a bad man dog.

322
00:16:58,440 --> 00:17:03,120
Speaker 1: You got music to drive by? Where thirty two.

323
00:17:03,360 --> 00:17:08,960
Speaker 3: Over under Vince Staples? It's not a gangster rap album?

324
00:17:09,320 --> 00:17:10,320
Speaker 3: Are you kidding me?

325
00:17:10,920 --> 00:17:14,720
Speaker 1: Listen, listen, don't listen to thee listen to the largah.

326
00:17:17,560 --> 00:17:20,040
Speaker 1: First of all, this list is not numbered like that.

327
00:17:20,280 --> 00:17:22,959
Speaker 1: You can't look at this list like this is like

328
00:17:23,040 --> 00:17:24,919
Speaker 1: this one is old one. It's just kind of just

329
00:17:24,960 --> 00:17:25,760
Speaker 1: wrote down.

330
00:17:25,600 --> 00:17:27,560
Speaker 4: Like my ship is totally different.

331
00:17:27,680 --> 00:17:29,520
Speaker 1: It ain't. It ain't like that. This is not a thing.

332
00:17:29,560 --> 00:17:31,119
Speaker 1: That's what we're putting together. We're putting together that.

333
00:17:31,160 --> 00:17:31,400
Speaker 2: Listen.

334
00:17:31,440 --> 00:17:34,720
Speaker 1: Don't think about that. This is being those don't think

335
00:17:34,760 --> 00:17:36,120
Speaker 1: of the numeric order.

336
00:17:37,800 --> 00:17:39,080
Speaker 2: Like this throwing stuff out here.

337
00:17:39,080 --> 00:17:42,440
Speaker 1: Okay, I'm loving because you gotta remember we I got

338
00:17:42,440 --> 00:17:44,320
Speaker 1: Westside connection to thirty eight will come out.

339
00:17:44,400 --> 00:17:47,360
Speaker 3: I'm I'm I'm looking, I'm i'm seeing, I'm seeing how

340
00:17:47,359 --> 00:17:47,800
Speaker 3: you're going.

341
00:17:47,960 --> 00:17:49,720
Speaker 1: Yeah, you going by.

342
00:17:49,800 --> 00:17:57,159
Speaker 3: Like like Q got ten albums, you gonna go. QUE

343
00:17:57,240 --> 00:17:59,080
Speaker 3: got this spot, qube got.

344
00:17:59,119 --> 00:18:02,760
Speaker 2: CUE got more forty, you got us? Yeah, you got

345
00:18:02,800 --> 00:18:04,600
Speaker 2: multiple spots. Q Iced Team.

346
00:18:04,600 --> 00:18:07,920
Speaker 3: Okay, because I'm not looking at minds like this, because

347
00:18:07,960 --> 00:18:12,240
Speaker 3: I'm looking at minds like the transition of what gangster

348
00:18:12,400 --> 00:18:17,640
Speaker 3: niggas listen to that that that they felt represented gangster

349
00:18:17,800 --> 00:18:18,960
Speaker 3: music at the time.

350
00:18:19,440 --> 00:18:22,120
Speaker 4: But I'll see where you're going. I got it.

351
00:18:22,119 --> 00:18:24,280
Speaker 1: It ain't no thing. So okay, it's like we have

352
00:18:24,359 --> 00:18:26,840
Speaker 1: a discussion. Now you named your top, you drop your.

353
00:18:26,680 --> 00:18:28,639
Speaker 3: Top teen Okay, let me let me go through you

354
00:18:28,680 --> 00:18:31,320
Speaker 3: one more time. Forty to thirty, forty to thirty.

355
00:18:31,359 --> 00:18:34,800
Speaker 1: Rick rosss teflne Don thirty nine, Master Peek, Ghetto d

356
00:18:35,480 --> 00:18:38,880
Speaker 1: thirty eight, West Side Connection, bout I thirty seven, The Game,

357
00:18:38,960 --> 00:18:42,600
Speaker 1: The Red Album thirty six, iceed T Power thirty five,

358
00:18:42,680 --> 00:18:46,160
Speaker 1: scar Face Deeply Rooted thirty four, Ghetto Boys to Death,

359
00:18:46,240 --> 00:18:49,640
Speaker 1: do As Park thirty three, cypress Hell, Temples of Boom

360
00:18:49,960 --> 00:18:53,000
Speaker 1: thirty two, CMW Music to Drive By thirty one, Vince

361
00:18:53,040 --> 00:18:57,520
Speaker 1: Staples Summertime O six and again, I want to just

362
00:18:57,560 --> 00:19:01,920
Speaker 1: reiterate that for the for the audience. We are trying

363
00:19:01,960 --> 00:19:05,119
Speaker 1: to have some kind of numerical value to the final list,

364
00:19:06,000 --> 00:19:08,680
Speaker 1: but it's so motherfucking subjective man.

365
00:19:08,520 --> 00:19:11,240
Speaker 2: It's like these are all discussion points.

366
00:19:11,280 --> 00:19:13,600
Speaker 1: Yeah, these are discussion points. How do you say that?

367
00:19:13,720 --> 00:19:15,800
Speaker 1: Because even when you come to the number one album,

368
00:19:15,800 --> 00:19:18,520
Speaker 1: it's gonna always be an afterthought like, well, I don't know, man,

369
00:19:18,600 --> 00:19:21,480
Speaker 1: this shit was. When you start getting more tours that

370
00:19:21,600 --> 00:19:24,080
Speaker 1: top ten stopped top twenty, you start getting real hard.

371
00:19:24,760 --> 00:19:28,040
Speaker 5: Yeah, every yeah, every time you go up higher, it's harder.

372
00:19:28,320 --> 00:19:30,560
Speaker 1: It's harder because you look at this right here, like

373
00:19:31,000 --> 00:19:33,719
Speaker 1: let's say the Game the Red album winds up at

374
00:19:33,760 --> 00:19:36,679
Speaker 1: like thirty four. You think about that album. That album

375
00:19:36,760 --> 00:19:39,760
Speaker 1: was phenomenal. It is when you think about music to

376
00:19:39,880 --> 00:19:42,560
Speaker 1: drive By, it was phenomenal. Those were like flawless albums

377
00:19:42,640 --> 00:19:44,880
Speaker 1: that you you ain't no skip through on them, right.

378
00:19:45,680 --> 00:19:48,280
Speaker 1: You know, when you think about Cypress, he'll temples a boom.

379
00:19:48,800 --> 00:19:54,000
Speaker 1: These albums has made multi million dollar careers absolutely, you know,

380
00:19:54,240 --> 00:19:57,800
Speaker 1: a Cypress he'll still out there selling weed and doing tours.

381
00:19:58,040 --> 00:19:59,760
Speaker 1: All of this shit right here all and they'll talk

382
00:19:59,760 --> 00:20:03,480
Speaker 1: about getting how going file Line.

383
00:20:02,359 --> 00:20:06,840
Speaker 5: Of Stone Raiders on this album? Yeah, yeah, we're doing

384
00:20:06,840 --> 00:20:12,440
Speaker 5: that sets in the errors on this album too, So.

385
00:20:15,320 --> 00:20:17,800
Speaker 1: You know, going off of this we think about because really,

386
00:20:17,800 --> 00:20:20,080
Speaker 1: when it comes to great albums, ain't no time period.

387
00:20:20,080 --> 00:20:21,719
Speaker 1: But I will tell you and this is with no

388
00:20:21,800 --> 00:20:24,480
Speaker 1: bias in my heart, because I listen to everybody, like

389
00:20:24,680 --> 00:20:28,840
Speaker 1: I'm aware of the significance of Chief Keith, you know,

390
00:20:28,880 --> 00:20:32,280
Speaker 1: for the young people to a lot of those young

391
00:20:32,320 --> 00:20:34,399
Speaker 1: cats out of Chicago can really rap. Like I like

392
00:20:34,480 --> 00:20:36,200
Speaker 1: the one kid a whole lot. He had a song

393
00:20:36,320 --> 00:20:42,440
Speaker 1: Malcolm that was really dope. My god, Welcome the Old Block.

394
00:20:44,520 --> 00:20:49,440
Speaker 1: What was that kid's name, Little King Vaughn. Welcome to

395
00:20:49,480 --> 00:20:54,240
Speaker 1: Old Block was a phenomenal album. I'll listen to the

396
00:20:54,320 --> 00:20:57,439
Speaker 1: kids they have. I like Vince staples On. I like

397
00:20:57,480 --> 00:21:01,040
Speaker 1: a lot of YG stuff. Though I like a lot

398
00:21:01,040 --> 00:21:04,040
Speaker 1: of YG. I think YG is a complete artist. But

399
00:21:04,119 --> 00:21:07,400
Speaker 1: when you talk about the top fifty gangster rap albums

400
00:21:07,400 --> 00:21:09,399
Speaker 1: of all time, and you also have to compete against

401
00:21:09,400 --> 00:21:14,440
Speaker 1: elite lyricists like Scarface elite elite level pon MC eight,

402
00:21:14,480 --> 00:21:17,800
Speaker 1: elite level PIN. And I ain't saying that because he's

403
00:21:17,800 --> 00:21:22,200
Speaker 1: sitting here Ice QB elite level pon iced T, elite

404
00:21:22,280 --> 00:21:27,760
Speaker 1: level pon YG that's mid he cool, He not whack.

405
00:21:28,080 --> 00:21:32,320
Speaker 1: He not whack at all. I like YG but trying

406
00:21:32,359 --> 00:21:34,520
Speaker 1: to compare him to the lyricists, you know, people of

407
00:21:34,560 --> 00:21:37,520
Speaker 1: that nature, you know Scarface.

408
00:21:37,520 --> 00:21:39,760
Speaker 2: Everybody on this list is a Hall of Fame artist.

409
00:21:39,880 --> 00:21:41,639
Speaker 1: Yeah, that's what I'm saying. This is a hall of

410
00:21:41,680 --> 00:21:44,080
Speaker 1: Fame group. It's like this was not no knock that

411
00:21:44,200 --> 00:21:47,919
Speaker 1: nobody else's Maybe they haven't created that moment yet. You know,

412
00:21:48,000 --> 00:21:50,479
Speaker 1: all these guys created that moment, and some of them

413
00:21:50,520 --> 00:21:53,040
Speaker 1: happened to do it multiple times, which is very hard

414
00:21:54,200 --> 00:21:56,360
Speaker 1: even for great artists. I got artists like I think

415
00:21:56,480 --> 00:21:58,880
Speaker 1: Bust the Rhymes is one of the greatest of all time,

416
00:21:58,920 --> 00:22:02,000
Speaker 1: one of the greatest that ever done it. But I

417
00:22:02,040 --> 00:22:05,080
Speaker 1: don't even he has a couple of albums that come close.

418
00:22:05,720 --> 00:22:08,480
Speaker 1: I don't know if he's made that definitive album yet.

419
00:22:08,600 --> 00:22:09,680
Speaker 1: And that's a whole another.

420
00:22:10,200 --> 00:22:11,240
Speaker 2: But let's get to eight. Man.

421
00:22:14,440 --> 00:22:20,920
Speaker 3: I'm I'm I'm gonna just do broncs like whatever. So

422
00:22:22,080 --> 00:22:26,199
Speaker 3: I got ant Banks, big things, big things.

423
00:22:26,920 --> 00:22:30,080
Speaker 4: I got lighter shaded Brown, Okay.

424
00:22:29,840 --> 00:22:32,399
Speaker 1: I ain't mad at that. I got the boot Yard

425
00:22:32,480 --> 00:22:39,720
Speaker 1: tried he picking real Gangster Rep. I got Volume ten just.

426
00:22:39,800 --> 00:22:42,320
Speaker 2: The grip punk hip hopera.

427
00:22:43,359 --> 00:22:44,159
Speaker 1: I got.

428
00:22:46,080 --> 00:22:47,720
Speaker 4: Genius rap doctor.

429
00:22:47,520 --> 00:22:50,080
Speaker 2: Jacko, Hi shout out Andre.

430
00:22:51,600 --> 00:22:52,800
Speaker 4: I got second to none.

431
00:22:53,680 --> 00:22:54,600
Speaker 1: I ain't mad at that.

432
00:22:54,800 --> 00:22:56,080
Speaker 4: And I got a low profile.

433
00:22:58,800 --> 00:23:01,840
Speaker 2: I gotta pay a duke. Come on, man, that's why.

434
00:23:01,640 --> 00:23:05,520
Speaker 1: We do it, you know what. And what's funny is

435
00:23:06,760 --> 00:23:08,680
Speaker 1: some of the stuff he just named in this part,

436
00:23:09,160 --> 00:23:13,080
Speaker 1: we actually had higher some of the artists. Yeah, some

437
00:23:13,080 --> 00:23:17,160
Speaker 1: of the artists, like I believe with dub Season them

438
00:23:17,520 --> 00:23:21,879
Speaker 1: low profile DJ Aladdin, I had that like him. I

439
00:23:21,920 --> 00:23:24,080
Speaker 1: can't say it now, but I had that ranked really high.

440
00:23:24,640 --> 00:23:27,360
Speaker 2: Well, I got a different duc album ranked very very

441
00:23:27,440 --> 00:23:30,320
Speaker 2: high me too, one that you happen to be on.

442
00:23:30,560 --> 00:23:35,680
Speaker 3: Okay, So because you like that what I'm saying, you

443
00:23:36,080 --> 00:23:40,720
Speaker 3: r right, because then there you know I come from

444
00:23:40,760 --> 00:23:42,280
Speaker 3: that level, because then.

445
00:23:42,240 --> 00:23:43,600
Speaker 2: I got ship like.

446
00:23:45,359 --> 00:23:49,000
Speaker 3: That's higher that I felt like represents more of So

447
00:23:49,440 --> 00:23:56,919
Speaker 3: that that's mine, that's mine's right there. I don't think

448
00:23:57,080 --> 00:24:02,600
Speaker 3: like you know what I'm saying. Look at dudes like

449
00:24:02,680 --> 00:24:07,000
Speaker 3: and Banks, who's representing oak Oakland up in the Bay Area.

450
00:24:10,400 --> 00:24:14,720
Speaker 3: And Banks produced a lot of significant shit West Coast

451
00:24:14,840 --> 00:24:19,320
Speaker 3: artists around that era for sure, And we was getting cracking,

452
00:24:19,760 --> 00:24:22,959
Speaker 3: you know, with the cubes and the cmw's and the

453
00:24:23,000 --> 00:24:26,119
Speaker 3: two Shorts and when the Bay Area was getting cracking

454
00:24:26,160 --> 00:24:29,719
Speaker 3: with the Spice ones and two Shorts and all of that.

455
00:24:29,960 --> 00:24:31,600
Speaker 2: So he was essential.

456
00:24:31,840 --> 00:24:35,879
Speaker 3: Banks had his hand and a lot of heavy Bay

457
00:24:36,000 --> 00:24:39,920
Speaker 3: Area sound, you get me, which was very significant different

458
00:24:40,119 --> 00:24:44,119
Speaker 3: from down here, down here in LA and comped and

459
00:24:44,400 --> 00:24:44,919
Speaker 3: you know, so.

460
00:24:45,680 --> 00:24:47,040
Speaker 2: Very different fields sonically.

461
00:24:50,400 --> 00:24:53,640
Speaker 3: I used to bang at Banks in the neighborhood when

462
00:24:53,640 --> 00:24:56,359
Speaker 3: I used to be dipping in my sixty three. So

463
00:24:57,080 --> 00:25:00,920
Speaker 3: that's what that meant, you know, That's what Ant Banks

464
00:25:01,040 --> 00:25:07,760
Speaker 3: music meant to me. As far as West Coast reality music, well.

465
00:25:07,600 --> 00:25:10,600
Speaker 5: He definitely at the bottom, so I know, I know,

466
00:25:10,680 --> 00:25:12,480
Speaker 5: for riding around, that's perfect music.

467
00:25:13,160 --> 00:25:18,360
Speaker 1: You know what I never understand, man, why people who

468
00:25:18,440 --> 00:25:21,800
Speaker 1: made these like you know, ant producers like Ant Banks,

469
00:25:22,600 --> 00:25:28,400
Speaker 1: not just him, my boy, Humpty hump, those producers, why

470
00:25:28,440 --> 00:25:31,800
Speaker 1: they weren't utilized as much day like even like DJ Quick.

471
00:25:31,840 --> 00:25:35,600
Speaker 1: You would think that like YG would get with him.

472
00:25:35,600 --> 00:25:36,840
Speaker 2: That's a good question.

473
00:25:36,680 --> 00:25:38,440
Speaker 1: You know what I'm saying. It just would make sense

474
00:25:38,480 --> 00:25:41,239
Speaker 1: because a lot of these kids, they are redoing them

475
00:25:41,280 --> 00:25:43,800
Speaker 1: songs that came out. Why not get with the original, dude?

476
00:25:43,800 --> 00:25:44,480
Speaker 1: They're still here.

477
00:25:45,760 --> 00:25:50,439
Speaker 5: Well, I've never but when you look at that like

478
00:25:50,840 --> 00:25:53,920
Speaker 5: using short even though ant Banks didn't do this song,

479
00:25:54,520 --> 00:25:57,520
Speaker 5: you look at like cuss words, and then you look

480
00:25:57,520 --> 00:26:03,160
Speaker 5: at when they made chicken the Head project pat produced

481
00:26:03,160 --> 00:26:06,720
Speaker 5: by DJ Paul and Juicy J. When they did chicken Head,

482
00:26:06,720 --> 00:26:07,720
Speaker 5: they used cuss.

483
00:26:07,440 --> 00:26:08,720
Speaker 2: Words beat exactly.

484
00:26:09,680 --> 00:26:13,119
Speaker 5: That's the Steals point that to me is always like

485
00:26:13,240 --> 00:26:17,400
Speaker 5: the beautiful thing or even like speaking of music, drive by,

486
00:26:17,440 --> 00:26:20,879
Speaker 5: when you hear the same sample that you used that

487
00:26:21,040 --> 00:26:25,440
Speaker 5: it's done on warning. Yes, for instance, you know it's like,

488
00:26:25,520 --> 00:26:28,639
Speaker 5: oh for someone like me, And I was still in

489
00:26:28,680 --> 00:26:32,280
Speaker 5: Maryland at the time, but I'm hearing like, wait a minute,

490
00:26:32,880 --> 00:26:35,080
Speaker 5: everybody's loving this biggie song, but have they heard the

491
00:26:35,080 --> 00:26:36,200
Speaker 5: Conca's most wanted song?

492
00:26:36,440 --> 00:26:38,000
Speaker 2: And in Maryland they hadn't.

493
00:26:38,000 --> 00:26:39,679
Speaker 3: But I know out here that was that was the

494
00:26:39,720 --> 00:26:44,080
Speaker 3: same like here in friendly game of baseball and we

495
00:26:44,200 --> 00:26:47,800
Speaker 3: turned around and flipped it drive by Miss Daisy Daisy.

496
00:26:47,920 --> 00:26:53,200
Speaker 3: So you know that that was that was significant around

497
00:26:53,240 --> 00:26:58,800
Speaker 3: that time of hip hop. Absolutely not that it was

498
00:26:59,480 --> 00:27:05,040
Speaker 3: considered biting to me. I called it idolized in a

499
00:27:05,160 --> 00:27:09,240
Speaker 3: nigga because I love some fucking main source.

500
00:27:09,560 --> 00:27:12,080
Speaker 2: You feel me, And it's the thing too.

501
00:27:12,040 --> 00:27:16,959
Speaker 3: Likeigga coming from the West Coast and banging some motherfucking.

502
00:27:18,200 --> 00:27:21,480
Speaker 5: Or some just hanging talking about police brutality, though exactly

503
00:27:21,920 --> 00:27:22,679
Speaker 5: exactly he did.

504
00:27:23,320 --> 00:27:26,080
Speaker 2: And this is the thing, it was very clever.

505
00:27:26,240 --> 00:27:28,520
Speaker 5: But the thing that I loved just listening to the

506
00:27:28,640 --> 00:27:32,320
Speaker 5: music was main source had friendly Game of Baseball, which

507
00:27:32,520 --> 00:27:35,840
Speaker 5: was in a way, their version of the police are one.

508
00:27:35,680 --> 00:27:38,240
Speaker 2: Time gap for the month. They did it that way.

509
00:27:38,600 --> 00:27:41,119
Speaker 5: But then the beauty of it is to use the

510
00:27:41,160 --> 00:27:44,399
Speaker 5: same samples, the same base in a different way to

511
00:27:44,440 --> 00:27:47,360
Speaker 5: make a drive by Miss Daisy, which is drive by.

512
00:27:47,960 --> 00:27:50,600
Speaker 5: It's like it's just breaking it down in different ways.

513
00:27:50,680 --> 00:27:53,439
Speaker 5: And to me, that was the beauty of listening to

514
00:27:53,520 --> 00:27:57,040
Speaker 5: how people freaked the samples like that's I loved it

515
00:27:57,080 --> 00:27:59,360
Speaker 5: and warning and I mean.

516
00:27:59,240 --> 00:28:03,280
Speaker 3: It's just just different ears coming from these producers, you

517
00:28:03,280 --> 00:28:06,400
Speaker 3: know Slip. You know, it was one of those producers

518
00:28:06,440 --> 00:28:10,040
Speaker 3: that you could hear you could hear a sample or

519
00:28:10,119 --> 00:28:13,919
Speaker 3: hear somebody else's song and be, oh, damn, man, what

520
00:28:14,000 --> 00:28:15,840
Speaker 3: I would have done And I would have cut this

521
00:28:16,040 --> 00:28:18,800
Speaker 3: up or chopped this or whatever. S you know, just

522
00:28:18,880 --> 00:28:22,679
Speaker 3: show minds at work, man, you know, great minds think alike.

523
00:28:22,760 --> 00:28:25,920
Speaker 1: You feel me for sure? You know what the biggest

524
00:28:25,920 --> 00:28:32,080
Speaker 1: thing is right, and I get that as a producer,

525
00:28:32,119 --> 00:28:34,919
Speaker 1: you need to keep you constantly keep updigging your sounds

526
00:28:34,960 --> 00:28:38,040
Speaker 1: because the sounds do change. If you don't stay up

527
00:28:38,080 --> 00:28:40,000
Speaker 1: on stuff, you can lose a step just like that.

528
00:28:40,080 --> 00:28:42,880
Speaker 1: And it's something that that can become very hard to

529
00:28:42,880 --> 00:28:45,760
Speaker 1: do as you get older if you not, you know,

530
00:28:45,840 --> 00:28:49,800
Speaker 1: stand up on what's going on. But then sometimes it's

531
00:28:49,840 --> 00:28:51,840
Speaker 1: cool to just keep your sound the way it is

532
00:28:51,880 --> 00:28:53,680
Speaker 1: and just give people what it is that you do.

533
00:28:54,200 --> 00:28:55,800
Speaker 5: But if I, if I could bring up a question

534
00:28:55,880 --> 00:28:59,320
Speaker 5: that ties directly into this with eight, if it's a

535
00:28:59,360 --> 00:29:02,440
Speaker 5: comptant thing, it's a constant thing, straight checking them and

536
00:29:02,480 --> 00:29:05,880
Speaker 5: then music to drive by to me again growing up

537
00:29:05,880 --> 00:29:08,040
Speaker 5: in Maryland listening to it and getting these albums the

538
00:29:08,120 --> 00:29:10,760
Speaker 5: day they came out everyone and I remember the record

539
00:29:10,800 --> 00:29:14,440
Speaker 5: stores I got them. At my point is production wise,

540
00:29:15,040 --> 00:29:17,560
Speaker 5: it was the sound that y'all had, but it was

541
00:29:17,600 --> 00:29:21,360
Speaker 5: always evolving. It was very different and you could tell,

542
00:29:21,480 --> 00:29:25,840
Speaker 5: like the equipment, the mixing, the base, just everything from

543
00:29:26,000 --> 00:29:26,920
Speaker 5: it's a constant thing.

544
00:29:27,200 --> 00:29:30,400
Speaker 2: Just straight checking them was like a whole different world.

545
00:29:30,880 --> 00:29:34,000
Speaker 1: The money like that longer but just got bigger now.

546
00:29:34,400 --> 00:29:37,320
Speaker 3: It was it wasn't even that, it was the fact of,

547
00:29:37,560 --> 00:29:41,680
Speaker 3: like you said, trying to evolve and trying to do

548
00:29:41,800 --> 00:29:49,320
Speaker 3: shit out of the norm from typical units. Yeah. I

549
00:29:49,360 --> 00:29:53,360
Speaker 3: always wanted to do different shit than what everybody else

550
00:29:53,480 --> 00:29:56,360
Speaker 3: was doing. I guess, you know, the Parliaments, the funk

551
00:29:56,400 --> 00:30:01,640
Speaker 3: of Daleks and the George Clinton's and whatever. We prided

552
00:30:01,680 --> 00:30:07,080
Speaker 3: ourselves on being different. So each record was always a

553
00:30:07,120 --> 00:30:10,040
Speaker 3: transition of trying to be better than the last one

554
00:30:10,360 --> 00:30:13,840
Speaker 3: or do some shit that you thought the other motherfuckers

555
00:30:13,920 --> 00:30:14,520
Speaker 3: wasn't doing.

556
00:30:14,680 --> 00:30:18,480
Speaker 1: So you know, yeah, that's what that was, because you know,

557
00:30:19,640 --> 00:30:22,560
Speaker 1: the producer don't get nowhere near the credit that they

558
00:30:22,600 --> 00:30:27,000
Speaker 1: should get. And most classic albums, if you notice, always

559
00:30:27,040 --> 00:30:30,160
Speaker 1: just had one, maybe two producers behind them, right. It

560
00:30:30,240 --> 00:30:31,440
Speaker 1: was a more cohesive sound.

561
00:30:31,520 --> 00:30:32,760
Speaker 2: I thought it was a crew though.

562
00:30:32,840 --> 00:30:33,560
Speaker 1: Yeah it was a crew.

563
00:30:33,720 --> 00:30:37,080
Speaker 2: It wasn't always just one. But think about it as

564
00:30:37,080 --> 00:30:37,960
Speaker 2: a crew of people.

565
00:30:38,080 --> 00:30:41,160
Speaker 1: Everybody worked like you look at Bobcat when he hooked

566
00:30:41,240 --> 00:30:44,280
Speaker 1: up with Pool and the other cat, you know, and

567
00:30:44,320 --> 00:30:46,880
Speaker 1: the other cat and they would get together, and you

568
00:30:47,000 --> 00:30:50,400
Speaker 1: had Cube who would always have jinks and jinks around.

569
00:30:51,000 --> 00:30:53,040
Speaker 1: It was always a crew of people, but it wasn't

570
00:30:53,040 --> 00:30:56,240
Speaker 1: a whole bunch of producers. I think today it hurts

571
00:30:56,280 --> 00:30:59,560
Speaker 1: a lot of young artists is getting beats online they

572
00:30:59,640 --> 00:31:02,240
Speaker 1: never seen because first of all, the dude making the

573
00:31:02,280 --> 00:31:05,560
Speaker 1: beat ain't really a producer yet. Yeah, he was giving

574
00:31:05,600 --> 00:31:07,400
Speaker 1: you a beat and you go do it. Ain't nobody

575
00:31:07,440 --> 00:31:09,920
Speaker 1: coaching nobody. You remember back in the day eight your

576
00:31:10,000 --> 00:31:11,400
Speaker 1: producers there to say it like this.

577
00:31:13,920 --> 00:31:28,240
Speaker 3: I used to hate that ship, but criticism was always good. Yeah,

578
00:31:28,320 --> 00:31:29,200
Speaker 3: but you got produced.

579
00:31:29,240 --> 00:31:29,280
Speaker 2: No.

580
00:31:30,520 --> 00:31:31,680
Speaker 1: I used to work with Slip.

581
00:31:33,360 --> 00:31:40,080
Speaker 3: Slip was one of those dudes who you know, you

582
00:31:40,200 --> 00:31:44,240
Speaker 3: messed up on this word, or do this or say

583
00:31:44,280 --> 00:31:46,840
Speaker 3: this part with a little more of this or you know.

584
00:31:47,000 --> 00:31:50,320
Speaker 3: So it's just the direction of what producers felt like,

585
00:31:50,520 --> 00:31:54,320
Speaker 3: you know, outside of just producing the fucking beat, you

586
00:31:54,400 --> 00:31:56,840
Speaker 3: know what I'm saying. And especially if they've been working

587
00:31:56,880 --> 00:31:59,880
Speaker 3: with you for a while, they know when you deliver

588
00:32:00,160 --> 00:32:03,440
Speaker 3: years off a little bit. So you got producers who

589
00:32:03,480 --> 00:32:06,800
Speaker 3: will tell you, you know, you might want to run that back,

590
00:32:06,960 --> 00:32:08,760
Speaker 3: or you know, you might want to put a little

591
00:32:08,880 --> 00:32:11,160
Speaker 3: more of this, or you know. And Slip used to

592
00:32:11,200 --> 00:32:14,000
Speaker 3: always give his input, you know, just like I used

593
00:32:14,040 --> 00:32:18,400
Speaker 3: to do when it came to music that I wanted

594
00:32:18,400 --> 00:32:20,720
Speaker 3: to motherfucking rap over you hit me.

595
00:32:20,920 --> 00:32:22,200
Speaker 1: Definitely effort.

596
00:32:22,360 --> 00:32:24,760
Speaker 3: I was the type of motherfucker that be like, shit,

597
00:32:25,360 --> 00:32:26,720
Speaker 3: I go to the record stores.

598
00:32:26,840 --> 00:32:28,200
Speaker 2: You would bring the record, listen to.

599
00:32:28,200 --> 00:32:30,840
Speaker 3: Some old shit that I'd hear at my mom's or

600
00:32:30,880 --> 00:32:34,320
Speaker 3: my aunties, and then come back to Slip and be like,

601
00:32:34,720 --> 00:32:39,200
Speaker 3: hey man, chop this up or listen to this, or

602
00:32:39,240 --> 00:32:41,440
Speaker 3: if I heard something, I'd just sit there and hum

603
00:32:41,600 --> 00:32:44,880
Speaker 3: it to him and Slippers the type of motherfucker he

604
00:32:45,080 --> 00:32:48,280
Speaker 3: finds shit. So it's always it's good to have a

605
00:32:48,320 --> 00:32:52,040
Speaker 3: collective effort, especially from the producer in the MC.

606
00:32:52,760 --> 00:32:55,920
Speaker 1: Yeah, and I think that that that economy is good

607
00:32:55,960 --> 00:32:58,200
Speaker 1: because even though it might have pissed you off at

608
00:32:58,240 --> 00:33:00,000
Speaker 1: that time when he told you some shit, look at

609
00:33:00,120 --> 00:33:02,400
Speaker 1: end result. Oh yeah, definitely. You know if both of

610
00:33:02,480 --> 00:33:04,480
Speaker 1: y'all being being hard on each other, because.

611
00:33:04,240 --> 00:33:06,480
Speaker 3: I always get to add criticism. And that's in a

612
00:33:06,520 --> 00:33:09,920
Speaker 3: lot of ship man, you feel me, Oh don't like

613
00:33:10,720 --> 00:33:13,440
Speaker 3: a lot of motherfuckers will be phony and ship too.

614
00:33:13,920 --> 00:33:15,959
Speaker 3: You have a pack of niggas just sitting there just

615
00:33:16,000 --> 00:33:19,000
Speaker 3: listening to the ship knowing ship as garbage as a motherfucker,

616
00:33:19,320 --> 00:33:22,680
Speaker 3: and they'll be nigga. Ship bomb is a motherfucker nigga

617
00:33:22,840 --> 00:33:24,360
Speaker 3: that ship hard as a motherfucker.

618
00:33:25,720 --> 00:33:29,240
Speaker 1: Yeah, yeah, yeah, they don't want to lose they weed rolling.

619
00:33:30,720 --> 00:33:32,520
Speaker 1: They don't want to lose their little spot in the tour.

620
00:33:32,600 --> 00:33:34,120
Speaker 1: You know, they get to go everywhere, so they gonna

621
00:33:34,120 --> 00:33:36,360
Speaker 1: say hell yeah instead of not knowing, you better keep

622
00:33:36,400 --> 00:33:38,440
Speaker 1: it real with this dude and all the benefits go stuff.

623
00:33:41,080 --> 00:33:46,200
Speaker 3: Then on another note, boot y'all tried. You know, if

624
00:33:46,240 --> 00:33:50,080
Speaker 3: you want to talk about the epitome of gangster ship,

625
00:33:51,560 --> 00:33:55,840
Speaker 3: gangsters who rap, Boo y'all tried was, you know, one

626
00:33:55,880 --> 00:34:01,040
Speaker 3: of those groups, you know, unfortunate like a lot of us,

627
00:34:01,680 --> 00:34:06,040
Speaker 3: didn't get the the proper promotion and respect in the

628
00:34:06,160 --> 00:34:12,600
Speaker 3: hip hop community that they should have, but always represented

629
00:34:12,960 --> 00:34:15,520
Speaker 3: where they was from, didn't have a problem with it.

630
00:34:15,760 --> 00:34:17,799
Speaker 3: And then on top of that, they had some good

631
00:34:17,840 --> 00:34:18,640
Speaker 3: fucking songs.

632
00:34:18,880 --> 00:34:21,520
Speaker 1: The dues are dope ass musicians too.

633
00:34:22,920 --> 00:34:23,400
Speaker 2: I knew.

634
00:34:23,520 --> 00:34:27,000
Speaker 3: I knew Boo Yard tried, done a couple of engagements.

635
00:34:27,239 --> 00:34:32,359
Speaker 3: You know, always was respectable. Like I said, you you uh,

636
00:34:32,520 --> 00:34:34,600
Speaker 3: you get into this hip hop game, and you know,

637
00:34:34,680 --> 00:34:38,560
Speaker 3: we all from different neighborhoods and come from different walks

638
00:34:38,600 --> 00:34:45,960
Speaker 3: and shit. But I just always respected motherfuckers who first

639
00:34:45,960 --> 00:34:48,400
Speaker 3: of all represented where they was from, didn't have a

640
00:34:48,440 --> 00:34:55,000
Speaker 3: problem with it. And then uh them was some motherfuckers who.

641
00:34:54,920 --> 00:34:58,160
Speaker 4: Was really into their craft, get me.

642
00:34:59,040 --> 00:35:03,000
Speaker 3: Uh they it was real about making good music, you know,

643
00:35:03,600 --> 00:35:07,040
Speaker 3: not just gonna be a motherfucking stereotype image of just

644
00:35:07,120 --> 00:35:11,880
Speaker 3: being some Cali niggas from from southern California, from a

645
00:35:11,960 --> 00:35:14,719
Speaker 3: gang and that's what we're gonna stand on.

646
00:35:15,280 --> 00:35:15,400
Speaker 2: Uh.

647
00:35:15,960 --> 00:35:19,640
Speaker 3: They prided themselves on making, you know, quality music, So

648
00:35:20,320 --> 00:35:22,239
Speaker 3: that's why you got to put them up there when

649
00:35:22,239 --> 00:35:24,719
Speaker 3: it comes to reality and shit.

650
00:35:25,200 --> 00:35:27,680
Speaker 5: And I think that's a it's a great point or

651
00:35:27,760 --> 00:35:29,520
Speaker 5: these are great points you're making it, and I think

652
00:35:29,560 --> 00:35:33,760
Speaker 5: it ties into something that we all know in different ways.

653
00:35:33,960 --> 00:35:36,880
Speaker 2: But the labels you're on has a lot to do

654
00:35:36,960 --> 00:35:37,200
Speaker 2: with it.

655
00:35:37,239 --> 00:35:39,440
Speaker 5: Like you said, were marketing in promotion because they were

656
00:35:39,440 --> 00:35:42,560
Speaker 5: on Island when they had their biggest chance and iland

657
00:35:42,600 --> 00:35:45,359
Speaker 5: won the rap label and didn't know how to I

658
00:35:45,400 --> 00:35:47,800
Speaker 5: think maneuver market promote, get them.

659
00:35:47,680 --> 00:35:50,680
Speaker 3: In the mountaintop of that some of my same pitfalls

660
00:35:50,880 --> 00:35:53,160
Speaker 3: dealing with fucking epic.

661
00:35:53,120 --> 00:35:55,439
Speaker 1: You know, And it was probably ten times as hard

662
00:35:55,480 --> 00:35:57,680
Speaker 1: for them because you think about a rap is already

663
00:35:57,680 --> 00:36:02,040
Speaker 1: fairly new, Yeah, and you people see the people that

664
00:36:02,120 --> 00:36:05,440
Speaker 1: people see performing REP songs are black. You got a

665
00:36:05,480 --> 00:36:08,239
Speaker 1: bunch of big Polynesian dudes. So it's like, how do

666
00:36:08,320 --> 00:36:12,200
Speaker 1: we how do we promote this market is because me

667
00:36:12,200 --> 00:36:13,960
Speaker 1: and you both know, all three of us know year

668
00:36:13,960 --> 00:36:16,120
Speaker 1: it's the way you can market that and be very scitful.

669
00:36:16,239 --> 00:36:23,200
Speaker 3: But I the the labels that were outside of hip hop,

670
00:36:25,000 --> 00:36:28,359
Speaker 3: like you know, you had the deaf Jams, but they

671
00:36:28,400 --> 00:36:35,160
Speaker 3: were built on hip hop. You know, you had a

672
00:36:35,680 --> 00:36:40,960
Speaker 3: priority turned around even though they started with the fucking Raisins,

673
00:36:41,320 --> 00:36:43,719
Speaker 3: they turned around Flip God with n w A and

674
00:36:43,840 --> 00:36:49,399
Speaker 3: Easy in there, and they hold label became gangster ship.

675
00:36:49,640 --> 00:36:56,240
Speaker 3: You getting me so to the discretion of motherfucking Epic

676
00:36:56,360 --> 00:37:01,000
Speaker 3: and Island, who were who were subsidiary of big ass

677
00:37:01,120 --> 00:37:04,919
Speaker 3: Sony's and Universals and shit like that. You just got

678
00:37:04,920 --> 00:37:08,440
Speaker 3: a gang of motherfuckers who and not even to speak

679
00:37:08,520 --> 00:37:11,200
Speaker 3: on because it had nothing to do with race, because

680
00:37:11,239 --> 00:37:14,759
Speaker 3: you know what I'm saying, it's a lot of motherfuckers.

681
00:37:14,800 --> 00:37:19,239
Speaker 4: I knew black white Mexican.

682
00:37:18,840 --> 00:37:24,840
Speaker 3: Who were hip hop affiliated, but you got fucking corporate

683
00:37:24,920 --> 00:37:28,400
Speaker 3: motherfuckers who used to run in Pearl Jam Records and

684
00:37:28,520 --> 00:37:32,240
Speaker 3: Shah Day Records and Michael Jackson records, and now you

685
00:37:32,320 --> 00:37:35,400
Speaker 3: tell them, Okay, now we're gonna put out this conference.

686
00:37:35,480 --> 00:37:38,480
Speaker 3: Most wanted music to drive by and they're looking they

687
00:37:39,760 --> 00:37:42,440
Speaker 3: you know, they had no idea. So some of us,

688
00:37:42,640 --> 00:37:45,440
Speaker 3: some of us fail. You know, you know the video

689
00:37:45,560 --> 00:37:47,960
Speaker 3: game Pitfall, you used to have to swing over the

690
00:37:48,000 --> 00:37:50,440
Speaker 3: pit to make it to Some of us had to

691
00:37:50,440 --> 00:37:53,000
Speaker 3: fall in that pit because you got these labels.

692
00:37:53,000 --> 00:37:53,600
Speaker 1: Who just.

693
00:37:56,160 --> 00:37:56,799
Speaker 2: Does this mean?

694
00:37:57,040 --> 00:38:00,239
Speaker 3: It's crazy because you would think that the money, the

695
00:38:00,320 --> 00:38:04,960
Speaker 3: money is there, right you fucking with shit. Michael Jackson

696
00:38:05,120 --> 00:38:08,560
Speaker 3: sold a billion fucking records. Shah Day was doing good,

697
00:38:08,920 --> 00:38:13,240
Speaker 3: Pearl Jam was doing good, Luther Van Droz was doing good.

698
00:38:13,520 --> 00:38:15,520
Speaker 1: So you're with your mother.

699
00:38:15,560 --> 00:38:19,720
Speaker 3: Fuckers got bread. But when it came to hip hop,

700
00:38:20,200 --> 00:38:26,439
Speaker 3: they was like do what, like buy what, get what?

701
00:38:26,880 --> 00:38:28,960
Speaker 3: So a lot of my records was just going on

702
00:38:29,000 --> 00:38:32,560
Speaker 3: the on the strength of just you know, videos and

703
00:38:32,680 --> 00:38:35,920
Speaker 3: word of mouth. That damn, that's Compton's most warning.

704
00:38:36,120 --> 00:38:38,160
Speaker 1: You know. The funny thing about them labels though, bro

705
00:38:39,440 --> 00:38:43,360
Speaker 1: the rock budgets ten times as big as the rap Budgeon.

706
00:38:43,480 --> 00:38:46,879
Speaker 1: Leave the R and B budgets, the you know, pop

707
00:38:46,960 --> 00:38:50,480
Speaker 1: music Budgies is just way just it's not even things,

708
00:38:50,520 --> 00:38:53,160
Speaker 1: but rap is the most profitable, right, So I think

709
00:38:53,200 --> 00:38:55,279
Speaker 1: a lot of labels got used to going in and

710
00:38:55,360 --> 00:38:58,160
Speaker 1: doing a minimum because usually, especially today, when a rap

711
00:38:58,320 --> 00:39:01,480
Speaker 1: when the record label decides to invent than an independent artist, right,

712
00:39:01,840 --> 00:39:05,200
Speaker 1: that independent artists don't already did the groundwork, right, that's

713
00:39:05,239 --> 00:39:08,799
Speaker 1: what it's done already today. Yeah, yesterday was kind of

714
00:39:08,840 --> 00:39:11,400
Speaker 1: like it was kind of like the same thing you

715
00:39:11,440 --> 00:39:12,560
Speaker 1: would start your own.

716
00:39:12,400 --> 00:39:15,760
Speaker 5: Buzz, right, but even like the content compilation, that's exactly

717
00:39:15,760 --> 00:39:18,960
Speaker 5: all the records.

718
00:39:17,520 --> 00:39:20,200
Speaker 1: Exactly, so it was gonna done for them. So really

719
00:39:20,239 --> 00:39:22,319
Speaker 1: all they did is put you Now you had a

720
00:39:22,360 --> 00:39:24,960
Speaker 1: couple of things that went really well, Like you had

721
00:39:25,000 --> 00:39:28,759
Speaker 1: that soundtrack, right, then you had the movie. They just

722
00:39:28,800 --> 00:39:32,400
Speaker 1: added to your whole persona right exactly, you had so

723
00:39:32,600 --> 00:39:34,799
Speaker 1: but that's that's ship that you did.

724
00:39:36,680 --> 00:39:42,800
Speaker 3: Oh no, that's that's that was generated from outside works. Because,

725
00:39:42,840 --> 00:39:47,640
Speaker 3: like I said, Sony and Epic was still they were

726
00:39:47,680 --> 00:39:50,640
Speaker 3: just confused about how to handle.

727
00:39:51,840 --> 00:39:53,640
Speaker 4: This new thing of hip hop.

728
00:39:54,080 --> 00:39:56,640
Speaker 3: And like I said, even though they had the bread

729
00:39:57,400 --> 00:40:01,279
Speaker 3: and you know, you would think that Sony, you know,

730
00:40:01,480 --> 00:40:05,400
Speaker 3: they got a limited fucker record label. Sony was the

731
00:40:05,520 --> 00:40:11,799
Speaker 3: you know, the Japanese you know, they they technology, but

732
00:40:14,320 --> 00:40:19,959
Speaker 3: at the time, you know, considering that, you know, hip

733
00:40:19,960 --> 00:40:22,520
Speaker 3: hop was still the kind of new in the in

734
00:40:22,960 --> 00:40:30,160
Speaker 3: the beginning of the nineties. You didn't have knowledgeable motherfuckers

735
00:40:30,480 --> 00:40:35,040
Speaker 3: who knew how to run rap records. You know, every

736
00:40:35,080 --> 00:40:38,920
Speaker 3: every label didn't have a Russell Simmons and Deaf Jam

737
00:40:38,920 --> 00:40:39,279
Speaker 3: and them.

738
00:40:39,400 --> 00:40:41,279
Speaker 5: But I want to ask you this too, eight because

739
00:40:41,320 --> 00:40:43,360
Speaker 5: from my experience too when I was getting in the

740
00:40:43,400 --> 00:40:47,319
Speaker 5: game as a writer, the other layer of this is

741
00:40:48,600 --> 00:40:51,480
Speaker 5: so many of the labels when they were based in

742
00:40:51,560 --> 00:40:55,319
Speaker 5: New York, they didn't Not only was a rap in

743
00:40:55,360 --> 00:40:58,560
Speaker 5: the business the bigger sense, but then you're dealing with

744
00:40:59,200 --> 00:41:02,120
Speaker 5: people in the U or the other labels not liking

745
00:41:02,280 --> 00:41:05,120
Speaker 5: or caring about West Coast music on top of that.

746
00:41:05,440 --> 00:41:07,239
Speaker 5: So to me, I always felt it was a two

747
00:41:07,960 --> 00:41:09,320
Speaker 5: or three layered problem.

748
00:41:09,920 --> 00:41:10,879
Speaker 4: I used to.

749
00:41:14,920 --> 00:41:16,200
Speaker 1: Have to deal with.

750
00:41:18,440 --> 00:41:21,480
Speaker 3: Epic in New York when it was always time for

751
00:41:21,560 --> 00:41:22,880
Speaker 3: my records to go down.

752
00:41:25,760 --> 00:41:27,279
Speaker 1: Did I feel that.

753
00:41:31,080 --> 00:41:33,920
Speaker 3: Because you know, like you said, a lot of the

754
00:41:34,040 --> 00:41:39,480
Speaker 3: labels were based in the New York And I don't

755
00:41:39,480 --> 00:41:43,040
Speaker 3: know if I ever had the feeling of bias because

756
00:41:43,080 --> 00:42:02,760
Speaker 3: I was from from la Because Epic had an office

757
00:42:02,760 --> 00:42:05,560
Speaker 3: in Santa Monica. So if I ever had any issues,

758
00:42:05,680 --> 00:42:08,360
Speaker 3: I just go to Santa Monica, Colorado.

759
00:42:08,520 --> 00:42:08,640
Speaker 2: That.

760
00:42:09,160 --> 00:42:10,719
Speaker 1: Yeah, So.

761
00:42:14,600 --> 00:42:17,400
Speaker 3: I just felt biased because I just didn't think my

762
00:42:17,560 --> 00:42:20,400
Speaker 3: label knew what the fuck to do with me. That

763
00:42:20,400 --> 00:42:25,640
Speaker 3: that was just it period. I didn't think that. Yeah,

764
00:42:25,880 --> 00:42:30,880
Speaker 3: they just didn't know what to do with a young nigga,

765
00:42:31,880 --> 00:42:37,719
Speaker 3: gang banging music whatever from Campton. They they love the

766
00:42:37,840 --> 00:42:46,680
Speaker 3: fact that we got us a NWA type, but they

767
00:42:46,680 --> 00:42:49,120
Speaker 3: didn't know what to do with this shit, Like, we

768
00:42:49,160 --> 00:42:52,080
Speaker 3: don't know what to do with this shit. We don't

769
00:42:52,120 --> 00:42:54,560
Speaker 3: know how to go to radio with this shit. We

770
00:42:54,680 --> 00:42:57,759
Speaker 3: don't know how to So most of the time it

771
00:42:57,920 --> 00:43:02,160
Speaker 3: was just nigga get out on the road promo tour.

772
00:43:02,280 --> 00:43:05,960
Speaker 3: We're gonna every city that we got a rep in office,

773
00:43:06,000 --> 00:43:08,759
Speaker 3: and we gonna send you there, and then it's up

774
00:43:08,800 --> 00:43:14,000
Speaker 3: to them to connect with motherfuckers. Fortunately with me is

775
00:43:14,239 --> 00:43:19,360
Speaker 3: I was a neighborhood nigga, So when I went to

776
00:43:19,480 --> 00:43:23,680
Speaker 3: places like Chicago, I just go find the niggas and

777
00:43:23,760 --> 00:43:27,480
Speaker 3: hang out with the niggas. That's what got our popularity

778
00:43:27,640 --> 00:43:31,800
Speaker 3: up in places outside of you get me. It wasn't

779
00:43:31,800 --> 00:43:35,319
Speaker 3: for the fact that Epic knew what to do. It

780
00:43:35,440 --> 00:43:38,200
Speaker 3: was just the fact that when we got in town,

781
00:43:40,239 --> 00:43:42,520
Speaker 3: me and Chill and the rest of the niggas, we

782
00:43:42,760 --> 00:43:45,520
Speaker 3: just knew how to gravitate to niggas.

783
00:43:45,120 --> 00:43:47,440
Speaker 1: Because everybody in every city got a story. I was

784
00:43:47,480 --> 00:43:50,360
Speaker 1: talking to my homie in Cleveland, Man, yeah, eight was

785
00:43:50,400 --> 00:43:52,600
Speaker 1: out here with us. Ask if big such and suction,

786
00:43:52,680 --> 00:43:54,160
Speaker 1: Now we I'd go out there.

787
00:43:54,160 --> 00:43:57,960
Speaker 3: I'd go to towns and and the first thing we do

788
00:43:58,200 --> 00:44:01,480
Speaker 3: is we do some shit like take us to the

789
00:44:01,520 --> 00:44:06,000
Speaker 3: liquor store in the neighborhood. Like so we go to neighborhood,

790
00:44:06,080 --> 00:44:08,680
Speaker 3: and then once niggas see, you know, and then it's

791
00:44:08,800 --> 00:44:11,640
Speaker 3: like where the where where the smoke at.

792
00:44:11,440 --> 00:44:13,919
Speaker 4: Where the our nigga go to the projects?

793
00:44:13,920 --> 00:44:16,719
Speaker 3: So go wuti wom. That's how we connected with a

794
00:44:16,760 --> 00:44:19,160
Speaker 3: lot of niggas. So we did a lot of street

795
00:44:19,280 --> 00:44:23,279
Speaker 3: marketing on our own and then just from word of mouth.

796
00:44:23,320 --> 00:44:25,920
Speaker 3: Because if you had a fucking if you had a

797
00:44:26,000 --> 00:44:29,320
Speaker 3: TV and you was fortunate to have video juke box

798
00:44:29,440 --> 00:44:33,479
Speaker 3: or maybe a fucking yo MTV raps, then you got

799
00:44:33,480 --> 00:44:37,480
Speaker 3: to catch a glimpse of of Compton's most wanted. And

800
00:44:37,520 --> 00:44:41,440
Speaker 3: now you got some niggas that you feel like, is

801
00:44:41,880 --> 00:44:45,040
Speaker 3: are these niggas liked us. These some good niggas. They smoked,

802
00:44:45,080 --> 00:44:49,120
Speaker 3: they drink forties, they rep it. So that's how we connected.

803
00:44:49,280 --> 00:44:52,719
Speaker 3: Because the labels didn't know how to connect. They go

804
00:44:52,840 --> 00:44:58,680
Speaker 3: put us in the motherfucking sweet and in college town

805
00:44:59,280 --> 00:45:02,879
Speaker 3: with all the corpor operations and ship and we were

806
00:45:02,960 --> 00:45:05,359
Speaker 3: not We not got no fans over here.

807
00:45:05,640 --> 00:45:08,160
Speaker 1: We can't connect. Well, you all need to be at

808
00:45:08,320 --> 00:45:09,600
Speaker 1: the Motel six over.

809
00:45:09,880 --> 00:45:15,320
Speaker 3: Goddamn fuck, staying at this motherfucking fancy ass two hundred

810
00:45:15,440 --> 00:45:17,840
Speaker 3: three hundred dollars row. Nigga, you could take us to

811
00:45:17,880 --> 00:45:21,319
Speaker 3: the best western nigga in the motherfucking neighborhood and as

812
00:45:21,320 --> 00:45:24,200
Speaker 3: long as there's a motherfucking liquor store down the street

813
00:45:24,480 --> 00:45:28,080
Speaker 3: where niggas can bail to and whatever and feel like

814
00:45:28,840 --> 00:45:32,040
Speaker 3: we we didn't want to be alienated like that. We

815
00:45:32,080 --> 00:45:35,560
Speaker 3: didn't consider ourselves to the level of you get me,

816
00:45:36,000 --> 00:45:39,360
Speaker 3: gotta have security at the door. You want to do

817
00:45:39,440 --> 00:45:43,520
Speaker 3: what you wanted, Yeah, because liquor thing. Take us to churches,

818
00:45:43,600 --> 00:45:45,840
Speaker 3: chicken or Popeyes or something. Nigga, take us to the

819
00:45:45,840 --> 00:45:48,360
Speaker 3: liquor store and where the nigga's.

820
00:45:48,000 --> 00:45:50,200
Speaker 2: At Chicago go to Heralds.

821
00:45:50,360 --> 00:45:53,120
Speaker 4: But I remember the Heralds we go to Cabrini Green.

822
00:45:54,520 --> 00:45:59,719
Speaker 3: Like, we didn't want to be looked at as celebrities.

823
00:46:00,239 --> 00:46:03,120
Speaker 3: You get me, Nigga, I'm just a nigga talking about

824
00:46:03,200 --> 00:46:05,960
Speaker 3: in the hood. Nigga's what we do with. So that's why,

825
00:46:06,320 --> 00:46:11,239
Speaker 3: you know, being able to connect with regular motherfuckers was

826
00:46:11,400 --> 00:46:16,080
Speaker 3: important doing this rap shit. I never wanted to be

827
00:46:16,160 --> 00:46:20,239
Speaker 3: looked at as you go the nigga pulling up in

828
00:46:20,280 --> 00:46:23,239
Speaker 3: the limos with the securities, with the ear pieces in

829
00:46:23,440 --> 00:46:25,680
Speaker 3: and suits all that, nigga, if you don't get the

830
00:46:25,760 --> 00:46:28,000
Speaker 3: fuck up out of here, nigga, and you know so

831
00:46:28,600 --> 00:46:30,759
Speaker 3: that a lot of the times when we went out

832
00:46:30,760 --> 00:46:34,120
Speaker 3: of town town and you know, first thing they want

833
00:46:34,160 --> 00:46:36,239
Speaker 3: to do is rent a nigga limo and shit like that.

834
00:46:36,280 --> 00:46:37,799
Speaker 1: I'd be like, nigga, get us a van.

835
00:46:38,200 --> 00:46:39,080
Speaker 2: I don't wanna rod.

836
00:46:39,040 --> 00:46:42,000
Speaker 3: Pull up in their motherfucking limos like we some motherfucking

837
00:46:42,640 --> 00:46:48,120
Speaker 3: you know big fuck that shit. When you make motherfuckers

838
00:46:48,200 --> 00:46:53,040
Speaker 3: feel like, oh, the niggas just like us, that's why

839
00:46:53,120 --> 00:46:57,520
Speaker 3: we That's why I never had issues with niggas on

840
00:46:57,600 --> 00:47:00,799
Speaker 3: the road, You get me. I didn't even jump out

841
00:47:00,840 --> 00:47:04,880
Speaker 3: the limos with fifteen security niggas. I jump out the

842
00:47:05,160 --> 00:47:07,239
Speaker 3: I jump out the van with three of the four

843
00:47:07,280 --> 00:47:09,440
Speaker 3: of the homies, I do thee brought from the neighborhood

844
00:47:09,680 --> 00:47:12,960
Speaker 3: and now Nigga why after autograph signed the nigga we

845
00:47:13,040 --> 00:47:15,120
Speaker 3: standing in the alley on the side of the record store.

846
00:47:15,200 --> 00:47:17,080
Speaker 3: Niggas we did and then you get me.

847
00:47:17,200 --> 00:47:20,200
Speaker 5: We did that with the Section eight album and come on, man,

848
00:47:20,320 --> 00:47:23,960
Speaker 5: I remember we did Lise Yeah on the Section eight

849
00:47:24,000 --> 00:47:27,160
Speaker 5: when he was on Priority. I'm like, yo, swing there

850
00:47:27,160 --> 00:47:27,680
Speaker 5: in Chicago.

851
00:47:27,760 --> 00:47:28,319
Speaker 1: You want to go there?

852
00:47:28,400 --> 00:47:30,120
Speaker 2: I was like, man, I mean eight whatever.

853
00:47:29,960 --> 00:47:32,560
Speaker 5: So that's where they. Yeah, we were just chopping it

854
00:47:32,640 --> 00:47:34,960
Speaker 5: up in the street. I think we literally did the

855
00:47:35,000 --> 00:47:36,480
Speaker 5: interview on the street, just chopping it up.

856
00:47:36,520 --> 00:47:37,120
Speaker 1: And you got it.

857
00:47:37,120 --> 00:47:37,719
Speaker 2: You came be.

858
00:47:39,239 --> 00:47:42,600
Speaker 3: This is one of those games where you can't, you know,

859
00:47:42,920 --> 00:47:44,719
Speaker 3: alienate the common man.

860
00:47:45,200 --> 00:47:46,120
Speaker 2: You know what I'm saying.

861
00:47:46,320 --> 00:47:50,960
Speaker 3: You gotta make a nigga feel like I'm just like you, perfect,

862
00:47:51,160 --> 00:47:54,600
Speaker 3: just like I quote my nigga A three.

863
00:47:54,280 --> 00:47:56,160
Speaker 4: Thousand on elevators.

864
00:47:56,480 --> 00:47:59,480
Speaker 3: You feel me when niggas say he walking around the

865
00:47:59,520 --> 00:48:02,279
Speaker 3: mall and nigga like, Nigga, I know you balling like

866
00:48:02,480 --> 00:48:02,880
Speaker 3: my nigga.

867
00:48:02,960 --> 00:48:04,560
Speaker 4: Nigga, I'm just like you, nigga.

868
00:48:04,719 --> 00:48:08,400
Speaker 3: Check even though I'm trying to make a couple of songs, nigga,

869
00:48:08,560 --> 00:48:11,120
Speaker 3: If you don't bang my shit, Nigga, I ain't getting

870
00:48:11,120 --> 00:48:15,840
Speaker 3: no bread you get me, So don't consider me somebody

871
00:48:15,960 --> 00:48:19,000
Speaker 3: outside of you, Nigga. I'm just like you. You go

872
00:48:19,080 --> 00:48:21,000
Speaker 3: to work and punch a clock. Nigga, I'm trying to

873
00:48:21,040 --> 00:48:24,759
Speaker 3: sit in this motherfucker's studio and come up with some songs.

874
00:48:25,000 --> 00:48:27,759
Speaker 3: So you're gonna spend your ten motherfucking dollars. Because you

875
00:48:27,760 --> 00:48:31,240
Speaker 3: don't spend your ten dollars, nigga, I'm ain't nothing happening.

876
00:48:31,840 --> 00:48:34,279
Speaker 3: So that's why I try to get you. Gotta make

877
00:48:34,320 --> 00:48:38,239
Speaker 3: yourself feel like you know, and I think that's with

878
00:48:38,440 --> 00:48:41,800
Speaker 3: some of the these reality artists.

879
00:48:41,960 --> 00:48:42,560
Speaker 1: You feel me.

880
00:48:43,360 --> 00:48:46,960
Speaker 3: Uh, sometimes you gotta make your you gotta you know,

881
00:48:47,480 --> 00:48:51,919
Speaker 3: you gotta make songs. And the attitude is nigga, I'm

882
00:48:52,080 --> 00:48:54,520
Speaker 3: just like you, my nigga, I ain't no different.

883
00:48:54,719 --> 00:48:55,919
Speaker 1: You feel me real.

884
00:48:58,600 --> 00:49:01,400
Speaker 3: So though those are who those are some of the

885
00:49:01,520 --> 00:49:05,040
Speaker 3: artists I feel in that in that era because like

886
00:49:05,080 --> 00:49:09,120
Speaker 3: you said, I got like, I got some dudes that

887
00:49:09,200 --> 00:49:11,279
Speaker 3: you might have had on the bottom of the list

888
00:49:11,480 --> 00:49:14,840
Speaker 3: or whatever. I got them ranked a little higher because

889
00:49:14,840 --> 00:49:17,320
Speaker 3: that's just what that meant to me when I think

890
00:49:17,360 --> 00:49:21,239
Speaker 3: of gangster or reality shit, you feel me?

891
00:49:21,719 --> 00:49:24,000
Speaker 1: Yeah, a lot of shade of brown is real interesting.

892
00:49:24,080 --> 00:49:30,280
Speaker 1: And that's like it makes a good point because Hispanic

893
00:49:30,360 --> 00:49:33,319
Speaker 1: people in hip hop on the West Coast, especially when

894
00:49:33,320 --> 00:49:36,640
Speaker 1: it comes to street music, like neighborhood music, definitely they

895
00:49:36,800 --> 00:49:39,880
Speaker 1: making big moves. You got cats like you know, mister Criminal.

896
00:49:40,560 --> 00:49:41,799
Speaker 2: There's many you know.

897
00:49:42,120 --> 00:49:46,239
Speaker 1: You know mister Criminal's move, Pi's move, mister Capony, A

898
00:49:46,320 --> 00:49:47,440
Speaker 1: lot of them, you know what I mean. You got

899
00:49:47,440 --> 00:49:49,000
Speaker 1: a lot of cats making moves out there.

900
00:49:49,560 --> 00:49:50,920
Speaker 4: Yeah, you you.

901
00:49:52,960 --> 00:49:55,160
Speaker 3: One of them. Hard things to get in, you know.

902
00:49:55,239 --> 00:50:01,760
Speaker 3: For my essay, people, Hm, it was hard to start

903
00:50:01,800 --> 00:50:03,680
Speaker 3: off ship. It was hard for us to get into

904
00:50:03,760 --> 00:50:04,880
Speaker 3: hip hop, you feel me.

905
00:50:05,120 --> 00:50:05,920
Speaker 1: Uh So.

906
00:50:07,920 --> 00:50:13,000
Speaker 3: We had people like you know, I'm I'm a shout out,

907
00:50:13,200 --> 00:50:19,000
Speaker 3: you know, uh Kid Frost Niggas I listened to uh

908
00:50:19,320 --> 00:50:20,320
Speaker 3: Mellow man Ace.

909
00:50:20,640 --> 00:50:21,279
Speaker 1: You getting me.

910
00:50:24,520 --> 00:50:26,320
Speaker 2: A lot lighter shade of brown.

911
00:50:26,680 --> 00:50:31,759
Speaker 3: I'm saying like even before Cypress, He'll got that, you know,

912
00:50:31,920 --> 00:50:34,839
Speaker 3: Causeite my boy be real in them came out and

913
00:50:34,880 --> 00:50:37,080
Speaker 3: it was just never it was just over from the

914
00:50:37,160 --> 00:50:38,080
Speaker 3: day that you took the time.

915
00:50:38,800 --> 00:50:42,400
Speaker 4: But I'm saying for those beginning. For those beginning.

916
00:50:42,160 --> 00:50:45,759
Speaker 3: Like like you say, the mellow Man, really it Frost's

917
00:50:46,520 --> 00:50:51,480
Speaker 3: That's what symbolized to me. Uh, you know the Mexican

918
00:50:51,600 --> 00:50:53,680
Speaker 3: rap or whatever they want to call it. You know,

919
00:50:53,760 --> 00:50:56,400
Speaker 3: now it's a you know you got Chicano rapping.

920
00:50:56,200 --> 00:50:58,680
Speaker 1: Yeah, you got. They got to be real with you.

921
00:50:58,719 --> 00:51:01,080
Speaker 1: They kind of they got their own thing going, you

922
00:51:01,080 --> 00:51:01,480
Speaker 1: know what I mean.

923
00:51:01,680 --> 00:51:05,440
Speaker 3: I mean, but they've been they've been real because I

924
00:51:05,440 --> 00:51:08,920
Speaker 3: could say for myself, they've been real respectful as far

925
00:51:09,000 --> 00:51:14,040
Speaker 3: as hip hop is concerned. Because half of my shows,

926
00:51:14,680 --> 00:51:16,720
Speaker 3: I was about to say that half of my shows,

927
00:51:16,760 --> 00:51:19,680
Speaker 3: the essays come out, deep, homies come out.

928
00:51:22,360 --> 00:51:25,040
Speaker 1: You know, what do you think about the constant We

929
00:51:25,239 --> 00:51:26,759
Speaker 1: just did like a couple of months ago with mag

930
00:51:26,840 --> 00:51:31,760
Speaker 1: Ten with an Ox in the audience. So they've definitely

931
00:51:31,800 --> 00:51:33,600
Speaker 1: always you know, they're a big.

932
00:51:33,400 --> 00:51:38,440
Speaker 3: Pot the spot in what was that Montclair or whatever?

933
00:51:38,560 --> 00:51:41,279
Speaker 3: That That's what it was, Montclair, That's what it was.

934
00:51:41,560 --> 00:51:45,120
Speaker 3: That was nothing, but you know, uh ganging the homies

935
00:51:45,160 --> 00:51:52,160
Speaker 3: out there, essay homies, so they you know, significantly represent uh.

936
00:51:52,800 --> 00:51:55,680
Speaker 1: Hip hop hip hop. Yeah, a big PARTU.

937
00:51:56,239 --> 00:52:00,480
Speaker 3: I begged Sunday Afternoon, you know, lighter shade Brown I

938
00:52:00,520 --> 00:52:04,640
Speaker 3: used to bang all that. Yeah, definitely, So I banged

939
00:52:04,640 --> 00:52:10,840
Speaker 3: some kid Frost, So what want to be uh discriminate.

940
00:52:11,160 --> 00:52:12,959
Speaker 3: You know a lot of people with the hip hop

941
00:52:13,000 --> 00:52:15,920
Speaker 3: how you know, we started to craft or whatever, but

942
00:52:15,960 --> 00:52:16,920
Speaker 3: I've never been.

943
00:52:16,840 --> 00:52:18,880
Speaker 2: Uh let's not forget Cycle Realm too.

944
00:52:19,640 --> 00:52:23,800
Speaker 1: Psych Funk Dubious.

945
00:52:25,080 --> 00:52:26,920
Speaker 3: I used to They was used to be on the

946
00:52:26,960 --> 00:52:29,360
Speaker 3: leg They Funk Dubious used to be on Epic. So

947
00:52:30,640 --> 00:52:35,120
Speaker 3: definitely they They've been representing for a while, you know.

948
00:52:35,440 --> 00:52:41,359
Speaker 3: So it's it's cool to see, you know, because I

949
00:52:41,400 --> 00:52:43,319
Speaker 3: had to put them on on the list because, like

950
00:52:43,360 --> 00:52:46,879
Speaker 3: I said, it's something from my early days of being

951
00:52:46,920 --> 00:52:50,680
Speaker 3: in the neighborhoods and first getting into hip hop. Lighter

952
00:52:50,719 --> 00:52:55,839
Speaker 3: shade of Brown Kid Frost was records I played, not

953
00:52:56,040 --> 00:52:58,319
Speaker 3: just trying to go, oh yeah, well they was a

954
00:52:58,360 --> 00:53:01,279
Speaker 3: part of the hip hop scene, so fucking throw them

955
00:53:01,280 --> 00:53:05,920
Speaker 3: on the list. I banged those songs.

956
00:53:06,040 --> 00:53:06,200
Speaker 2: Yeah.

957
00:53:06,400 --> 00:53:09,080
Speaker 1: It makes it really hard because if y'all think about it, man,

958
00:53:09,160 --> 00:53:14,280
Speaker 1: we've had the pleasure of possibly being in the best

959
00:53:14,520 --> 00:53:17,120
Speaker 1: era ever of music, especially you know, hip hop. We've

960
00:53:17,520 --> 00:53:20,439
Speaker 1: got to see it since its inception and to see

961
00:53:20,480 --> 00:53:22,920
Speaker 1: where it's become and the artists that have been spawned

962
00:53:22,960 --> 00:53:26,560
Speaker 1: from the genre. You got some amazing people, dog, you know,

963
00:53:26,600 --> 00:53:29,680
Speaker 1: you think about it, bro, our grandkids can probably ask

964
00:53:29,719 --> 00:53:33,680
Speaker 1: us questions about Tupac, you know what I'm saying, or

965
00:53:33,680 --> 00:53:36,160
Speaker 1: how was it this? How was this person? Because we

966
00:53:36,239 --> 00:53:39,480
Speaker 1: actually get this, We actually got to see people become lections,

967
00:53:39,520 --> 00:53:40,920
Speaker 1: you know what I mean, like right in front of

968
00:53:40,960 --> 00:53:44,000
Speaker 1: your eyes almost you know, you got scarface, you got it.

969
00:53:44,040 --> 00:53:47,560
Speaker 1: And I think people forget about how Vicious Cube was,

970
00:53:48,560 --> 00:53:51,200
Speaker 1: you know, because this generation really probablyly no cue from

971
00:53:51,200 --> 00:53:51,920
Speaker 1: being Craig in the.

972
00:53:51,960 --> 00:53:56,120
Speaker 3: Movies, right, Yeah, that's the younger generation. Music is different,

973
00:53:56,480 --> 00:54:01,600
Speaker 3: you know. It's it's just like me, though, I'll sit

974
00:54:01,680 --> 00:54:03,960
Speaker 3: up and watch a documentary or some shit that I

975
00:54:04,000 --> 00:54:04,760
Speaker 3: didn't know about.

976
00:54:04,920 --> 00:54:07,040
Speaker 2: Was like, oh damn that for real.

977
00:54:07,360 --> 00:54:11,399
Speaker 3: And so so curiosity, you know, you know how youngsters are,

978
00:54:11,440 --> 00:54:13,440
Speaker 3: and shit, they don't hear no shit.

979
00:54:13,360 --> 00:54:14,520
Speaker 1: Old shit, you know.

980
00:54:14,680 --> 00:54:20,640
Speaker 3: But they'll find out, you know, as as maturity sits

981
00:54:20,680 --> 00:54:24,240
Speaker 3: in and they learn to respect, you know, like you said,

982
00:54:24,840 --> 00:54:27,760
Speaker 3: you look up and it's like fifty years of making

983
00:54:27,960 --> 00:54:34,120
Speaker 3: hip hop and whatever don't seem like it. But it's

984
00:54:34,160 --> 00:54:37,359
Speaker 3: been a while that we've been going strong at it

985
00:54:37,440 --> 00:54:40,120
Speaker 3: right now, So you have to be able to respect

986
00:54:40,120 --> 00:54:45,480
Speaker 3: where it came from, just like anything within the inception

987
00:54:45,640 --> 00:54:49,719
Speaker 3: of it. Uh, you go back and look like, damn

988
00:54:49,880 --> 00:54:52,600
Speaker 3: it's act. Then we couldn't do this and we couldn't

989
00:54:52,640 --> 00:54:55,359
Speaker 3: do that. Now you're able to do like shit. Back

990
00:54:55,400 --> 00:54:58,279
Speaker 3: in my days, you couldn't say blood and crip on

991
00:54:58,440 --> 00:54:58,960
Speaker 3: records and.

992
00:54:59,280 --> 00:55:01,120
Speaker 4: You got bad ad or thig.

993
00:55:01,239 --> 00:55:04,080
Speaker 3: If I had, if if I got on the video

994
00:55:04,200 --> 00:55:06,959
Speaker 3: with the rag hanging off my back pocket, it would

995
00:55:06,960 --> 00:55:07,640
Speaker 3: have got bad.

996
00:55:07,719 --> 00:55:09,400
Speaker 4: They would have played it whatever.

997
00:55:09,840 --> 00:55:13,000
Speaker 3: But you know, with with what we had to go

998
00:55:13,080 --> 00:55:16,239
Speaker 3: through and the lups we took, you able to do

999
00:55:16,280 --> 00:55:18,640
Speaker 3: it the fuck you want to. Now you go straight

1000
00:55:18,680 --> 00:55:21,680
Speaker 3: to YouTube and put out videos and you can wear

1001
00:55:21,719 --> 00:55:24,000
Speaker 3: what you want to wear and say where you're from.

1002
00:55:24,080 --> 00:55:27,560
Speaker 3: And you know you can go from wearing red rags

1003
00:55:27,560 --> 00:55:29,759
Speaker 3: and blue rags to rainbow rag.

1004
00:55:29,920 --> 00:55:33,560
Speaker 1: When you think you can do it all to think

1005
00:55:33,600 --> 00:55:37,280
Speaker 1: about ship, think about what all this came out against

1006
00:55:37,280 --> 00:55:37,640
Speaker 1: the rep.

1007
00:55:39,360 --> 00:55:41,720
Speaker 3: You can do it. You can do You can slap

1008
00:55:41,760 --> 00:55:50,360
Speaker 3: on you a rainbow rag. If you won't clean shout

1009
00:55:50,360 --> 00:55:52,000
Speaker 3: out to the people that do. Decide to tell them

1010
00:55:53,080 --> 00:55:54,280
Speaker 3: here hould.

1011
00:55:54,040 --> 00:55:57,200
Speaker 2: On right to catch you. You know that right?

1012
00:55:57,719 --> 00:55:59,640
Speaker 1: You know when you think about gangst the rep right

1013
00:56:00,600 --> 00:56:03,920
Speaker 1: gangster rap has also spawned a lot of other like

1014
00:56:04,040 --> 00:56:08,560
Speaker 1: sub genres, like the drill, like the drill rap, even trap.

1015
00:56:09,000 --> 00:56:14,240
Speaker 3: What you considered drill the new youngster's form of gangster

1016
00:56:14,360 --> 00:56:18,320
Speaker 3: rap because they do a lot of killing and fucking

1017
00:56:18,400 --> 00:56:22,640
Speaker 3: other bitches. And yeah, there's a lot of there's a

1018
00:56:22,680 --> 00:56:25,840
Speaker 3: lot of killing the ops and you know, we from here,

1019
00:56:25,960 --> 00:56:28,840
Speaker 3: we got and then and then.

1020
00:56:31,880 --> 00:56:34,560
Speaker 4: You've always had uh.

1021
00:56:34,480 --> 00:56:41,440
Speaker 3: Braggadocious MC's, uh my man, LLL the cool mods that

1022
00:56:41,880 --> 00:56:45,319
Speaker 3: you know, I'm this, I'm bad, I'm bad, I'm mad. Right,

1023
00:56:46,120 --> 00:56:51,160
Speaker 3: do you feel like hip hop today with with the way,

1024
00:56:51,280 --> 00:56:53,160
Speaker 3: like you said, the drill or whatever whenever?

1025
00:56:53,640 --> 00:56:57,000
Speaker 4: Is it just way too braggadocious now?

1026
00:56:58,640 --> 00:57:05,640
Speaker 5: I think one of them main differences is if you

1027
00:57:05,760 --> 00:57:10,280
Speaker 5: look in the eighties, this would happen, but it's different now.

1028
00:57:10,840 --> 00:57:14,319
Speaker 5: There would be you didn't do it as much eight

1029
00:57:14,680 --> 00:57:16,440
Speaker 5: but you usually had.

1030
00:57:16,280 --> 00:57:19,240
Speaker 4: A story, definitely, definitely.

1031
00:57:19,160 --> 00:57:22,280
Speaker 5: Whereas a lot of the current artists, if they're all

1032
00:57:22,280 --> 00:57:25,080
Speaker 5: over the place, there's no structure, No, they wrap a

1033
00:57:25,200 --> 00:57:27,880
Speaker 5: certain length and then they go to the chorus. There's

1034
00:57:27,920 --> 00:57:30,560
Speaker 5: not a story, there's not a it's just I'm this

1035
00:57:30,680 --> 00:57:32,720
Speaker 5: I'm this, or I'm doing this, or I'm shooting this

1036
00:57:32,840 --> 00:57:34,360
Speaker 5: or I'm doing that chorus.

1037
00:57:34,720 --> 00:57:37,520
Speaker 2: It's not a structure of a flow of a.

1038
00:57:38,960 --> 00:57:41,120
Speaker 5: It's just a different construction. It's not good or bad,

1039
00:57:41,160 --> 00:57:41,840
Speaker 5: it's just different.

1040
00:57:41,920 --> 00:57:44,280
Speaker 1: And I just think it's different. Like if you listen,

1041
00:57:45,520 --> 00:57:47,520
Speaker 1: I think it's the influencers too. You got to remember

1042
00:57:47,560 --> 00:57:52,560
Speaker 1: a lot of these kids came up under Stilty Shaker. Seriously,

1043
00:57:52,880 --> 00:57:57,280
Speaker 1: I hear a lot of keyds today, so and just

1044
00:57:57,320 --> 00:58:00,040
Speaker 1: think about it. If they were influenced by Silkie. You

1045
00:58:00,080 --> 00:58:03,200
Speaker 1: gotta remember these young mamas, you know, girls around the age.

1046
00:58:03,240 --> 00:58:06,640
Speaker 1: They got kids that are young adults now that the rappers,

1047
00:58:08,480 --> 00:58:10,280
Speaker 1: they would have came up under Siltie Chakra and a

1048
00:58:10,320 --> 00:58:12,280
Speaker 1: lot of these dudes that rhymed off beat because a

1049
00:58:12,280 --> 00:58:15,240
Speaker 1: lot of people are trying to imitate. I'm not.

1050
00:58:17,880 --> 00:58:19,800
Speaker 4: It's just the rhyming off the beat.

1051
00:58:19,960 --> 00:58:23,160
Speaker 1: I don't know what it is. It's not that influence

1052
00:58:23,200 --> 00:58:26,760
Speaker 1: by Chak like that, you know, That's what I think.

1053
00:58:26,800 --> 00:58:29,440
Speaker 4: I just think it's you bang you Selfie shocker.

1054
00:58:30,200 --> 00:58:31,000
Speaker 1: Soccer has some ship.

1055
00:58:31,720 --> 00:58:35,520
Speaker 5: I think it's just people have different People have different

1056
00:58:35,560 --> 00:58:40,080
Speaker 5: attention spans. So eight would study and read stuff all

1057
00:58:40,160 --> 00:58:42,960
Speaker 5: the artists that I grew up loving and admiring and thinking.

1058
00:58:43,400 --> 00:58:46,120
Speaker 5: Look at the vocabulary that we learned, the history lessons

1059
00:58:46,160 --> 00:58:48,840
Speaker 5: we learned, the process we learned, the streets we learn

1060
00:58:49,280 --> 00:58:53,240
Speaker 5: from listening to the music. The artists now they're just telling,

1061
00:58:53,320 --> 00:58:54,400
Speaker 5: they're just saying stuff.

1062
00:58:54,720 --> 00:58:55,959
Speaker 2: It's not as uh.

1063
00:58:57,480 --> 00:59:01,440
Speaker 5: Generally speaking, thought provoking. So when you have that, that's

1064
00:59:01,480 --> 00:59:03,640
Speaker 5: why it's a bunch of one off lines. Can you

1065
00:59:03,800 --> 00:59:06,600
Speaker 5: notice as well as anybody when you listen to these songs,

1066
00:59:07,000 --> 00:59:10,080
Speaker 5: every line is punched. I notice that, right, Oh yeah,

1067
00:59:10,360 --> 00:59:13,000
Speaker 5: every line or every two lines, they're punched. So that

1068
00:59:13,160 --> 00:59:16,440
Speaker 5: means it's all fruity style. There's it's not they're not

1069
00:59:16,600 --> 00:59:18,880
Speaker 5: taking the time to write. Again, it's not good or bad.

1070
00:59:18,920 --> 00:59:21,120
Speaker 2: It's just different. But when you have that, it's a

1071
00:59:21,200 --> 00:59:22,640
Speaker 2: different way where you.

1072
00:59:22,640 --> 00:59:24,840
Speaker 1: Gotta remember the vibe. And that's why I say it's

1073
00:59:24,920 --> 00:59:27,480
Speaker 1: they variation gainst the rap. You know what the biggest

1074
00:59:27,480 --> 00:59:32,200
Speaker 1: difference is. It was like, if somebody says you was

1075
00:59:32,200 --> 00:59:34,200
Speaker 1: a smoker back in the day, you want to fight

1076
00:59:34,280 --> 00:59:37,560
Speaker 1: a motherfucker, right if you smoke crack? He was embarrassed

1077
00:59:37,600 --> 00:59:41,160
Speaker 1: by that. Now these motherfucker's on every kind of drug imaginable. Yeah,

1078
00:59:41,400 --> 00:59:44,160
Speaker 1: you know, they taking drugs and they going there saying, yeah,

1079
00:59:44,280 --> 00:59:46,640
Speaker 1: fuck me, two or three bitches, wake up in the morning,

1080
00:59:46,720 --> 00:59:49,120
Speaker 1: make the whole do my dishes, make her wash my socks,

1081
00:59:49,160 --> 00:59:52,040
Speaker 1: then she suck my cock. That's just how they. That's

1082
00:59:52,160 --> 00:59:53,720
Speaker 1: just how they. You know, they on their shit, They

1083
00:59:53,840 --> 00:59:56,360
Speaker 1: on they vibe. They sound like they fall asleep on

1084
00:59:56,440 --> 01:00:00,160
Speaker 1: the tracks. But I can't be a motherfucker that that

1085
01:00:00,280 --> 01:00:03,400
Speaker 1: that shouldn't say what the fuck is that bullshit? Because

1086
01:00:03,440 --> 01:00:05,720
Speaker 1: it was motherfuckers back in the day. What the hell

1087
01:00:05,840 --> 01:00:08,920
Speaker 1: is that bullshit that you're listening to? You? So it's

1088
01:00:08,960 --> 01:00:11,960
Speaker 1: always like that. Every generation got the different vibe. You

1089
01:00:12,000 --> 01:00:15,320
Speaker 1: know what I'm saying, Well, sure, let's let's let's get

1090
01:00:15,360 --> 01:00:15,840
Speaker 1: your list.

1091
01:00:15,880 --> 01:00:20,640
Speaker 2: Said well, still and I had talked, so we kind

1092
01:00:20,680 --> 01:00:22,120
Speaker 2: of melded together.

1093
01:00:22,440 --> 01:00:24,760
Speaker 1: Yeah, that was good for the second time.

1094
01:00:26,240 --> 01:00:29,480
Speaker 5: That's like, I like that because the thing that it is,

1095
01:00:30,640 --> 01:00:33,800
Speaker 5: as we had talked about it, and as we're going up,

1096
01:00:34,920 --> 01:00:41,040
Speaker 5: the albums are going to be definitely classic of the classics. Yeah,

1097
01:00:41,600 --> 01:00:43,320
Speaker 5: why people have multiple.

1098
01:00:43,200 --> 01:00:45,400
Speaker 4: Entries because now you're going thirty to twenty, so.

1099
01:00:45,640 --> 01:00:48,400
Speaker 1: Well, we had we had a low profile which album

1100
01:00:48,480 --> 01:00:49,320
Speaker 1: that you had from.

1101
01:00:50,040 --> 01:00:52,760
Speaker 2: I got a different one, but eight I got talking,

1102
01:00:52,920 --> 01:00:56,000
Speaker 2: I got the first album. That's the one that profile

1103
01:00:56,320 --> 01:01:00,520
Speaker 2: and it's it's pay your Dudes. That's why we do it.

1104
01:01:00,720 --> 01:01:04,120
Speaker 3: Yeah, that's the first album. We in this together. That's

1105
01:01:04,160 --> 01:01:06,920
Speaker 3: the name of the first album. It's just a Laddin

1106
01:01:07,000 --> 01:01:08,320
Speaker 3: and Dub Latin Dub.

1107
01:01:08,960 --> 01:01:09,600
Speaker 2: It's a duet.

1108
01:01:10,440 --> 01:01:15,520
Speaker 1: Dub C has always been funky song man.

1109
01:01:15,960 --> 01:01:21,160
Speaker 2: There's nothing going on funky song You say Dubb is underrated,

1110
01:01:21,640 --> 01:01:23,880
Speaker 2: absolutely yeah.

1111
01:01:25,000 --> 01:01:29,200
Speaker 3: I think me and me and Dub fit into you know,

1112
01:01:29,720 --> 01:01:35,360
Speaker 3: uh that same like you transition of underrated and I

1113
01:01:36,280 --> 01:01:40,040
Speaker 3: I think Dub you know, has a little bit more

1114
01:01:40,640 --> 01:01:43,640
Speaker 3: sometimes and than I do in my spot.

1115
01:01:43,960 --> 01:01:48,160
Speaker 4: What do you mean because Douve I think he's I

1116
01:01:48,240 --> 01:01:51,040
Speaker 4: think I'm more underrated than I don't.

1117
01:01:50,840 --> 01:01:53,240
Speaker 1: Know, because people all over the world seem you get

1118
01:01:53,280 --> 01:01:54,880
Speaker 1: a lot of attention from the New York cast.

1119
01:01:55,040 --> 01:02:02,680
Speaker 3: I went, Dub Dub has cbe you getting me? Dub

1120
01:02:02,960 --> 01:02:08,880
Speaker 3: gets a Dub to me gets a lot of you know,

1121
01:02:09,160 --> 01:02:14,360
Speaker 3: because niggas respect Cube and Dub has been there with Cube,

1122
01:02:14,840 --> 01:02:21,120
Speaker 3: you know, west Side Connection, you know, fucking Cube Records,

1123
01:02:21,280 --> 01:02:25,760
Speaker 3: you know, show with He's on shows with Cube. You know,

1124
01:02:26,480 --> 01:02:28,280
Speaker 3: I feel a lot of niggas respect Dub.

1125
01:02:29,240 --> 01:02:30,600
Speaker 1: He might not get.

1126
01:02:31,920 --> 01:02:36,280
Speaker 3: The true recognition he deserves as a West Coast staple.

1127
01:02:37,240 --> 01:02:43,360
Speaker 2: Uh, but Dub packs out shows like a motherfucker's phenomenal.

1128
01:02:44,160 --> 01:02:48,160
Speaker 3: Packs shows like a motherfucker, Like I don't give a

1129
01:02:48,280 --> 01:02:53,200
Speaker 3: fuck anywhere up and down the West Coast, fucking you know,

1130
01:02:54,080 --> 01:03:00,760
Speaker 3: Dub gets shows and motherfuckers packed the house. So yeah,

1131
01:03:01,280 --> 01:03:04,440
Speaker 3: I've been to plenty of Dub see shows me and.

1132
01:03:04,520 --> 01:03:06,560
Speaker 1: I heard Dub got a cold last beat Bucks.

1133
01:03:08,280 --> 01:03:11,600
Speaker 3: He's a showman too, you get me, knows what he's doing.

1134
01:03:11,840 --> 01:03:15,800
Speaker 3: He's he reminds me like, you know, I'm a nigga.

1135
01:03:15,880 --> 01:03:17,920
Speaker 3: Get up there, I'm gonna rap my ship and I'm

1136
01:03:17,920 --> 01:03:20,080
Speaker 3: gonna have me some niggas on the stage and we

1137
01:03:20,320 --> 01:03:22,560
Speaker 3: just gonna stand there and be like, yeah, nigga, what

1138
01:03:23,760 --> 01:03:24,680
Speaker 3: he puts on the.

1139
01:03:24,720 --> 01:03:27,680
Speaker 1: Show man, Yeah, show like a motherfucker.

1140
01:03:28,120 --> 01:03:31,360
Speaker 3: His showmanship is is superb to me as far as

1141
01:03:31,800 --> 01:03:35,840
Speaker 3: because motherfuckers look at us like we should.

1142
01:03:35,600 --> 01:03:36,400
Speaker 1: Be one way.

1143
01:03:36,880 --> 01:03:41,440
Speaker 3: Nigga, nigga, I'm gribing motherfucking Mike niggas. Nigga, what nigga,

1144
01:03:42,120 --> 01:03:44,280
Speaker 3: nigga sit there and listen to my ship. Nigga, I'm

1145
01:03:44,360 --> 01:03:46,400
Speaker 3: just from me all night, nigga. I'm rapping to a

1146
01:03:46,480 --> 01:03:54,160
Speaker 3: nigga like dud puts on the show. It's it's it's

1147
01:03:54,280 --> 01:03:57,360
Speaker 3: exciting to see him and my nigga, Melee nigga that

1148
01:03:57,480 --> 01:03:58,400
Speaker 3: gets the fuck off.

1149
01:03:58,680 --> 01:04:01,960
Speaker 1: Yeah, get off shot. Let me ask you all this

1150
01:04:02,040 --> 01:04:04,000
Speaker 1: because this is one thing we talked about. We talked

1151
01:04:04,000 --> 01:04:06,160
Speaker 1: about you know, reality raps. That's what we gonna call

1152
01:04:06,200 --> 01:04:08,040
Speaker 1: it from now. Yes, yeah, you could have listens called

1153
01:04:08,080 --> 01:04:10,520
Speaker 1: the gangster rep you know, for you know purposes.

1154
01:04:11,240 --> 01:04:14,840
Speaker 3: Yeah, a source magazine did us like that. When Me

1155
01:04:15,000 --> 01:04:20,000
Speaker 3: and A Face and Spice did the cover, they stopped

1156
01:04:20,080 --> 01:04:21,600
Speaker 3: saying gangster rapping.

1157
01:04:21,840 --> 01:04:24,280
Speaker 4: Was like, is it reality rap?

1158
01:04:24,760 --> 01:04:31,480
Speaker 3: Because everybody don't represent cripping blood so and you know

1159
01:04:31,720 --> 01:04:36,400
Speaker 3: a lot of people when they associate gangster shit, they

1160
01:04:36,520 --> 01:04:41,880
Speaker 3: associated with gang banging, so cripping blood. But a lot

1161
01:04:41,920 --> 01:04:45,320
Speaker 3: of niggas is crued up or clicked up or whatever.

1162
01:04:45,640 --> 01:04:49,600
Speaker 3: So I didn't I've never liked the term gangster rap.

1163
01:04:49,920 --> 01:04:52,960
Speaker 2: You get me. The media created it, so yeah, I

1164
01:04:53,080 --> 01:04:53,520
Speaker 2: don't like.

1165
01:04:54,160 --> 01:04:56,440
Speaker 3: And they did that to us because we was West

1166
01:04:56,720 --> 01:05:01,440
Speaker 3: because like I said, motherfucking beat e p first record

1167
01:05:02,560 --> 01:05:04,640
Speaker 3: on the Oozzi's.

1168
01:05:04,080 --> 01:05:08,080
Speaker 4: And Free and nigga, criminal minded and.

1169
01:05:10,160 --> 01:05:12,480
Speaker 1: And all kind of why. That's the only me got

1170
01:05:12,480 --> 01:05:15,280
Speaker 1: on the rest of it was conscious, you know, conscious rap.

1171
01:05:15,680 --> 01:05:18,440
Speaker 1: Let me ask you all this and then I want

1172
01:05:18,480 --> 01:05:21,760
Speaker 1: to talk about something else before we go. So, would

1173
01:05:21,800 --> 01:05:26,280
Speaker 1: too Short be considered against the rapper? No, as hard

1174
01:05:26,320 --> 01:05:27,920
Speaker 1: as this music is that, I.

1175
01:05:27,920 --> 01:05:31,560
Speaker 4: Won't consider his ship gangster because too short was.

1176
01:05:32,960 --> 01:05:33,160
Speaker 1: Yeah.

1177
01:05:33,560 --> 01:05:46,560
Speaker 3: I considered short rap, pimp ship and street, hustler rap

1178
01:05:47,280 --> 01:05:50,920
Speaker 3: and player and player rap, just like I look at

1179
01:05:51,080 --> 01:05:53,919
Speaker 3: Rick Ross. It's like hustler rap.

1180
01:05:54,240 --> 01:05:56,840
Speaker 2: You get me. I'm I'm you know.

1181
01:05:57,520 --> 01:05:57,760
Speaker 1: You know.

1182
01:05:58,040 --> 01:06:02,280
Speaker 3: I took me some trips, I me some birds, you nigga,

1183
01:06:02,360 --> 01:06:06,880
Speaker 3: you know the price was fifteen you know, nigga, and

1184
01:06:07,040 --> 01:06:10,080
Speaker 3: then he mixed it in with a little player. I'm

1185
01:06:10,080 --> 01:06:13,840
Speaker 3: gonna take my bitch buyer some motherfucking burking bags.

1186
01:06:14,080 --> 01:06:14,840
Speaker 4: I'm gonna take you.

1187
01:06:15,000 --> 01:06:16,160
Speaker 2: Give me my nigga.

1188
01:06:16,280 --> 01:06:21,000
Speaker 3: Come on, my nigga, go he go you my nigga.

1189
01:06:21,120 --> 01:06:24,120
Speaker 3: Ross is gonna trick on that hole. You feel me,

1190
01:06:26,680 --> 01:06:30,360
Speaker 3: My nigga gonna put her on a private plane. My

1191
01:06:30,480 --> 01:06:33,520
Speaker 3: niggaa fly the bitch to London for lunch and then

1192
01:06:33,640 --> 01:06:36,280
Speaker 3: fly the bitch back. You know what I'm saying, but

1193
01:06:36,520 --> 01:06:40,760
Speaker 3: niggas he but that's that's that player rap. That's that

1194
01:06:41,280 --> 01:06:44,080
Speaker 3: you know what I'm saying, that's that upper echelon like

1195
01:06:44,640 --> 01:06:48,200
Speaker 3: nigga's aspirational, like you know what I'm saying. You nigga

1196
01:06:48,240 --> 01:06:52,040
Speaker 3: buy socks is a thousand dollars nigga. You feel that's

1197
01:06:52,160 --> 01:06:52,760
Speaker 3: that rap?

1198
01:06:53,280 --> 01:06:56,680
Speaker 1: You get me. It's the transition. Now, how about.

1199
01:06:58,120 --> 01:07:03,120
Speaker 3: So and my nigga Short is you know he's on

1200
01:07:03,800 --> 01:07:07,040
Speaker 3: too from my early you know, from my two short

1201
01:07:07,200 --> 01:07:14,520
Speaker 3: favorite nigga gotta fuck me one hundred bitches, you get me.

1202
01:07:14,840 --> 01:07:18,120
Speaker 3: I met this girl, her name was Lisa. She gave

1203
01:07:18,240 --> 01:07:22,040
Speaker 3: me a piece of it like pizza, and I fucked jaded.

1204
01:07:22,400 --> 01:07:25,560
Speaker 3: She had the biggest bootyo to plat it. My niggas

1205
01:07:25,600 --> 01:07:27,160
Speaker 3: a player, you get me.

1206
01:07:27,600 --> 01:07:30,240
Speaker 1: Short is definitely a born man.

1207
01:07:30,480 --> 01:07:34,400
Speaker 3: Dope fiend beat you get me. I don't look at

1208
01:07:34,480 --> 01:07:38,440
Speaker 3: that as this nigga. I come through, dump on the nigga.

1209
01:07:38,840 --> 01:07:40,760
Speaker 3: You know, fifty niggas on the corner.

1210
01:07:40,840 --> 01:07:43,640
Speaker 1: I got the a K in the trunk and sugar

1211
01:07:43,680 --> 01:07:45,400
Speaker 1: free would your class for him is a little bit

1212
01:07:45,440 --> 01:07:46,280
Speaker 1: more gangster now.

1213
01:07:46,320 --> 01:07:48,040
Speaker 4: She freeze for the holes man.

1214
01:07:48,120 --> 01:07:51,520
Speaker 3: He's the he'sna tell you sugar gonna tell you the minute, nigga,

1215
01:07:51,520 --> 01:07:54,520
Speaker 3: I'm I'm for these holes and I'm gonna talk about

1216
01:07:54,600 --> 01:07:57,320
Speaker 3: these holes and I'm ana pip a hole. I'm gonna

1217
01:07:57,400 --> 01:07:59,840
Speaker 3: rap on this track like it's a bitch on the

1218
01:08:00,120 --> 01:08:03,760
Speaker 3: track walking that motherfucking track, and I'm gonna show you how.

1219
01:08:05,720 --> 01:08:09,880
Speaker 4: Those are to me. Yeah, you can't consider.

1220
01:08:09,640 --> 01:08:14,720
Speaker 3: Everybody reality gangster shit because.

1221
01:08:15,920 --> 01:08:18,280
Speaker 2: Done, I don't. You won't see me.

1222
01:08:18,479 --> 01:08:21,840
Speaker 3: You don't see fucking sugar Free and no khaki suit

1223
01:08:22,280 --> 01:08:24,760
Speaker 3: with his fucking you know, with his hair done, and

1224
01:08:25,200 --> 01:08:27,719
Speaker 3: you gonna see sugar Free in the played our suit

1225
01:08:28,080 --> 01:08:32,040
Speaker 3: with his nails done, hair done up, you know, nice suit,

1226
01:08:34,160 --> 01:08:36,519
Speaker 3: two bitches on it. That's why when you go to

1227
01:08:36,600 --> 01:08:40,560
Speaker 3: a sugar Free concert, nigga, every fucking hole in the

1228
01:08:40,680 --> 01:08:43,000
Speaker 3: city is on his front and center.

1229
01:08:43,320 --> 01:08:45,559
Speaker 1: Man, can I tell you a story dog about sugar Free.

1230
01:08:48,080 --> 01:08:52,240
Speaker 1: We up in for Oregon, right, we in hotel and

1231
01:08:52,360 --> 01:08:54,439
Speaker 1: I always stayed right next door to him. It would

1232
01:08:54,479 --> 01:08:56,760
Speaker 1: be crossed. You always be over here. It would be

1233
01:08:56,880 --> 01:08:59,639
Speaker 1: me and it would be sugar free and sugar free

1234
01:08:59,680 --> 01:09:01,920
Speaker 1: with not on my door all that motherfucker Steve. I

1235
01:09:02,040 --> 01:09:04,760
Speaker 1: hear something this motherfucker room. You hear that ship be

1236
01:09:04,840 --> 01:09:07,519
Speaker 1: out there like this, do you hear that? I'm like,

1237
01:09:07,600 --> 01:09:09,080
Speaker 1: sugar for the fuck you.

1238
01:09:09,120 --> 01:09:12,080
Speaker 3: Don't hear that ship man? And then he just run

1239
01:09:12,200 --> 01:09:16,880
Speaker 3: the room close again. It just happened, but he walked

1240
01:09:16,920 --> 01:09:20,360
Speaker 3: you to hear the party go up down every we went.

1241
01:09:20,680 --> 01:09:23,559
Speaker 3: We was in Portland, Oregon, and we in the room talking, right.

1242
01:09:23,640 --> 01:09:25,080
Speaker 3: We actually about to leave it, go get him the

1243
01:09:25,080 --> 01:09:25,960
Speaker 3: bus to go to the venue.

1244
01:09:26,040 --> 01:09:28,920
Speaker 1: Right. A girl come up there, she want to meet

1245
01:09:28,920 --> 01:09:33,519
Speaker 1: sugar Free. Her boyfriend is there, like her real boyfriend

1246
01:09:33,600 --> 01:09:35,280
Speaker 1: is there, so he don't bought They taking pictures and

1247
01:09:35,320 --> 01:09:40,160
Speaker 1: stuff like that. Sugar Free said, what's that and said

1248
01:09:40,200 --> 01:09:44,280
Speaker 1: you reckless eyeballing? Said you're reckless eyeballing for sure. And

1249
01:09:44,400 --> 01:09:46,000
Speaker 1: the girl looked at him like this, and the dude

1250
01:09:46,080 --> 01:09:48,920
Speaker 1: was like looking like he don't know what happened. Sugar

1251
01:09:48,960 --> 01:09:53,400
Speaker 1: Free said, fix, come here. He said, you my bitch now,

1252
01:09:55,040 --> 01:09:57,040
Speaker 1: and he made this bi she put and he made

1253
01:09:57,080 --> 01:09:59,240
Speaker 1: her put her head down and walk behind him, walk

1254
01:09:59,280 --> 01:10:02,040
Speaker 1: behind me. And so she was following them like that

1255
01:10:02,160 --> 01:10:04,080
Speaker 1: to the show. And that girl wound up getting the

1256
01:10:04,120 --> 01:10:06,000
Speaker 1: thing with him and coming down here in southern California.

1257
01:10:06,040 --> 01:10:11,000
Speaker 1: Well that's that's the real thing. I really did that

1258
01:10:11,080 --> 01:10:13,240
Speaker 1: ship right then and there. So my thing.

1259
01:10:13,360 --> 01:10:18,120
Speaker 3: That's why I say, even though we're from the gang capital,

1260
01:10:18,320 --> 01:10:21,160
Speaker 3: so to speak, and crips and bloods and whatever whatever,

1261
01:10:21,760 --> 01:10:26,639
Speaker 3: everybody who stepped out the West Coast, you know, wasn't

1262
01:10:28,560 --> 01:10:33,679
Speaker 3: identifying with with with reality rap or gangster rap.

1263
01:10:34,040 --> 01:10:34,479
Speaker 1: You give me.

1264
01:10:34,560 --> 01:10:36,120
Speaker 3: It's a lot of dudes you know and like it.

1265
01:10:36,200 --> 01:10:39,280
Speaker 3: We'll get into that further in the list because there's

1266
01:10:39,360 --> 01:10:46,439
Speaker 3: other artists that again me coming from the neighborhood and

1267
01:10:46,680 --> 01:10:49,920
Speaker 3: riding and low riders and standing on the corner. It

1268
01:10:50,080 --> 01:10:55,840
Speaker 3: was niggas. I knew Damn Will wasn't gangster, but I

1269
01:10:55,920 --> 01:10:58,479
Speaker 3: was banging the fuck out they shit because they just

1270
01:10:58,680 --> 01:11:02,559
Speaker 3: to me, they had good, uh representation of West Coast

1271
01:11:02,720 --> 01:11:03,360
Speaker 3: music and ship.

1272
01:11:03,560 --> 01:11:05,439
Speaker 4: So that that's what I was.

1273
01:11:05,560 --> 01:11:07,439
Speaker 3: If it was a nigga from the West Coast and

1274
01:11:07,479 --> 01:11:12,439
Speaker 3: the ship was quality, then I considered it one of

1275
01:11:12,560 --> 01:11:16,439
Speaker 3: my top favorites. I don't give a fuck who it was. Listen,

1276
01:11:16,880 --> 01:11:20,880
Speaker 3: I banged me some motherfucking tone Lok. The nigga who

1277
01:11:21,000 --> 01:11:22,960
Speaker 3: had funky cole medina.

1278
01:11:22,560 --> 01:11:23,439
Speaker 2: And wild thing.

1279
01:11:24,080 --> 01:11:24,760
Speaker 1: Well, he was a.

1280
01:11:27,439 --> 01:11:31,880
Speaker 3: Ship he would get out of that commercial ship has

1281
01:11:32,080 --> 01:11:35,719
Speaker 3: motherfuckers loped after Dark and that Don't Look was against

1282
01:11:35,840 --> 01:11:36,519
Speaker 3: it like a mother.

1283
01:11:36,720 --> 01:11:38,040
Speaker 1: Don't Look was against.

1284
01:11:38,479 --> 01:11:54,200
Speaker 3: Definitely album Loafed after Don't Chiba was this ship? Do

1285
01:11:54,280 --> 01:11:57,840
Speaker 3: you'll ever remember an artist called Chiba? Yeah, that was

1286
01:11:57,920 --> 01:11:58,519
Speaker 3: my ship too.

1287
01:11:58,720 --> 01:12:01,839
Speaker 2: He was going on of House Records, rough House Records.

1288
01:12:01,880 --> 01:12:05,320
Speaker 4: It was the first artist Chieba Chiapa Nigga that ship.

1289
01:12:05,600 --> 01:12:08,719
Speaker 2: So you know who did that song though, who wrote

1290
01:12:08,720 --> 01:12:09,360
Speaker 2: it and produced it?

1291
01:12:11,040 --> 01:12:13,639
Speaker 1: That song is a bad motherfucker. See.

1292
01:12:13,720 --> 01:12:16,559
Speaker 3: I was like, I used to listen to Piper Nigga,

1293
01:12:16,640 --> 01:12:19,360
Speaker 3: the Piper Niggata tell her, I used to listen to

1294
01:12:19,360 --> 01:12:21,880
Speaker 3: all kinds of ship you would think, like a nigga

1295
01:12:22,040 --> 01:12:24,960
Speaker 3: like coming from the hood, like they used to be bigger,

1296
01:12:25,080 --> 01:12:27,960
Speaker 3: Chieba the Piper going around. It was a gang of

1297
01:12:28,080 --> 01:12:29,560
Speaker 3: songs that was just hard to me.

1298
01:12:29,840 --> 01:12:32,080
Speaker 1: You feel me. I'm gonna tell you what my favorite

1299
01:12:32,080 --> 01:12:34,000
Speaker 1: ship was. What was the one dudes to put out

1300
01:12:34,000 --> 01:12:40,479
Speaker 1: the album Uptown Saturday Night Camp. Motherfuckers, some bad motherfuckers. Nigga, man,

1301
01:12:41,360 --> 01:12:42,240
Speaker 1: whatever the ship.

1302
01:12:42,240 --> 01:12:48,439
Speaker 3: Ship, nigga, Man, you can reach Like I said, man,

1303
01:12:49,760 --> 01:12:53,760
Speaker 3: everybody has an opinion of what they consider is their

1304
01:12:53,840 --> 01:12:58,719
Speaker 3: top fifty greatest you know, albums or songs, or whatever,

1305
01:12:59,000 --> 01:13:03,599
Speaker 3: you know, So not trying to discredit, Like I said,

1306
01:13:03,680 --> 01:13:04,839
Speaker 3: nobody other listens.

1307
01:13:04,920 --> 01:13:06,960
Speaker 4: Was just this our opinion of what we felt.

1308
01:13:07,720 --> 01:13:12,320
Speaker 3: Yeah, and I think this motherfutt represent you know, especially

1309
01:13:12,479 --> 01:13:16,000
Speaker 3: you know for you sowing and Steer. Anybody you was

1310
01:13:16,080 --> 01:13:20,400
Speaker 3: a true connoisseur or hip hop from back from day one,

1311
01:13:20,960 --> 01:13:25,559
Speaker 3: since I was about this day one, from from whatever

1312
01:13:25,720 --> 01:13:30,440
Speaker 3: records I could remember, from when I started listening, Sugar Heel, Gang, Apache,

1313
01:13:30,640 --> 01:13:35,200
Speaker 3: Grandmaster Flash, you know, Treacherous Three. You know I used

1314
01:13:35,200 --> 01:13:38,120
Speaker 3: to cop twelve inches from the Paramount Swap Meet, you know,

1315
01:13:38,920 --> 01:13:41,000
Speaker 3: Utfo Boogie Boys.

1316
01:13:41,200 --> 01:13:44,000
Speaker 4: I mean that shit was just it was a ship

1317
01:13:44,120 --> 01:13:44,320
Speaker 4: to me.

1318
01:13:44,520 --> 01:13:46,360
Speaker 1: The Boogie Boys, Man, I ain't heard their name and

1319
01:13:46,439 --> 01:13:47,719
Speaker 1: along with girl.

1320
01:13:48,160 --> 01:13:51,760
Speaker 4: You ain't fresh, Sugar, you ain't fresh man.

1321
01:13:52,160 --> 01:13:55,040
Speaker 1: Man, Come on, man, before we go, I want to

1322
01:13:55,080 --> 01:13:58,439
Speaker 1: ask y'all something. What what's going on with michell A?

1323
01:13:58,600 --> 01:13:58,760
Speaker 5: Man?

1324
01:13:59,840 --> 01:14:02,640
Speaker 3: I've seen something the other day on Miss she was

1325
01:14:02,680 --> 01:14:05,240
Speaker 3: she was she loaded or drunk or something on stage.

1326
01:14:05,520 --> 01:14:05,680
Speaker 1: Man.

1327
01:14:05,800 --> 01:14:10,280
Speaker 4: I think she was drunk, man, Man, my girl was

1328
01:14:10,360 --> 01:14:11,320
Speaker 4: tipsy or something.

1329
01:14:11,400 --> 01:14:11,559
Speaker 6: Man.

1330
01:14:11,640 --> 01:14:14,400
Speaker 4: I kind of I was kind of rooting for my girl,

1331
01:14:14,520 --> 01:14:14,720
Speaker 4: you know.

1332
01:14:14,840 --> 01:14:17,879
Speaker 3: Watched a couple of little documentaries and couple of shows,

1333
01:14:18,280 --> 01:14:21,400
Speaker 3: you know, watching you know, you never know what nobody

1334
01:14:21,960 --> 01:14:22,720
Speaker 3: story is.

1335
01:14:22,960 --> 01:14:25,720
Speaker 4: But so just to see your motherfucker walk through some

1336
01:14:26,000 --> 01:14:26,320
Speaker 4: you know it.

1337
01:14:27,400 --> 01:14:32,200
Speaker 1: But they said that. During a recent live performance at

1338
01:14:32,240 --> 01:14:35,439
Speaker 1: the Jazz on the Water Festival in Stockton, California, beloved

1339
01:14:35,560 --> 01:14:38,800
Speaker 1: nineties R and B singer Michelle A raised eyebrows after

1340
01:14:38,880 --> 01:14:42,000
Speaker 1: behaving strangely while on stage. A clip from the August

1341
01:14:42,000 --> 01:14:45,639
Speaker 1: twenty sixth performance shows Michelle l disoriented on stage, constantly

1342
01:14:45,720 --> 01:14:48,479
Speaker 1: fixing her clothing and hair before even singing a lyric

1343
01:14:48,560 --> 01:14:50,400
Speaker 1: for one of her songs. At one point, she hands

1344
01:14:50,439 --> 01:14:53,840
Speaker 1: the mic over to an attendee. Commenters immediately assumed that

1345
01:14:53,880 --> 01:14:56,000
Speaker 1: the something in my Heart sunctions may have been under

1346
01:14:56,040 --> 01:14:58,439
Speaker 1: the influence of some sort of she need to leave

1347
01:14:58,479 --> 01:14:59,640
Speaker 1: that dope alone.

1348
01:15:00,439 --> 01:15:03,320
Speaker 4: Yeah, she she Yeah, it was pretty bad. It was

1349
01:15:03,360 --> 01:15:03,840
Speaker 4: pretty bad.

1350
01:15:03,920 --> 01:15:05,679
Speaker 2: And it was like, is she trying to like drop

1351
01:15:05,760 --> 01:15:09,559
Speaker 2: it like it's hut, like what is she? Yeah? Yeah, yeah, yeah,

1352
01:15:10,200 --> 01:15:13,160
Speaker 2: I saw that. Yeah.

1353
01:15:14,600 --> 01:15:19,760
Speaker 1: Yeah, you know what, man, let's keep the homegirl in

1354
01:15:19,840 --> 01:15:22,000
Speaker 1: our prayers, man. And I didn't ask about that to

1355
01:15:22,080 --> 01:15:24,640
Speaker 1: make fun. It was really about to see if you

1356
01:15:24,720 --> 01:15:27,200
Speaker 1: all heard anything, man, because I'm gonna tell you something.

1357
01:15:27,680 --> 01:15:31,679
Speaker 1: Mental health is real. You know, mental health is real.

1358
01:15:35,320 --> 01:15:38,840
Speaker 3: Trying to make it in life, man, every day just

1359
01:15:38,920 --> 01:15:43,200
Speaker 3: to be just like I said, Uh, people have a

1360
01:15:43,320 --> 01:15:47,040
Speaker 3: problem with being normal today, you know what I'm saying. Uh,

1361
01:15:47,840 --> 01:15:52,559
Speaker 3: everybody want to be somewhere. Cameras everywhere, phones everywhere. It's

1362
01:15:52,680 --> 01:15:58,680
Speaker 3: unfortunate that you know, you in that situation, you know

1363
01:15:58,760 --> 01:16:03,320
Speaker 3: what I'm saying. Uh uh so uh, just trying to survive, man,

1364
01:16:03,479 --> 01:16:07,479
Speaker 3: is a hard thing. So I don't know what the fuck,

1365
01:16:07,760 --> 01:16:12,400
Speaker 3: you know, for somebody who felt like that's the road

1366
01:16:12,600 --> 01:16:15,560
Speaker 3: she had to take that day or whatever happened that

1367
01:16:15,920 --> 01:16:18,920
Speaker 3: day before she got on stage. You know, you never

1368
01:16:19,000 --> 01:16:22,280
Speaker 3: know what a motherfucker going through. But it's unfortunate. Now

1369
01:16:22,360 --> 01:16:24,360
Speaker 3: you got to keep people like that in your prayers

1370
01:16:24,360 --> 01:16:26,880
Speaker 3: because for sure people don't.

1371
01:16:28,320 --> 01:16:29,920
Speaker 4: You don't know what a motherfucker go through.

1372
01:16:31,320 --> 01:16:35,400
Speaker 3: Fortunate that you know, we all go through shit, but

1373
01:16:35,640 --> 01:16:41,000
Speaker 3: we can, you know, kind of handle the situation.

1374
01:16:42,840 --> 01:16:45,120
Speaker 1: All this year, right, And.

1375
01:16:45,439 --> 01:16:49,639
Speaker 3: It's just some people, unfortunately, that take a different road

1376
01:16:50,280 --> 01:16:53,439
Speaker 3: than we take when when it comes to dealing with

1377
01:16:53,720 --> 01:16:58,400
Speaker 3: life and stressing and kids or your career not going

1378
01:16:58,479 --> 01:16:59,640
Speaker 3: the way you wanted to go.

1379
01:17:00,200 --> 01:17:01,800
Speaker 1: You know, it's a lot of motherfuckers.

1380
01:17:02,960 --> 01:17:05,360
Speaker 3: It's a lot of motherfuckers who take the long road

1381
01:17:05,800 --> 01:17:07,680
Speaker 3: or the wrong road, you know what I'm saying. So

1382
01:17:07,920 --> 01:17:09,880
Speaker 3: just to be able to deal with that type of ship,

1383
01:17:10,200 --> 01:17:13,760
Speaker 3: you know. And and it's hard. So we don't know

1384
01:17:13,840 --> 01:17:14,640
Speaker 3: what she going through.

1385
01:17:14,720 --> 01:17:16,720
Speaker 1: And what about your boy? L L shout out to

1386
01:17:16,840 --> 01:17:19,400
Speaker 1: l L. He finally says something, Man, I've been I

1387
01:17:19,520 --> 01:17:20,879
Speaker 1: think there was long overdue.

1388
01:17:21,160 --> 01:17:21,559
Speaker 2: What's up?

1389
01:17:22,120 --> 01:17:24,719
Speaker 1: L L told her pretty much all the old GMC,

1390
01:17:25,040 --> 01:17:27,439
Speaker 1: stop being lazy and fucking up your legacy and start

1391
01:17:27,520 --> 01:17:30,000
Speaker 1: doing some shows, start putting out your music. Don't let

1392
01:17:30,080 --> 01:17:32,280
Speaker 1: the motherfucker tell you, because you a certain age to

1393
01:17:32,360 --> 01:17:34,040
Speaker 1: stop rapping. He said. If I can get up here

1394
01:17:34,040 --> 01:17:36,120
Speaker 1: and do this, shoo.

1395
01:17:35,400 --> 01:17:38,680
Speaker 3: That's that's that's just you know, And I get where

1396
01:17:38,720 --> 01:17:41,679
Speaker 3: my nigga L coming from because I think a lot

1397
01:17:41,800 --> 01:17:49,880
Speaker 3: of artists on on the tip of being older artist, uh,

1398
01:17:50,280 --> 01:17:56,559
Speaker 3: one of the you know, somebody who's uh, somebody who's

1399
01:17:56,640 --> 01:18:02,080
Speaker 3: been a part of building the foundation of hip, you

1400
01:18:02,160 --> 01:18:06,720
Speaker 3: get a lot of backlash absolutely uh nowadays from our

1401
01:18:07,680 --> 01:18:12,519
Speaker 3: younger counterparts or or our younger competition, so to speak.

1402
01:18:13,439 --> 01:18:17,560
Speaker 3: And not that it's even a competition, h but I

1403
01:18:17,640 --> 01:18:22,280
Speaker 3: always ask the question why in our field, because in

1404
01:18:22,400 --> 01:18:27,160
Speaker 3: nobody else's field is there in an age limit unless

1405
01:18:27,160 --> 01:18:31,599
Speaker 3: you're fucking unless you're a fucking football player and whatever.

1406
01:18:32,000 --> 01:18:34,439
Speaker 2: And then still they.

1407
01:18:34,360 --> 01:18:38,559
Speaker 4: Are left with the decision because if a motherfucking.

1408
01:18:38,080 --> 01:18:41,240
Speaker 3: Team go, nigga, you forty eight and you can still

1409
01:18:41,360 --> 01:18:44,920
Speaker 3: slang a fucking ball like Tom Brady or whatever, I

1410
01:18:45,040 --> 01:18:48,360
Speaker 3: think I might, I might give you another contract. It's

1411
01:18:48,479 --> 01:18:52,280
Speaker 3: only in our field of hip hop, because they don't

1412
01:18:52,320 --> 01:18:54,680
Speaker 3: do it in country music. They don't do it in

1413
01:18:54,840 --> 01:18:58,800
Speaker 3: R and B, they don't do it in fucking pop.

1414
01:18:59,320 --> 01:19:01,760
Speaker 3: They don't do it than rock or heavy metal or

1415
01:19:02,800 --> 01:19:03,280
Speaker 3: or nothing.

1416
01:19:04,600 --> 01:19:05,120
Speaker 1: He was saying.

1417
01:19:05,280 --> 01:19:07,320
Speaker 3: He was like, this is not football. You could have,

1418
01:19:07,560 --> 01:19:10,559
Speaker 3: this is not basketball. You could have, motherfucking you can

1419
01:19:10,680 --> 01:19:16,200
Speaker 3: have a new nigga named Kenny Small on the saxophone

1420
01:19:16,280 --> 01:19:19,400
Speaker 3: doing jazz music. And then you still got niggas like

1421
01:19:19,600 --> 01:19:23,519
Speaker 3: Kenny g and all you know, George Benson and shit

1422
01:19:23,720 --> 01:19:26,920
Speaker 3: like that, who's still being able to do what they do.

1423
01:19:27,200 --> 01:19:30,719
Speaker 2: There's people that were making music before I was born

1424
01:19:30,840 --> 01:19:31,639
Speaker 2: that are still toring.

1425
01:19:31,800 --> 01:19:37,280
Speaker 3: And I don't understand why we get discriminated for or

1426
01:19:37,880 --> 01:19:40,320
Speaker 3: hip hop has an age limit, Like you know, I

1427
01:19:40,439 --> 01:19:42,680
Speaker 3: hear it all the time. Oh man, you should be

1428
01:19:42,800 --> 01:19:46,599
Speaker 3: doing something else by now, and and you you still

1429
01:19:46,760 --> 01:19:47,160
Speaker 3: dig out.

1430
01:19:47,240 --> 01:19:49,160
Speaker 1: Who the fuck is the motherfucker to tell somebody what

1431
01:19:49,240 --> 01:19:50,320
Speaker 1: they should be doing them?

1432
01:19:50,400 --> 01:19:53,040
Speaker 3: And I don't you should listen to I don't know.

1433
01:19:53,240 --> 01:19:57,240
Speaker 3: I think I think that, you know, sometimes it just

1434
01:19:57,400 --> 01:20:04,720
Speaker 3: might be that niggas don't like competition. I'm all for competition.

1435
01:20:04,800 --> 01:20:06,879
Speaker 1: Pet looked at this competition.

1436
01:20:07,120 --> 01:20:09,400
Speaker 3: I look at this trying to be you know, I

1437
01:20:09,520 --> 01:20:12,040
Speaker 3: got my own fan base. I'm not trying to come

1438
01:20:12,080 --> 01:20:14,760
Speaker 3: into your lane. I'm not trying to do what the

1439
01:20:14,880 --> 01:20:18,600
Speaker 3: youngsters doing or whatever. But I think that some you know,

1440
01:20:18,840 --> 01:20:22,360
Speaker 3: feel just like, well, man, you you didn't you dine

1441
01:20:22,439 --> 01:20:23,080
Speaker 3: did George?

1442
01:20:23,400 --> 01:20:23,439
Speaker 2: You?

1443
01:20:23,880 --> 01:20:27,280
Speaker 3: You was from the hood, you talked about this whatever, whatever,

1444
01:20:27,880 --> 01:20:31,120
Speaker 3: And then they'll turn around and say, well, you can't

1445
01:20:31,200 --> 01:20:35,479
Speaker 3: still be talking about this at at fifty sixty years old,

1446
01:20:36,040 --> 01:20:38,840
Speaker 3: Which then you get motherfuckers who still put out good

1447
01:20:39,000 --> 01:20:42,880
Speaker 3: music and transition and make real and they still go, why.

1448
01:20:42,760 --> 01:20:49,560
Speaker 2: Are you here? Why are you here? The actors actors.

1449
01:20:49,320 --> 01:20:54,360
Speaker 3: Though, But so I think it's, you know, because they

1450
01:20:54,479 --> 01:20:57,559
Speaker 3: want to say hip hop is a young man's game, and.

1451
01:20:57,720 --> 01:21:07,479
Speaker 5: So it's because people still don't respect rap now period.

1452
01:21:08,000 --> 01:21:11,240
Speaker 1: No, but you're almost looked at it, like I've heard

1453
01:21:11,360 --> 01:21:16,160
Speaker 1: some people saying, like, especially when I've heard a woman say, well,

1454
01:21:16,600 --> 01:21:18,960
Speaker 1: that's kind of juvenile for men to be fifty years

1455
01:21:19,000 --> 01:21:21,160
Speaker 1: old still rapping. Ain't that kind of childish?

1456
01:21:21,479 --> 01:21:23,240
Speaker 3: They look at it, And I said, well, if that's

1457
01:21:23,320 --> 01:21:26,080
Speaker 3: his trade, you know what I'm saying, this ship to accountant.

1458
01:21:26,120 --> 01:21:28,000
Speaker 3: You don't say that ship to an accountant or the

1459
01:21:28,080 --> 01:21:30,200
Speaker 3: motherfucker that's the manager at Walgreen.

1460
01:21:30,800 --> 01:21:32,479
Speaker 4: You have too old want to be working at the

1461
01:21:32,560 --> 01:21:34,120
Speaker 4: cash rec because that's looked up.

1462
01:21:34,200 --> 01:21:37,040
Speaker 3: And then the crazy shit about it is a motherfucker

1463
01:21:37,160 --> 01:21:39,840
Speaker 3: turned around and go get a job at Walmart or

1464
01:21:39,920 --> 01:21:42,519
Speaker 3: some ship like that. And then motherfuckers to be clowning

1465
01:21:42,600 --> 01:21:47,680
Speaker 3: you in Walmart working, Oh god damn eight and here

1466
01:21:47,760 --> 01:21:49,680
Speaker 3: motherfucking managing Walmart.

1467
01:21:50,160 --> 01:21:51,680
Speaker 1: Like what, nigga, I'm you.

1468
01:21:51,640 --> 01:21:53,880
Speaker 6: Ain't supposed to wrap, You ain't supposed to have no job.

1469
01:21:57,640 --> 01:22:02,839
Speaker 6: He's just supposed to just die leaders ship's nothing. Go somewhere,

1470
01:22:03,040 --> 01:22:05,280
Speaker 6: sit out, hide out, nigga.

1471
01:22:05,320 --> 01:22:08,360
Speaker 3: Don't go get no regular job, don't don't get a

1472
01:22:08,479 --> 01:22:13,760
Speaker 3: record deal, don't do no podcasts, don't don't do shipigga,

1473
01:22:13,920 --> 01:22:17,040
Speaker 3: just go in the house, lock the door, and just

1474
01:22:17,160 --> 01:22:19,760
Speaker 3: sit up for the rest of your days. And if

1475
01:22:19,800 --> 01:22:22,360
Speaker 3: a nigga see you out in the street, you take

1476
01:22:22,439 --> 01:22:24,720
Speaker 3: a picture with him and give up a That's it.

1477
01:22:24,880 --> 01:22:27,280
Speaker 2: That's all they want you to be, like, when's your

1478
01:22:27,320 --> 01:22:28,120
Speaker 2: new album coming out?

1479
01:22:28,320 --> 01:22:31,400
Speaker 3: No, they'll be like, nigga, you still rapping. You put

1480
01:22:31,439 --> 01:22:34,840
Speaker 3: another record out, nigga eat you one hundred and you

1481
01:22:35,000 --> 01:22:35,640
Speaker 3: steal what.

1482
01:22:37,880 --> 01:22:41,439
Speaker 1: Motherfucker you supposed to put? A motherfucker paint pictures that.

1483
01:22:41,520 --> 01:22:44,479
Speaker 3: Nigga still said, what the fuck I'm supposed to do?

1484
01:22:45,040 --> 01:22:48,280
Speaker 3: I can't go get no regular job because you're gonna cloud.

1485
01:22:51,280 --> 01:22:52,479
Speaker 1: You can't go to work.

1486
01:22:52,840 --> 01:22:56,160
Speaker 3: So so you can't do nothing. Once your rap career

1487
01:22:56,280 --> 01:22:58,160
Speaker 3: is over, you stop making records.

1488
01:22:58,520 --> 01:22:59,840
Speaker 2: You can't retire from life.

1489
01:22:59,840 --> 01:23:04,520
Speaker 3: You got to retire. Nigga, don't come outside, don't do ship.

1490
01:23:04,479 --> 01:23:08,160
Speaker 1: Because what they gonna do. First they gonna come somebody

1491
01:23:08,200 --> 01:23:10,719
Speaker 1: will come with a video, a video on their phone.

1492
01:23:10,840 --> 01:23:12,800
Speaker 1: They gonna be like, they gonna be over your face,

1493
01:23:12,880 --> 01:23:15,720
Speaker 1: look at this big stuff. I need your ass fell off.

1494
01:23:15,760 --> 01:23:18,639
Speaker 1: The ain't working out what you want here?

1495
01:23:18,760 --> 01:23:21,360
Speaker 4: Doing you in here that motherfucking costco day?

1496
01:23:21,479 --> 01:23:27,600
Speaker 1: Don't work? You want to sample. Motherfucker nig said, you.

1497
01:23:27,680 --> 01:23:31,080
Speaker 4: Ain't supposed to do ship like what you stop rapping?

1498
01:23:31,479 --> 01:23:34,479
Speaker 1: Take you just sick your motherfucking ass down somewhere. Let

1499
01:23:34,600 --> 01:23:34,960
Speaker 1: us do it.

1500
01:23:35,080 --> 01:23:36,680
Speaker 2: What you doing on the podcast?

1501
01:23:36,920 --> 01:23:37,479
Speaker 1: What's funny?

1502
01:23:37,920 --> 01:23:38,080
Speaker 2: Oh?

1503
01:23:38,360 --> 01:23:40,840
Speaker 4: But then they want you the coast side. Yeah, you

1504
01:23:41,000 --> 01:23:44,000
Speaker 4: need to you, yes, you need to help me to

1505
01:23:44,080 --> 01:23:44,639
Speaker 4: shout out.

1506
01:23:44,960 --> 01:23:47,840
Speaker 3: You need to be pushing you a young artist. You

1507
01:23:47,960 --> 01:23:51,880
Speaker 3: need to give everything. Give all the cameras in that podcast.

1508
01:23:53,040 --> 01:23:54,000
Speaker 2: You old motherfucker.

1509
01:23:54,080 --> 01:23:56,760
Speaker 1: You hold the tripping motherfucker give up.

1510
01:23:57,439 --> 01:24:00,120
Speaker 3: You need to go find you a young digger and

1511
01:24:00,280 --> 01:24:02,760
Speaker 3: let him be the Gangster Chronicles.

1512
01:24:04,560 --> 01:24:07,439
Speaker 1: It's just funny man, it's cold man. You know what

1513
01:24:07,640 --> 01:24:11,360
Speaker 1: For those that don't know, Soaring has recent game cold?

1514
01:24:11,680 --> 01:24:12,439
Speaker 1: When's the new book?

1515
01:24:12,479 --> 01:24:15,919
Speaker 2: Dropping Dog Juicy j September fifth, Chronicles of the Juice.

1516
01:24:15,760 --> 01:24:18,920
Speaker 1: Man, Chronicles of I've read I'll get.

1517
01:24:22,040 --> 01:24:24,920
Speaker 4: Listens to God damn it, out right down Ship? What

1518
01:24:25,080 --> 01:24:25,600
Speaker 4: you want to do?

1519
01:24:25,800 --> 01:24:26,120
Speaker 1: Video?

1520
01:24:26,280 --> 01:24:29,080
Speaker 3: Out right down? God damn it Ship? Yup, we still

1521
01:24:29,200 --> 01:24:31,439
Speaker 3: doing it, God damn it. We're gonna get on your nerve.

1522
01:24:31,560 --> 01:24:32,160
Speaker 3: Can we can't?

1523
01:24:32,280 --> 01:24:35,320
Speaker 4: No, mo damn it because they like it. What's going

1524
01:24:35,400 --> 01:24:36,160
Speaker 4: all right down?

1525
01:24:36,240 --> 01:24:38,839
Speaker 1: Anyway? And the link would be in the motherfucking description

1526
01:24:39,280 --> 01:24:40,960
Speaker 1: Jill Yes, Sir,