1 00:00:01,000 --> 00:00:03,240 Speaker 1: Coming up at the top of the hour, right about 2 00:00:03,320 --> 00:00:06,120 Speaker 1: four minutes after. It's my strawberry letter for today. The 3 00:00:06,200 --> 00:00:10,160 Speaker 1: subject is I want that old thing back. But right 4 00:00:10,200 --> 00:00:15,240 Speaker 1: now we'll get into that. But right now it's time 5 00:00:15,280 --> 00:00:17,720 Speaker 1: for today's praying phone call with the nephew. What you 6 00:00:17,760 --> 00:00:22,320 Speaker 1: got for us? Now? Well coming back? Rock stops upbout 7 00:00:22,320 --> 00:00:24,279 Speaker 1: the scene with the dream of a hardcore lean The 8 00:00:24,360 --> 00:00:27,680 Speaker 1: dream wasn't grabbing it to be party. I'm sorry, It's 9 00:00:27,720 --> 00:00:35,040 Speaker 1: time for chub Rock, Chuck Rock, legendary rapper. I gotta 10 00:00:35,080 --> 00:00:37,760 Speaker 1: do it. Come on, cat Don Sile. What ain't for 11 00:00:37,800 --> 00:00:40,680 Speaker 1: the helping somebody from the use my instrumental Hello and 12 00:00:40,720 --> 00:00:43,960 Speaker 1: then act like they're gonna just use my hello. Hello man, 13 00:00:44,000 --> 00:00:47,280 Speaker 1: I speak to Chuck. Hey, I need to talk to you. Man. 14 00:00:47,320 --> 00:00:51,159 Speaker 1: This d Low from all Flow Jail Productions out of Jacksonville, Florida. 15 00:00:52,159 --> 00:00:56,920 Speaker 1: My name d Low from Flow Jam Productions out of Jacksonville, Florida. 16 00:00:56,960 --> 00:01:00,600 Speaker 1: Can you hear me? Brother, brother, bring your blood pressure 17 00:01:00,600 --> 00:01:03,680 Speaker 1: down A couple of notres be hold on because of me, 18 00:01:03,760 --> 00:01:06,360 Speaker 1: and you already got a problem. Now my understanding of 19 00:01:06,360 --> 00:01:10,480 Speaker 1: you somebody using my instrumental on some kind of records 20 00:01:10,520 --> 00:01:13,560 Speaker 1: you got called if you was mine and all that, 21 00:01:13,680 --> 00:01:16,319 Speaker 1: all them, all that music is my music, and I 22 00:01:16,360 --> 00:01:19,479 Speaker 1: got a problem with all of that. Brother, Calm your 23 00:01:19,520 --> 00:01:21,760 Speaker 1: blood pressure down. You know what I'm saying to you, 24 00:01:21,840 --> 00:01:24,440 Speaker 1: my brod pressure. Calm down. All I'm saying to you 25 00:01:24,520 --> 00:01:28,400 Speaker 1: will ain't nobody from the release, no CD, no album. 26 00:01:28,520 --> 00:01:31,240 Speaker 1: I'm using my music down. It ain't finn out. I 27 00:01:31,360 --> 00:01:33,720 Speaker 1: understand who you will and all the stuff you haven't 28 00:01:33,720 --> 00:01:36,119 Speaker 1: done in the past, but you ain't gonna use my 29 00:01:36,200 --> 00:01:38,520 Speaker 1: stuff though. Let me tell you something. Anything I ever 30 00:01:38,640 --> 00:01:41,039 Speaker 1: got in my life in twenty years of recording, I 31 00:01:41,040 --> 00:01:43,360 Speaker 1: don't know how you got my number. Who you are? 32 00:01:44,120 --> 00:01:46,720 Speaker 1: You know who you're supposed to be representing. But anything 33 00:01:46,760 --> 00:01:49,440 Speaker 1: I do is always straight up. We do our music 34 00:01:49,760 --> 00:01:52,960 Speaker 1: ourselves or a producer I'm using he does his thing, 35 00:01:53,400 --> 00:01:55,760 Speaker 1: I pay him, or do whatever I gotta do. You're 36 00:01:55,760 --> 00:01:57,800 Speaker 1: calling me, I don't even know who you are, but 37 00:01:57,920 --> 00:01:59,480 Speaker 1: you need to calm down your blood pressure. If you 38 00:01:59,480 --> 00:02:01,480 Speaker 1: want to contain this conversation where we can get to 39 00:02:01,560 --> 00:02:04,000 Speaker 1: some kind of figuring out of who you are and 40 00:02:04,040 --> 00:02:06,200 Speaker 1: what you're talking about, you want to yell at me 41 00:02:06,600 --> 00:02:08,359 Speaker 1: and try to do that. I don't. I don't go 42 00:02:08,520 --> 00:02:10,720 Speaker 1: for yelling and intimidation. I ain't one of these young 43 00:02:10,800 --> 00:02:12,400 Speaker 1: dudes out there, So if you don't bring your blood 44 00:02:12,400 --> 00:02:15,799 Speaker 1: pressure down, then I'm gonna have a problem. My blood 45 00:02:15,800 --> 00:02:18,160 Speaker 1: pressure will go up and then we'll have a real, 46 00:02:18,760 --> 00:02:21,040 Speaker 1: real problem. Do you feel what I'm saying to you? 47 00:02:21,040 --> 00:02:23,359 Speaker 1: I understand everything that you're saying to me. All I'm 48 00:02:23,400 --> 00:02:26,160 Speaker 1: saying to you, I know. I know my music when 49 00:02:26,200 --> 00:02:28,920 Speaker 1: I hear and I think your boy cow that took 50 00:02:29,000 --> 00:02:32,079 Speaker 1: my music from me. Now, if you the stuff you 51 00:02:32,200 --> 00:02:35,600 Speaker 1: got on if you was mine, o't that's mine. I 52 00:02:35,600 --> 00:02:38,359 Speaker 1: ain't nobody tripping with y'all on what you do. I'm 53 00:02:38,400 --> 00:02:41,040 Speaker 1: just trying to tell you he said all that stuff 54 00:02:41,080 --> 00:02:43,040 Speaker 1: is mine? Were talking about? Those are my lyrics on 55 00:02:43,120 --> 00:02:44,919 Speaker 1: that playboy? You don't write no lyrics for me? Were 56 00:02:44,960 --> 00:02:48,320 Speaker 1: you crazy? No, I'm like one of them. You don't 57 00:02:48,400 --> 00:02:51,440 Speaker 1: nobody touch my lyrics? Be you're saying all that I'm not. 58 00:02:51,520 --> 00:02:53,560 Speaker 1: I ain't talking about the mual the lyrics. I'm talking 59 00:02:53,600 --> 00:02:57,079 Speaker 1: about the music itself. That's what I'm talking about. The lyrics. 60 00:02:57,120 --> 00:02:59,760 Speaker 1: I don't know nothing about that might be you, but 61 00:02:59,800 --> 00:03:01,720 Speaker 1: I'm just trying to let you know about the music 62 00:03:01,800 --> 00:03:04,600 Speaker 1: that belong to mat Convert that mike that you got 63 00:03:04,600 --> 00:03:07,600 Speaker 1: there might be me convert the mike. I ain't no mike. 64 00:03:07,919 --> 00:03:11,120 Speaker 1: The music is mine. Let's get that out there now. 65 00:03:11,600 --> 00:03:14,120 Speaker 1: The music on that song you got, if you was mine, 66 00:03:14,360 --> 00:03:17,320 Speaker 1: that's my music. Brother. You ain't Bobby woman, how can 67 00:03:17,360 --> 00:03:19,880 Speaker 1: it be your music? The interpretation of the music was 68 00:03:19,880 --> 00:03:22,800 Speaker 1: from Bobby woolmack. Hey. Brother. Now, I don't know if 69 00:03:22,840 --> 00:03:24,880 Speaker 1: you're the one that stole my music. I don't know 70 00:03:24,919 --> 00:03:28,760 Speaker 1: if it was your boy Cal who called himself DJ Rexhaut, 71 00:03:28,800 --> 00:03:31,440 Speaker 1: whoever he called himself. All I'm trying to let you 72 00:03:31,480 --> 00:03:34,440 Speaker 1: know where this music belonged to me, right, So what 73 00:03:34,520 --> 00:03:35,840 Speaker 1: do you want? If you want to meet me on 74 00:03:35,880 --> 00:03:37,480 Speaker 1: the streets of way and and you can handle it 75 00:03:37,520 --> 00:03:39,080 Speaker 1: the way you want to handle it with me, you 76 00:03:39,080 --> 00:03:41,120 Speaker 1: want to handle it that way. You ain't saying nothing 77 00:03:41,120 --> 00:03:44,000 Speaker 1: to me, man, You ain't saying that's what you're saying me, brother, 78 00:03:44,240 --> 00:03:46,640 Speaker 1: that's one of them to keep blasts. You don't say me. 79 00:03:47,120 --> 00:03:50,040 Speaker 1: Did you just say something about my rector? Out of me? 80 00:03:50,280 --> 00:03:52,960 Speaker 1: You don't talk on you. You don't talk about my 81 00:03:53,360 --> 00:03:56,040 Speaker 1: we gonna we will me if you keep talking about 82 00:03:56,080 --> 00:03:59,560 Speaker 1: my You don't bring my up on nothing. You know what, nothing, 83 00:03:59,840 --> 00:04:01,600 Speaker 1: You ain't nothing. If you want to talk as men, 84 00:04:01,680 --> 00:04:03,440 Speaker 1: then we should down and we talk as men, because 85 00:04:03,440 --> 00:04:05,360 Speaker 1: I don't know what you're talking about. But if you're 86 00:04:05,360 --> 00:04:08,000 Speaker 1: come in to bed throwing my name in the middle 87 00:04:08,080 --> 00:04:10,600 Speaker 1: of severy, then I got a problem with that being 88 00:04:10,800 --> 00:04:13,200 Speaker 1: and I'll handle it with you. I'm not new youngon, 89 00:04:13,440 --> 00:04:15,440 Speaker 1: I don't make records. I ain't gonna thiss you on 90 00:04:15,440 --> 00:04:17,560 Speaker 1: the record. I'm gonna come see you so we can 91 00:04:17,600 --> 00:04:20,040 Speaker 1: sit down, eye the eye and we get down to 92 00:04:20,120 --> 00:04:22,120 Speaker 1: what it is. And then all I'm saying is I 93 00:04:22,200 --> 00:04:23,920 Speaker 1: got a problem with it and have been a bigger 94 00:04:23,960 --> 00:04:26,240 Speaker 1: problem I got at this point now is for you 95 00:04:26,279 --> 00:04:28,160 Speaker 1: to tell me. Do I want to meet you on 96 00:04:28,200 --> 00:04:30,599 Speaker 1: the streets somewhere, and you know what, I ain't got 97 00:04:30,680 --> 00:04:33,200 Speaker 1: no problem with that. You want want to find really 98 00:04:33,279 --> 00:04:34,920 Speaker 1: want me to see you? Now? You know what your 99 00:04:34,960 --> 00:04:38,000 Speaker 1: problem is, man, Your problem is that you ain't getting 100 00:04:38,000 --> 00:04:40,800 Speaker 1: a successful as heavy day. You didn't do what Biggie 101 00:04:40,839 --> 00:04:44,120 Speaker 1: what Biggie Smalls did. That's your problem, man, That's no 102 00:04:44,279 --> 00:04:47,000 Speaker 1: problem that those are incredible artists who have done all 103 00:04:47,160 --> 00:04:49,960 Speaker 1: kinds of beautiful things of music. I have done my 104 00:04:50,120 --> 00:04:52,719 Speaker 1: thing in music, All of those things that you're trying 105 00:04:52,720 --> 00:04:55,280 Speaker 1: to get me to go past the line of sensibility 106 00:04:55,400 --> 00:04:57,440 Speaker 1: that goes to young ands. And like I said before, 107 00:04:57,480 --> 00:05:01,200 Speaker 1: forget about that when I should earlier stands brother, when 108 00:05:01,240 --> 00:05:03,080 Speaker 1: you want to see I don't care? Why do you 109 00:05:03,120 --> 00:05:04,840 Speaker 1: want to me that? How about I got a better 110 00:05:04,880 --> 00:05:08,360 Speaker 1: idea for you. I'm doing a club date in Jacksonville, FLA. Brother, 111 00:05:08,520 --> 00:05:11,080 Speaker 1: that's you can got my guests and come see me 112 00:05:11,160 --> 00:05:14,760 Speaker 1: personally and literally come with this vigor though, come with 113 00:05:14,800 --> 00:05:19,159 Speaker 1: this vigor'. You're gonna quit using these big words. What 114 00:05:20,240 --> 00:05:21,960 Speaker 1: this ain't No big words you're gonna use, but you 115 00:05:21,960 --> 00:05:23,920 Speaker 1: want to come there with this attitude. You ain't gonna 116 00:05:23,920 --> 00:05:27,000 Speaker 1: see no bodyguard there, you feel me. All I'm saying 117 00:05:27,000 --> 00:05:29,880 Speaker 1: to you is the music belongs to me. That's what 118 00:05:29,920 --> 00:05:32,720 Speaker 1: I'm saying to you. Man, That's all I'm saying to you. 119 00:05:32,880 --> 00:05:35,719 Speaker 1: And who your boy ever dinly to swipe my music, 120 00:05:35,960 --> 00:05:38,080 Speaker 1: laid it under you and you know, put some tracks 121 00:05:38,120 --> 00:05:40,919 Speaker 1: on top of it. Ain't right, dog, brother, let me 122 00:05:40,960 --> 00:05:45,320 Speaker 1: tell you something. The guy is a guy of incredible 123 00:05:45,440 --> 00:05:50,160 Speaker 1: integrity saying it the truth. Brother, it's the truth. I mean, 124 00:05:50,160 --> 00:05:52,560 Speaker 1: I'm sorry man, I mean it's clear that Trump saying. 125 00:05:52,600 --> 00:05:55,000 Speaker 1: I'm sorry that you up saying. But bring all of that, 126 00:05:55,080 --> 00:05:58,800 Speaker 1: Forget all of that, forget everything we're talking about right now. 127 00:05:58,800 --> 00:06:00,720 Speaker 1: I want you to know this. Can I tell you 128 00:06:00,800 --> 00:06:04,000 Speaker 1: something else again? Can I say something else to you? 129 00:06:04,120 --> 00:06:07,200 Speaker 1: Can you say it? Calmly? I can't, you can't. Yes, 130 00:06:07,520 --> 00:06:09,880 Speaker 1: this is if you time me from the Steve Harvey 131 00:06:09,960 --> 00:06:14,200 Speaker 1: Morning Show. You just got pranked by Monica. You just 132 00:06:14,279 --> 00:06:18,839 Speaker 1: got branked by your boy name Shot. Oh man, you 133 00:06:18,880 --> 00:06:26,080 Speaker 1: guys are crazy. You're serious. You can't be serious baby, 134 00:06:26,440 --> 00:06:30,680 Speaker 1: wow man, wow, man, that's crazy man, Shot, look alright, 135 00:06:30,680 --> 00:06:37,599 Speaker 1: cool and I gotta get everybody back. Bring all that vigor. 136 00:06:40,720 --> 00:06:52,480 Speaker 1: Very nice, very very nice. Rock out there. Shup rock you. 137 00:06:54,560 --> 00:07:00,799 Speaker 1: Oh yeah, absolutely yeah. Yeah. Man. He's a legend, true, 138 00:07:00,800 --> 00:07:06,080 Speaker 1: true legend. He came out in surprise. Yeah. I saw 139 00:07:06,120 --> 00:07:09,520 Speaker 1: that man that trucks, some hundred pound trucker to just 140 00:07:09,560 --> 00:07:17,960 Speaker 1: be dance. He can really dance. He can really dance. 141 00:07:18,960 --> 00:07:23,040 Speaker 1: I am seeing him, Yeah, dancing for smiles, uh huh. 142 00:07:24,280 --> 00:07:26,160 Speaker 1: And he will put a smile on your face because 143 00:07:26,200 --> 00:07:28,920 Speaker 1: he can really dance. Yeah, that's what he dances. You're not. 144 00:07:29,000 --> 00:07:32,000 Speaker 1: That's for money, dancing, but smiles just fired dog to 145 00:07:32,120 --> 00:07:35,160 Speaker 1: be standing on corners, just dancing, and he can get 146 00:07:35,200 --> 00:07:39,600 Speaker 1: down to anyway in America. Just be on corner dancing. Wow, 147 00:07:40,560 --> 00:07:42,880 Speaker 1: all right, I gotta check it out, all right, ladies 148 00:07:42,920 --> 00:07:45,600 Speaker 1: and gentlemen. The nephew is out there with that microphone 149 00:07:45,640 --> 00:07:50,080 Speaker 1: in his hand, and it is happening. November twelve and thirteen, Jacksonville, Florida, 150 00:07:50,160 --> 00:07:52,480 Speaker 1: The Nephews coming to town. Af you time, your friends, 151 00:07:52,520 --> 00:07:56,360 Speaker 1: get your tickets. Tickets on sale, red nine November, The 152 00:07:56,400 --> 00:08:00,400 Speaker 1: twentieth side of the Night, Dayton, Ohio. Never been there, folk, 153 00:08:00,440 --> 00:08:03,800 Speaker 1: But I'm on my way now to Dayton, Ohio. You 154 00:08:03,800 --> 00:08:08,720 Speaker 1: ain't seen me. I ain't seen you. But stupid shall 155 00:08:08,880 --> 00:08:12,880 Speaker 1: rise again, And it's on the way like the South. 156 00:08:12,960 --> 00:08:17,560 Speaker 1: Stupid shall rise again. Come and show out. That was 157 00:08:17,640 --> 00:08:21,960 Speaker 1: stupid right there for you to say, that wasn't it 158 00:08:23,480 --> 00:08:26,920 Speaker 1: South again? They lost that boy? You know that, don't. 159 00:08:27,560 --> 00:08:32,920 Speaker 1: We're gonna gone with the wind movie. The South ain't 160 00:08:33,040 --> 00:08:44,840 Speaker 1: rather again? Not all that I can stupid. Wow, Tommy 161 00:08:46,360 --> 00:08:51,320 Speaker 1: didn't say anything around all right, coming up, Strawberry letter, 162 00:08:51,360 --> 00:08:55,040 Speaker 1: next subject. I want that old thing back, all right. 163 00:08:55,760 --> 00:09:00,080 Speaker 1: We'll get into it right after this you're listening E 164 00:09:00,240 --> 00:09:03,640 Speaker 1: Fiday Morning showm