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Speaker 1: The Quest Loft Show is a production of iHeart Radio.

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Speaker 2: Good People, Good people. Welcome to the Quest Loft Show.

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Speaker 1: Today.

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Speaker 2: We have an absolute legend, an architectural mastermind of hip

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Speaker 2: hop culture from the heart of the Big Easy New Orleans.

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Speaker 2: Our guest today has brought a sound I will say,

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Speaker 2: really brought the sound of the South to life and

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Speaker 2: to prominence, anti dominance, literally defining an era with his

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Speaker 2: unmatched production talent.

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Speaker 1: We know all the icons that he's collaborated with.

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Speaker 2: It's part of our daily fiber, our daily nutrients, if

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Speaker 2: you will. From of course, his comrades Juvenile and Weezy

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Speaker 2: and UGK and Trina and Ti I and two Chains,

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Speaker 2: and the list goes on and on and on and on.

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Speaker 1: A longtime fan.

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Speaker 2: If you are a hip hop historian, of course you

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Speaker 2: know of his entry into the game in the late eighties.

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Speaker 1: Of course with M. C.

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Speaker 2: Gregory, d our guest today is literally the Army and

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Speaker 2: the Navy, the Space Force, and the Air Force and

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Speaker 2: the Marines. He is the number one, two, three, four

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Speaker 2: and five stunner. I'm glad I get to say these words.

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Speaker 2: Manny Fresh, Welcome to the Quest Love Show.

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Speaker 1: How are you?

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Speaker 3: Thank you? Bro? That was an awesome intro. I'm gonna

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Speaker 3: have to use that or something. You deserve it.

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Speaker 1: You deserve it, man.

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Speaker 3: Thank you, brother, I appreciate it. Thank you.

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Speaker 1: This time we hold each other up in light.

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Speaker 3: Yes, yes we should.

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Speaker 1: You and I have done occasional gigs together.

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Speaker 2: Yes, but aside from like the casual pleasantries and given

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Speaker 2: pounds and whatnot, we really haven't officially kicked it.

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Speaker 1: And I have so many questions. I have so many questions. Yeah,

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Speaker 1: what is your very first musical memory?

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Speaker 4: I just remember my dad always had in a gang

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Speaker 4: of forty fives and just all of these soul songs

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Speaker 4: that they made the house feel better, like you know,

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Speaker 4: the songs that were like the cool, the Sam Cook

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Speaker 4: songs like you know. When my dad would play those

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Speaker 4: songs or whatever, it just made the whole structure of

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Speaker 4: our house feel better, like you know. And we had

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Speaker 4: no clue that we lived in public housing. We had

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Speaker 4: no clue. And because those songs made it feel that good.

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Speaker 4: So my introduction to music was through forty fives. That's

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Speaker 4: what my dad was playing first, you know. And one

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Speaker 4: of his favorite artists was Sam Cook and he played

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Speaker 4: I mean, like the hell out of Sam cook songs

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Speaker 4: and you know, and we knew the songs, you know,

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Speaker 4: by my dad playing them, so we knew the lyrics

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Speaker 4: to all of those songs. But to see my mom

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Speaker 4: and my dad interact when those songs played, you know,

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Speaker 4: it showed you that this is a part of.

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Speaker 3: Music, is the glue to you know, to make things better.

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Speaker 1: How many albums were in the household?

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Speaker 3: Oh my god, God, bro, we lost.

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Speaker 4: I wish my mom was here right now because you know,

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Speaker 4: people would be like, nah, he exaggerating. I think we

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Speaker 4: probably had over over the years, maybe thirty to forty thousand,

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Speaker 4: forty fives that my dad acted. We had stacks and

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Speaker 4: stacks of forty fives, like you know, because from his

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Speaker 4: era of DJing, like you know, and that was the

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Speaker 4: that was the first thing that DJ spent forty fives.

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Speaker 4: And the crazy thing was a lot of them wasn't

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Speaker 4: in the sleeve. They was just stacked up. And even

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Speaker 4: some of my younger baby pictures, you know, people were like,

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Speaker 4: well was that AI did you know? I'm like, that's

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Speaker 4: really what I played with forty fives like that was

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Speaker 4: that was my talk?

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Speaker 2: I got you, no, this this is I'm glad to

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Speaker 2: finally talk to someone that I had the same childhood.

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Speaker 2: You know, growing up, we had about maybe four thousand,

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Speaker 2: five thousand albums. I would judge records based on how

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Speaker 2: they looked label wise, Yeah, hitting on the turntable. So

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Speaker 2: can I assume that as a kid, were you a

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Speaker 2: record obsessive or was it a thing where it's like.

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Speaker 1: Your parents ramp it down your throat, so you just inherited.

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Speaker 4: My parents kind of rammed it down my throat, like

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Speaker 4: you know, my dad on played keys, he played drums,

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Speaker 4: you know, and he didn't play professionally, but he knew

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Speaker 4: how to play by ear. So it was always around

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Speaker 4: me that you know, like this is something that you know,

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Speaker 4: you're gonna have to tangle with it for a little bit,

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Speaker 4: or you're gonna have to mess with it, you know.

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Speaker 3: We had an old piano. Of course it wasn't on.

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Speaker 4: Tune, but my dad would mimic the old songs, like

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Speaker 4: the Duop songs, because all of those songs was probably

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Speaker 4: two cards and just you know, like a little bass

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Speaker 4: part and you know, and then I started on going, oh,

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Speaker 4: it's kind of easy to play, you know, mimicking that

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Speaker 4: or whatever.

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Speaker 3: And then before you know, it.

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Speaker 4: You know, you're doing things on your own and you

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Speaker 4: don't even know like this is really you creating something

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Speaker 4: because that genre of music, there was so many ripoffs

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Speaker 4: of a song that you know, it was the same

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Speaker 4: song where you were just like, well, you know, this

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Speaker 4: is that song and it's also the Beach Boys song.

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Speaker 1: You know the Blues and yeah, just yeah, I get it,

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Speaker 1: I get it. You know. A lot of this is

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Speaker 1: coming of course.

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Speaker 4: You know.

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Speaker 1: I was raised in Philadelphia, in the Northeast.

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Speaker 2: I was basically just led under the impression that damn

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Speaker 2: near one out of three people in New Orleans had

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Speaker 2: some sort of musical talent. Was that just like a

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Speaker 2: kind of like breathing air or eating bread, Like, oh,

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Speaker 2: you have to eventually figure out some sort even if

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Speaker 2: your desires not to do me.

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Speaker 4: Yeah, and every neighborhood, every project that was a band

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Speaker 4: being started somewhere like you know, and that was the norm. Like,

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Speaker 4: you know, if you didn't pay attention to everything else

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Speaker 4: around you, you played instruments, you know, And one of

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Speaker 4: the cool things about New Orleans was if you did

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Speaker 4: do that, you know, the street dudes would leave you

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Speaker 4: alone because they knew how important it was to the culture.

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Speaker 4: It was respected that you know, you did that. You know,

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Speaker 4: it's tons of people that can tell you stories, like,

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Speaker 4: you know, growing up in New Orleans, like they would

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Speaker 4: just raise up my window and leave the window open

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Speaker 4: because I was DJing, I was in, you know, playing something.

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Speaker 4: They was like, hey, bro, can we just listen, you

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Speaker 4: know while we're out here doing whatever we're doing. And

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Speaker 4: I'm like, yeah, I just leave a window up, you know.

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Speaker 4: And it was just you know, because I was in,

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Speaker 4: I was trying to figure out whatever I was doing,

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Speaker 4: whatever that mix was, whatever I was creating, but it

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Speaker 4: was cool to them, and you know, and it would

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Speaker 4: be like even if I tried something crazy growing up,

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Speaker 4: they would send me on my way. They would be like, hey, bro,

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Speaker 4: get back to music, dude, this is not for you.

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Speaker 4: Go back to music.

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Speaker 2: So in your childhood, what was what I would call

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Speaker 2: hustle culture or get like how prominent.

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Speaker 3: Again around all around me, dude.

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Speaker 4: And luckily I grew up with guys that respected what

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Speaker 4: I was doing and saw something in me, like you know,

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Speaker 4: that was just like and I knew after trying something,

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Speaker 4: you know, people always glorified that I was horrible at

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Speaker 4: that that was not my thing, like I would have

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Speaker 4: got everybody killed in myself tried it, but I was

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Speaker 4: just like, nah, this is not for me, you know.

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Speaker 4: And then when you're home, you know, somebody who you

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Speaker 4: grew up with, one of your homies, he's just like, hey, bro,

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Speaker 4: get off.

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Speaker 3: The streets, get back to music, you.

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Speaker 4: Know, and hustle. That just wasn't for me. And even

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Speaker 4: I'm so glad my dad was just like, if you

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Speaker 4: get in trouble for that, I'm not coming get you.

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Speaker 4: Because I respected my dad like to the fullest, you know,

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Speaker 4: and he was just like, there's so many opportunities out

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Speaker 4: here for you, but if you if you're trying to

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Speaker 4: hustle with your friends and you get in trouble for that,

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Speaker 4: I'm not coming get you.

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Speaker 3: And that's scared that he be g be was out

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Speaker 3: of me.

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Speaker 1: I know that film, bro, Yeah, I know that.

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Speaker 2: I'm always curious about kind of the first generation of DJ's,

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Speaker 2: those DJs that had to operate with one turntable or

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Speaker 2: sock op DJs or whatever DJing was in the sixties

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Speaker 2: and seventies, When did your father start dj.

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Speaker 3: My father, he was a cook at the Roosevelt Hotel.

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Speaker 4: He was a chef there and he actually heard a

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Speaker 4: DJ like heard I forget who the popular DJ was.

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Speaker 4: This was his story from what he was telling me.

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Speaker 4: That was on a radio station, just on a radio station.

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Speaker 4: But he said, when they had sock hops or whatever,

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Speaker 4: you could not get those records. You couldn't get those

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Speaker 4: songs or whatever, like the really really good songs like

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Speaker 4: you know, because in those days you had you know,

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Speaker 4: the way they operated, the way New Orleans operated or whatever.

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Speaker 4: Everything was a paola. It was mafia influenced or whatever,

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Speaker 4: and all of that even music. So he was just

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Speaker 4: like they weren't invited to certain things, you know, like

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Speaker 4: basically they would get the bottom of the bowl if

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Speaker 4: it was a sock hop or whatever. And he was

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Speaker 4: like a DJ didn't have the music of our culture

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Speaker 4: or whatever. So he seen it as an opportunity to

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Speaker 4: say like, hey, you know what this is missing. This

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Speaker 4: is what's missing from our culture if we if we

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Speaker 4: go somewhere, it was like we got to hear the

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Speaker 4: same three songs over and over again. Where if it's

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Speaker 4: on the other side of town, they get everything, you know,

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Speaker 4: because there wasn't really no good DJs that could get

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Speaker 4: good music. So what he did was he started hanging

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Speaker 4: out at the radio station and figured out, like the

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Speaker 4: way this worked, the way Paola worked in that time,

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Speaker 4: was they would actually give the DJs. If you were

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Speaker 4: a so called DJ, they would give you the records

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Speaker 4: and give you a little money to break it, you

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Speaker 4: know what I'm saying. So that's the way our whole

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Speaker 4: collection of forty five's and all of that started. My

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Speaker 4: dad would get records that, you know, some of them

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Speaker 4: was good, some of them was horrible, but a lot

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Speaker 4: of it was because he was he was going up

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Speaker 4: in the ranks, and when he first started DJing, it

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Speaker 4: appealed to black people. So you had all of these

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Speaker 4: record companies going, this is the guy to go to.

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Speaker 4: And he decided to make a living off of it.

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Speaker 4: He was just like, you know what, I think I

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Speaker 4: could quit my job and do this. And you know,

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Speaker 4: he raised me and my two sisters off DJing. That

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Speaker 4: was the only job I know my dad ever had

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Speaker 4: after quitting, you know, his job from being a chef.

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Speaker 1: What types of parties did he do?

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Speaker 4: What was big in A in A in the sixties.

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Speaker 4: I remember even talking about this with him. They had

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Speaker 4: this gong show that they used to do. And the

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Speaker 4: Gong Show was kind of like kind of equivalent to

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Speaker 4: you know, mimicking a song or whatever and somebody would

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Speaker 4: dressed up like the act or whatever and sang the song.

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Speaker 4: But that was big, like you know, like like karaoke basically,

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Speaker 4: like but that was big that you you dressed the party.

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Speaker 4: If you did Little Richard, you had to show up

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Speaker 4: dressed up like Little Richard, like you know what I'm saying.

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Speaker 4: And and my dad was the orchestrator of kind of

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Speaker 4: the Gong Show and that was a big thing for

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Speaker 4: people in New Orleans to go out and do. And

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Speaker 4: then from there it went to you know, like the

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Speaker 4: little sock hop or maybe the gym or whatever, and

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Speaker 4: all of and evolved. I remember finding like some of

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Speaker 4: my dad's first amps, like the tube amps with no

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Speaker 4: back on him, with just a plug in them.

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Speaker 2: How did the music project in? I mean in days

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Speaker 2: now we have cabinets and yeah, yeah, and.

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Speaker 4: My dad had a lot of old equipment, like you know,

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Speaker 4: the first generation PV speakers. Well you know, like those

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Speaker 4: those speakers were you know, just loud. You know, you

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Speaker 4: couldn't tune them or whatever. In the first generation apps

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Speaker 4: that you know, you just plugged in them and the

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Speaker 4: back was open, so if you stuck your finger in

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Speaker 4: there or whatever, you was dead. And I saw it

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Speaker 4: evolved from that to better equipment, you know, and I'm like, oh, well,

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Speaker 4: you actually are moving, you know. And then from there

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Speaker 4: it became like every hole in the wall bar, every

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Speaker 4: every place in New Orleans my dad played. And then

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Speaker 4: around somewhere around fourteen fifteen, I started hooking up my

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Speaker 4: dad's equipment wherever he was playing. You know. He was

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Speaker 4: just like, hey, could you go hook this up and

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Speaker 4: then before you go to school, come back and get it.

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Speaker 4: You know. I was driving without a license, me and

242
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Speaker 4: my friend Wap, you know, my dad was she was

243
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Speaker 4: this DJ van because that's what you had at the time.

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Speaker 1: Right, Okay, so you got tricked into the family.

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Speaker 3: Yeah, I got tricked into it.

246
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Speaker 4: I got tricked into it by literally bringing his equipment,

247
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Speaker 4: hooking it up, and coming back to get it. And

248
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Speaker 4: one late night it was like a smoky hole in

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Speaker 4: the wall bar or whatever. I kind of got there early,

250
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Speaker 4: and my dad was like, long as you stay in

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Speaker 4: the background, you know what I'm saying, and just stay

252
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Speaker 4: out of the way. You can stay here because you

253
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Speaker 4: can't get you know, So I was just in the

254
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Speaker 4: background and I saw, like that changed my life for forever.

255
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Speaker 3: I saw what the DJ do and what music do

256
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Speaker 3: for people.

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Speaker 4: What year was this, This was probably somewhere on early eighties,

258
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Speaker 4: early eighties, like very very early eighties.

259
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Speaker 2: In your observation of being your air quote your dad's apprenticed,

260
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Speaker 2: when are you taking note of what works and what

261
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Speaker 2: doesn't work? Because what I noticed about the most successful

262
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Speaker 2: producers in black music the common denominator that they have

263
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Speaker 2: handful of them. Jimmy jam is one of them. Doctor

264
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Speaker 2: Dre's a great example of them. Of course, you know

265
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Speaker 2: most people before they produce, they were once DJs. Like

266
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Speaker 2: Dre's example is the reason why he's so good is

267
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Speaker 2: because he DJ'd in some of the most hostile environments ever.

268
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Speaker 1: And if you played the wrong song, that was your ass.

269
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Speaker 2: Like you're responsible for the lives of if you play

270
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Speaker 2: something that doesn't work. Yeah, so the pressure is on

271
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Speaker 2: you almost to build the perfect house of cards. You're

272
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Speaker 2: the perfect person that asks this question, because I will say,

273
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Speaker 2: now you.

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Speaker 1: Hold the key.

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Speaker 2: There's the one record that will last fifty years that

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Speaker 2: no matter what environment it's in, it works. When people

277
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Speaker 2: play the intro to Michael Jackson's Don't Stop to Get Enough.

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Speaker 2: It was that feeling when I play Smells like Teen Spirits.

279
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Speaker 2: Sometimes there's that feeling there's no in the world, Like

280
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Speaker 2: when the first four bars of back that Ass Up

281
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Speaker 2: comes on. Yeah, it's almost like Pandemonium's gonna start in

282
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Speaker 2: fifteen seconds. In your opinion, what was that record when

283
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Speaker 2: you first started as an apprentice with your dad observing

284
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Speaker 2: him DJ.

285
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Speaker 4: Believe it or not, Marvin Gase got to give it

286
00:14:23,200 --> 00:14:25,160
Speaker 4: up when that came on.

287
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Speaker 3: It worse to this day when that came on wherever.

288
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Speaker 4: He was DJ, and they went nuts, like you know,

289
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Speaker 4: and I used to go out in pond, you know.

290
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Speaker 4: And the crazy thing was that was the era when

291
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Speaker 4: you could play the song three or four times, and

292
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Speaker 4: he would play that song three or four times and

293
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Speaker 4: the set probably was four hours. But every time it

294
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Speaker 4: came on, it was like it was brand new. It

295
00:14:48,960 --> 00:14:51,080
Speaker 4: would be like it was brand new to the crowd

296
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Speaker 4: where you're just like wow, like.

297
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Speaker 3: This really, you know.

298
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Speaker 4: And we had so many songs that did that in

299
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Speaker 4: New Orleans. Like how some people say playing the wrong

300
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Speaker 4: song you would get fucked up. I was grew up

301
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Speaker 4: on playing the right song. Like you know, I know

302
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Speaker 4: exactly what he mean by if you played the wrong song,

303
00:15:07,680 --> 00:15:10,640
Speaker 4: you would be you know. But mine was always kind

304
00:15:10,640 --> 00:15:13,800
Speaker 4: of like play the right song, like you know, there's

305
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Speaker 4: a moment where you know, drop this right now, and

306
00:15:17,840 --> 00:15:20,720
Speaker 4: you know you're going down in history for you.

307
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Speaker 1: How hard is it to break a new song?

308
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Speaker 4: It's very hard, because let me tell you what's one

309
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Speaker 4: of the things. Even with me, I have nothing against

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Speaker 4: a young crowd, but I don't want to play for

311
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Speaker 4: a young crowd. And that's one of the way even now,

312
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Speaker 4: I don't want to play for a young crowd.

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Speaker 3: I really don't.

314
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Speaker 4: I have all of the songs, I have all of

315
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Speaker 4: the ammunition, but I don't want to play for a

316
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Speaker 4: young crowd because I have not figured out how to

317
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Speaker 4: break young songs yet. I'm figuring them out as I go,

318
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Speaker 4: Like I'll say, like, oh, that one is worthy, that

319
00:15:53,680 --> 00:15:55,560
Speaker 4: one is worth, and you know, and it's and I

320
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Speaker 4: got kids, I call them kids, but they grown ups,

321
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Speaker 4: like you know, my own youngest son, it's twenty one,

322
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Speaker 4: you know. So this is his error. And sometimes you know,

323
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Speaker 4: he'll put the fear of God in me because because

324
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Speaker 4: I'm listening to him, you know, when I'm riding with

325
00:16:09,600 --> 00:16:11,240
Speaker 4: my son, is something I think is a jam and

326
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Speaker 4: he's like, nah, Dad, that ain't it. That ain't the one.

327
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Speaker 4: So I'm being polluted by sometimes that. So I'm like,

328
00:16:17,160 --> 00:16:19,200
Speaker 4: you know what, I need to stick with what I know.

329
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Speaker 2: Wait, wait, time out, because this is the thing. Though

330
00:16:23,680 --> 00:16:28,080
Speaker 2: there's no cap, there's not brown nosing. But literally where

331
00:16:28,080 --> 00:16:34,800
Speaker 2: we are now is derivative of what you created. Yeah,

332
00:16:35,080 --> 00:16:40,480
Speaker 2: texture wise, what's hidden today is derivative from what you created.

333
00:16:41,120 --> 00:16:43,640
Speaker 2: That it's like a kid in a candy store for you.

334
00:16:43,760 --> 00:16:47,320
Speaker 2: So even you have doubts of what works and what

335
00:16:47,360 --> 00:16:47,920
Speaker 2: doesn't work.

336
00:16:48,040 --> 00:16:51,280
Speaker 4: Yeah, yeah, I mean the younger me, I never thought

337
00:16:51,320 --> 00:16:51,680
Speaker 4: that way.

338
00:16:51,720 --> 00:16:52,400
Speaker 3: I never did.

339
00:16:52,440 --> 00:16:56,320
Speaker 4: But but you know, there's a thing that I don't

340
00:16:56,360 --> 00:16:58,480
Speaker 4: mind saying it, even if you know it rubs some

341
00:16:58,520 --> 00:16:59,880
Speaker 4: people to the wrong ways.

342
00:17:00,280 --> 00:17:01,360
Speaker 3: There's too much.

343
00:17:01,400 --> 00:17:04,520
Speaker 4: Music being pushed on us, and some of it is

344
00:17:04,560 --> 00:17:07,760
Speaker 4: not music, you know what I'm saying. So that's that's

345
00:17:07,880 --> 00:17:10,760
Speaker 4: what's kind of making it hard to say, like, well,

346
00:17:10,800 --> 00:17:11,560
Speaker 4: what do I work?

347
00:17:11,600 --> 00:17:13,960
Speaker 3: What song do I break? What song do you know?

348
00:17:14,280 --> 00:17:16,800
Speaker 4: Because if I get if I check you know, my

349
00:17:16,920 --> 00:17:19,560
Speaker 4: pool and I see like I got forty records today,

350
00:17:19,800 --> 00:17:22,639
Speaker 4: and I'm like, how is this possible? And when you

351
00:17:22,720 --> 00:17:25,440
Speaker 4: listen to like, I don't know, thirty eight of them, you're.

352
00:17:25,280 --> 00:17:26,960
Speaker 3: Like, who let these people do this?

353
00:17:27,600 --> 00:17:30,359
Speaker 4: And I understand, like some songs are supposed to be

354
00:17:30,760 --> 00:17:33,159
Speaker 4: just a parody and sometimes it's just a fun record,

355
00:17:33,280 --> 00:17:35,480
Speaker 4: but we got too much of that going on right now.

356
00:17:36,040 --> 00:17:39,520
Speaker 1: See to this day, you still trust and engage your

357
00:17:39,560 --> 00:17:40,119
Speaker 1: record pool.

358
00:17:40,640 --> 00:17:46,800
Speaker 2: Yeah, I'm shameless, brou I willzam the shit out of people.

359
00:17:46,800 --> 00:17:49,200
Speaker 2: You're like, wow, man, I open for you back, and

360
00:17:49,280 --> 00:17:50,800
Speaker 2: dah da da da da da dah. I'll be like, yeah,

361
00:17:51,040 --> 00:17:52,960
Speaker 2: just here to listen. I will zam the shit out

362
00:17:53,000 --> 00:17:53,159
Speaker 2: of it.

363
00:17:53,680 --> 00:17:56,360
Speaker 4: Just so I definitely do that if I hear you play,

364
00:17:56,920 --> 00:17:59,320
Speaker 4: if you play something that I like, I'm a savanna.

365
00:18:00,600 --> 00:18:03,280
Speaker 4: You might catch me over your computer taking a picture.

366
00:18:04,240 --> 00:18:05,080
Speaker 1: Okay.

367
00:18:06,840 --> 00:18:09,680
Speaker 2: See if if the legendary man in Fresh feels that way,

368
00:18:09,720 --> 00:18:11,080
Speaker 2: then I don't feel so Baday.

369
00:18:11,280 --> 00:18:13,560
Speaker 4: You know I've done it to Jazzy Jeff like, what

370
00:18:13,600 --> 00:18:15,920
Speaker 4: was that what you just played? Jeff Like He's like, what, Like,

371
00:18:16,040 --> 00:18:18,240
Speaker 4: what was that that you just played? I need to

372
00:18:18,280 --> 00:18:19,840
Speaker 4: get that record, like, you know.

373
00:18:34,160 --> 00:18:36,959
Speaker 2: Back in two thousand and five, there was a moment

374
00:18:37,119 --> 00:18:41,040
Speaker 2: where Lenny Kravitz had a spot in New Orleans. Yeah,

375
00:18:41,080 --> 00:18:46,440
Speaker 2: and so did Solange and the Fellas and I were

376
00:18:46,520 --> 00:18:51,359
Speaker 2: about to make a new record, and we decided, Okay,

377
00:18:51,440 --> 00:18:55,720
Speaker 2: New Orleans is the probably one of the last real

378
00:18:56,040 --> 00:19:00,159
Speaker 2: like three places in the United States that still as

379
00:19:00,200 --> 00:19:04,479
Speaker 2: a musical identity that's sort of singular, you know, like

380
00:19:04,600 --> 00:19:07,720
Speaker 2: the DMV has it with go go culture, you go

381
00:19:07,800 --> 00:19:10,800
Speaker 2: to San Francisco, whatever, There's just a different type of

382
00:19:10,880 --> 00:19:11,880
Speaker 2: hip hop culture there.

383
00:19:12,320 --> 00:19:14,760
Speaker 1: And for us, it was like, Okay, we're.

384
00:19:14,600 --> 00:19:18,400
Speaker 2: Gonna buy two houses, move to New Orleans. You know,

385
00:19:18,640 --> 00:19:22,080
Speaker 2: mess with some jazz cats, mess with some brass cats.

386
00:19:22,280 --> 00:19:23,480
Speaker 1: We wanted to hook up with you.

387
00:19:23,560 --> 00:19:28,399
Speaker 2: So initially, from January to like August of two thousand

388
00:19:28,440 --> 00:19:30,440
Speaker 2: and five, our plan was we're gonna tour for eight

389
00:19:30,480 --> 00:19:33,240
Speaker 2: months and then when it's time to make this new record.

390
00:19:33,600 --> 00:19:35,080
Speaker 1: We purchased the two houses.

391
00:19:35,760 --> 00:19:42,040
Speaker 2: We were ready voptorship ourselves literally two nights before Katrina.

392
00:19:42,280 --> 00:19:45,159
Speaker 2: We were going to move down there, And part of

393
00:19:45,240 --> 00:19:49,240
Speaker 2: me wonders, in some sort of alternate timeline, what would

394
00:19:49,240 --> 00:19:51,760
Speaker 2: have happened if had we moved down there?

395
00:19:52,200 --> 00:19:55,200
Speaker 1: For you, does it still feel the same to you?

396
00:19:55,280 --> 00:19:56,199
Speaker 1: As it once was.

397
00:19:56,240 --> 00:19:58,399
Speaker 2: Like now live with a bunch of disgruntled New Yorkers

398
00:19:58,440 --> 00:20:00,840
Speaker 2: that are like gentrification, and this is not the New

399
00:20:00,880 --> 00:20:04,720
Speaker 2: York I loved, And everywhere I go it sort of

400
00:20:04,800 --> 00:20:05,360
Speaker 2: goes through that.

401
00:20:05,800 --> 00:20:10,919
Speaker 4: What is Well, one of the things what's difficult with

402
00:20:10,960 --> 00:20:13,560
Speaker 4: me too, is because I'm fighting for the identity of

403
00:20:13,640 --> 00:20:16,320
Speaker 4: New Orleans to because we're not the same.

404
00:20:16,800 --> 00:20:19,040
Speaker 3: We are not like, you know, culture wise.

405
00:20:19,119 --> 00:20:22,560
Speaker 4: I think what happened was so many people after Hurricane

406
00:20:22,640 --> 00:20:27,840
Speaker 4: Katrina moved away somewhere else and picked up they habits,

407
00:20:28,400 --> 00:20:31,280
Speaker 4: you know, and some of them came back. You know what, Okay,

408
00:20:31,320 --> 00:20:33,520
Speaker 4: you sound like you're from Atlanta. You sound like you're

409
00:20:33,560 --> 00:20:36,520
Speaker 4: from just as small as Baton Rouge. You could have

410
00:20:36,560 --> 00:20:38,320
Speaker 4: moved one hour out and you're just like, but you

411
00:20:38,400 --> 00:20:40,760
Speaker 4: sound like you're from Baton Rouge. You don't sound like

412
00:20:40,800 --> 00:20:43,080
Speaker 4: New Orleans no more. You don't move like and and

413
00:20:43,680 --> 00:20:46,040
Speaker 4: I get it. That was a tragedy, so people had to,

414
00:20:46,440 --> 00:20:49,399
Speaker 4: but it kind of it messed with our identity. It

415
00:20:49,440 --> 00:20:52,320
Speaker 4: messed with our creativity and everything. So we are a

416
00:20:52,320 --> 00:20:56,840
Speaker 4: city rebuilding our sound, you know, we and it's still

417
00:20:57,280 --> 00:20:59,280
Speaker 4: you know, we're still waiting for some people. I don't

418
00:20:59,320 --> 00:21:02,720
Speaker 4: know to come back or either to contribute, but we

419
00:21:02,720 --> 00:21:06,159
Speaker 4: we we definitely we're a city that's rebuilding our sound.

420
00:21:06,960 --> 00:21:10,119
Speaker 2: I was gonna say, twenty years after the fact, have

421
00:21:10,280 --> 00:21:13,280
Speaker 2: you recovered twenty years after the fact?

422
00:21:13,320 --> 00:21:15,040
Speaker 1: Or is this still something missing? Man?

423
00:21:15,160 --> 00:21:17,840
Speaker 4: No, Yeah, that's something that does a disconnect with like

424
00:21:17,880 --> 00:21:20,120
Speaker 4: even what I'm telling you with DJing, how that, how

425
00:21:20,119 --> 00:21:23,600
Speaker 4: that has happened? There's a disconnect with younger New Orleans

426
00:21:23,640 --> 00:21:27,440
Speaker 4: and older New Orleans as artists, Like, you know, you

427
00:21:27,800 --> 00:21:30,320
Speaker 4: have younger artists that feel like, you know, if you're

428
00:21:30,359 --> 00:21:33,399
Speaker 4: OJ status, then you know, you will waste the time,

429
00:21:33,800 --> 00:21:36,240
Speaker 4: like you know, they just like, oh well, and when

430
00:21:36,280 --> 00:21:36,920
Speaker 4: I grew.

431
00:21:36,720 --> 00:21:38,359
Speaker 3: Up, we actually looked up to the.

432
00:21:38,760 --> 00:21:41,639
Speaker 4: Meters, the Allen two Salts, you know, Erma tones, We

433
00:21:41,680 --> 00:21:43,840
Speaker 4: looked up to everybody that was our you know, and

434
00:21:43,880 --> 00:21:46,760
Speaker 4: we actually went to them for advice on how you

435
00:21:46,800 --> 00:21:48,560
Speaker 4: got that sound or how you created this?

436
00:21:48,680 --> 00:21:50,960
Speaker 3: How was that that warm? How is that? You know?

437
00:21:51,080 --> 00:21:54,280
Speaker 4: And they didn't mind. But they're like, if you saying

438
00:21:54,320 --> 00:21:57,800
Speaker 4: something to somebody young, because it's still that chip on

439
00:21:57,840 --> 00:21:59,920
Speaker 4: their shoulder, you know, they're just like, well, dude, you

440
00:22:00,160 --> 00:22:03,920
Speaker 4: just wasting time and the art of producing a song

441
00:22:04,160 --> 00:22:06,720
Speaker 4: is gone. Like you know, when you produce a song,

442
00:22:06,760 --> 00:22:09,439
Speaker 4: you sit with me, and we produced that song, not

443
00:22:09,560 --> 00:22:12,000
Speaker 4: me sending you a beat, and like, hey, let's see

444
00:22:12,000 --> 00:22:15,280
Speaker 4: what comes out, you know, And that just one of

445
00:22:15,280 --> 00:22:17,679
Speaker 4: those that was so great about New Orleans that you

446
00:22:17,720 --> 00:22:20,639
Speaker 4: could get a bunch of musicians together from from a

447
00:22:20,760 --> 00:22:23,080
Speaker 4: jazz band, from a brass band, from a you know,

448
00:22:23,160 --> 00:22:25,159
Speaker 4: and we can sit in the room and see what

449
00:22:25,200 --> 00:22:27,800
Speaker 4: we come out with. You know, on the earlier Cash

450
00:22:27,840 --> 00:22:30,600
Speaker 4: Money songs, Trombone Shady played on those songs when he

451
00:22:30,680 --> 00:22:34,679
Speaker 4: was a kid, like you know, and that foundation some

452
00:22:34,880 --> 00:22:38,560
Speaker 4: of that turned into Trombone Shady and then you're just like, wow,

453
00:22:38,640 --> 00:22:41,680
Speaker 4: look at this played you know on some of these

454
00:22:41,680 --> 00:22:44,199
Speaker 4: songs for wrestling tickets. That's all he wanted to do

455
00:22:44,240 --> 00:22:46,120
Speaker 4: is go to the wrestling match, and then he turns

456
00:22:46,160 --> 00:22:49,080
Speaker 4: into this icon like you know. And but but it

457
00:22:49,119 --> 00:22:52,280
Speaker 4: was because we wanted to keep that guy off of

458
00:22:52,359 --> 00:22:54,520
Speaker 4: the streets, because we saw how talented he was, and

459
00:22:54,560 --> 00:22:57,199
Speaker 4: we also wanted to tell him whenever we got a

460
00:22:57,280 --> 00:22:59,880
Speaker 4: chance to celebrate him, hey, bro, keep practicing, You're going

461
00:22:59,920 --> 00:23:03,600
Speaker 4: to be something great. Now. There's a disconnect, like you know,

462
00:23:03,720 --> 00:23:05,639
Speaker 4: when you when you're saying that to a younger artist,

463
00:23:05,920 --> 00:23:07,959
Speaker 4: or you can't even call a younger artist. I'm going

464
00:23:08,040 --> 00:23:10,800
Speaker 4: to show you. Notice, like I see kids all the

465
00:23:10,880 --> 00:23:14,119
Speaker 4: time on the internet like spasing out, going crazy, and

466
00:23:14,160 --> 00:23:16,159
Speaker 4: I just the inner me wants to reach out to

467
00:23:16,200 --> 00:23:18,560
Speaker 4: them and say, hey, bro, what are you doing.

468
00:23:18,600 --> 00:23:19,600
Speaker 3: It's not that serious.

469
00:23:19,640 --> 00:23:22,600
Speaker 4: This is music, right, But if you do that, then

470
00:23:22,720 --> 00:23:24,720
Speaker 4: you get called the clown or you ought to you know,

471
00:23:24,800 --> 00:23:26,720
Speaker 4: you the week And I'm just like, well, I don't

472
00:23:26,760 --> 00:23:28,600
Speaker 4: know how we fix that or how we you know,

473
00:23:28,800 --> 00:23:31,320
Speaker 4: make that work. But there's something going on in the

474
00:23:31,359 --> 00:23:34,640
Speaker 4: water or whatever happened that were not gelling the way

475
00:23:34,640 --> 00:23:35,159
Speaker 4: we used to.

476
00:23:36,119 --> 00:23:39,000
Speaker 2: There's a question I always wanted to ask a knowledge

477
00:23:39,119 --> 00:23:43,120
Speaker 2: resident that's closer to my age that I never got

478
00:23:43,119 --> 00:23:47,600
Speaker 2: to ask. Okay, I know that, you know, oftentimes music

479
00:23:47,640 --> 00:23:51,680
Speaker 2: lovers will reminisce about yesteryear and how it was back

480
00:23:51,720 --> 00:23:54,080
Speaker 2: in the day and music was way better back then.

481
00:23:54,160 --> 00:23:57,760
Speaker 2: Da da da da da, And sometimes you know, I

482
00:23:57,800 --> 00:24:01,960
Speaker 2: in doing research or just listening, I'm just under the

483
00:24:01,960 --> 00:24:06,760
Speaker 2: impression that it's always been the same, meaning that there's

484
00:24:07,119 --> 00:24:11,480
Speaker 2: a commercial artist, there's a moderately loved artist, there's an

485
00:24:11,560 --> 00:24:15,200
Speaker 2: underground artist. There's a niche artist. Now here's the deal.

486
00:24:15,560 --> 00:24:20,359
Speaker 2: I grew up in my crib with. In my actual childhood,

487
00:24:20,440 --> 00:24:25,360
Speaker 2: I had one meters record. Yeah, it was reprise era meters.

488
00:24:26,680 --> 00:24:30,200
Speaker 2: We know, there's two levels of the meters, the breakbeat, yeah,

489
00:24:30,280 --> 00:24:33,520
Speaker 2: and then the more poly sophisticated I mean, you know,

490
00:24:34,680 --> 00:24:37,520
Speaker 2: just kiss my baby, some shit works, you know what

491
00:24:37,560 --> 00:24:41,960
Speaker 2: I mean. However, you know, I didn't discover air quote

492
00:24:42,080 --> 00:24:47,320
Speaker 2: that meters until nineteen ninety when those first like five

493
00:24:47,400 --> 00:24:52,399
Speaker 2: records were reissued. Were they a niche New Orleans group

494
00:24:52,520 --> 00:24:56,440
Speaker 2: in terms of like if you know you know, because

495
00:24:56,560 --> 00:24:59,359
Speaker 2: I'm just under the impression that even in nineteen seventy two,

496
00:25:00,320 --> 00:25:04,520
Speaker 2: I can't imagine Sissy Struck getting airplay on the radio

497
00:25:04,760 --> 00:25:07,760
Speaker 2: or that sort of thing. It's like, how popular were

498
00:25:07,800 --> 00:25:09,560
Speaker 2: they in their time period?

499
00:25:10,480 --> 00:25:12,840
Speaker 4: I think in New Orleans it was, you know, the

500
00:25:12,920 --> 00:25:15,760
Speaker 4: Meters were gods. But outside of that, they were still

501
00:25:15,760 --> 00:25:19,080
Speaker 4: trying to figure it out, you know, and nobody didn't

502
00:25:19,119 --> 00:25:22,160
Speaker 4: Nobody thought this music was great because it still sounded

503
00:25:22,320 --> 00:25:24,720
Speaker 4: New Orleans, you know. And then, like you said, the

504
00:25:24,760 --> 00:25:28,120
Speaker 4: breakbeat era came and everybody was like, whoa the drummer

505
00:25:28,200 --> 00:25:30,280
Speaker 4: and what he's doing? And these sounds are you know,

506
00:25:30,320 --> 00:25:34,560
Speaker 4: they something crazy. But that showed you how much these

507
00:25:34,680 --> 00:25:38,080
Speaker 4: dudes actually loved music, because I don't think they sold

508
00:25:38,119 --> 00:25:39,760
Speaker 4: a lot of records. I don't think you know what

509
00:25:39,800 --> 00:25:41,760
Speaker 4: I'm saying, they sold a whole butt to go back

510
00:25:41,800 --> 00:25:44,480
Speaker 4: in right now, that's considered a failure, you.

511
00:25:44,400 --> 00:25:46,560
Speaker 3: Know what I'm said. And there was a band who

512
00:25:46,600 --> 00:25:47,560
Speaker 3: like we going back in there.

513
00:25:47,600 --> 00:25:50,640
Speaker 4: We're gonna do another album, right you know, and we're

514
00:25:50,680 --> 00:25:52,680
Speaker 4: gonna do another one. We're gonna change our name to

515
00:25:52,760 --> 00:25:54,639
Speaker 4: Chocolate Milk and we're gonna do this, like you know

516
00:25:54,680 --> 00:25:56,600
Speaker 4: what I'm saying, and then we're gonna go back to

517
00:25:56,640 --> 00:26:00,119
Speaker 4: the meters. So and you got a lot of songs

518
00:26:00,240 --> 00:26:03,600
Speaker 4: which which is so cool about an older era. And

519
00:26:03,600 --> 00:26:06,280
Speaker 4: I'm not I'm not comparing like nothing new, but what

520
00:26:06,680 --> 00:26:08,840
Speaker 4: was older Like a lot of those songs were the

521
00:26:08,920 --> 00:26:10,280
Speaker 4: band members from other.

522
00:26:10,119 --> 00:26:11,960
Speaker 3: Groups that were cool groups like.

523
00:26:11,880 --> 00:26:15,080
Speaker 4: That that that sound was linked to other people, you know,

524
00:26:15,480 --> 00:26:17,880
Speaker 4: like you take mister Big Stuff Gene Knight. You can

525
00:26:17,920 --> 00:26:21,040
Speaker 4: hear the influence of Alan Tucson in that song, like

526
00:26:21,080 --> 00:26:23,040
Speaker 4: you know, you can hear like some of the medias

527
00:26:23,760 --> 00:26:26,880
Speaker 4: you know, like so that that that right there, that that.

528
00:26:26,880 --> 00:26:28,520
Speaker 4: That's the energy that I think.

529
00:26:28,800 --> 00:26:29,800
Speaker 3: Yes, music is.

530
00:26:29,760 --> 00:26:33,359
Speaker 4: Still great, but we're killing that energy of the experience

531
00:26:33,400 --> 00:26:36,480
Speaker 4: of knowing other people like you know, I think it's

532
00:26:36,520 --> 00:26:39,199
Speaker 4: a big deal. Leo from the Meters called me like

533
00:26:39,200 --> 00:26:41,399
Speaker 4: two days ago, but he's been calling me all my life.

534
00:26:41,640 --> 00:26:43,000
Speaker 3: I think that's a big deal.

535
00:26:43,040 --> 00:26:45,480
Speaker 4: When that guy calls me like you know what I'm

536
00:26:45,480 --> 00:26:48,200
Speaker 4: saying and he'll just call it me like, hey man,

537
00:26:48,240 --> 00:26:50,199
Speaker 4: I'm just checking on you. What you're doing, bro, Like

538
00:26:50,240 --> 00:26:52,119
Speaker 4: you know what I'm saying, And I'm in my car

539
00:26:52,240 --> 00:26:53,680
Speaker 4: going that's that's the meat.

540
00:26:53,760 --> 00:26:55,040
Speaker 3: That's Leo the bass player.

541
00:26:55,960 --> 00:27:00,000
Speaker 2: Leo is the king of the cold call boy, Yeah,

542
00:27:00,000 --> 00:27:04,040
Speaker 2: it hit you like seven exactly exactly.

543
00:27:04,480 --> 00:27:09,840
Speaker 1: Yes, you can you tell me how did you discover

544
00:27:10,520 --> 00:27:11,000
Speaker 1: hip hop?

545
00:27:11,920 --> 00:27:15,320
Speaker 3: Run BMC? Believe it or not, I thought.

546
00:27:15,080 --> 00:27:18,000
Speaker 1: So even not even sugar Hill I was.

547
00:27:18,040 --> 00:27:20,000
Speaker 3: I was okay with that.

548
00:27:20,000 --> 00:27:23,000
Speaker 4: That was alright with me. It wasn't life changing until

549
00:27:23,080 --> 00:27:26,800
Speaker 4: it's like really yeah, because I can tell you everything.

550
00:27:26,920 --> 00:27:29,600
Speaker 4: Treacherous three, you know what I'm saying, Fearless four, all

551
00:27:29,640 --> 00:27:30,560
Speaker 4: of that Grand Master Flag.

552
00:27:30,720 --> 00:27:33,800
Speaker 2: How did sugar Hill era hip hop trickle down in

553
00:27:33,840 --> 00:27:34,520
Speaker 2: New Orleans?

554
00:27:34,840 --> 00:27:36,879
Speaker 3: Oh? That was incredible. That was phenomenal.

555
00:27:37,040 --> 00:27:39,320
Speaker 4: My sister used to drag me to all of these

556
00:27:39,640 --> 00:27:42,760
Speaker 4: school parties and I hadn't found myself as a DJ yet.

557
00:27:42,920 --> 00:27:45,199
Speaker 4: I was just somebody who loved the music, like you

558
00:27:45,240 --> 00:27:47,119
Speaker 4: know what I'm saying. And but that was the sugar

559
00:27:47,200 --> 00:27:49,879
Speaker 4: Hill era. Flash to the Beat was one of my

560
00:27:49,960 --> 00:27:52,879
Speaker 4: favorite all time songs. I heard that one time, and

561
00:27:53,080 --> 00:27:55,640
Speaker 4: of course I was under age at my sister's high

562
00:27:55,640 --> 00:27:58,760
Speaker 4: school dance and that came on, and that was one

563
00:27:58,800 --> 00:28:01,159
Speaker 4: of the songs that changed me for forever. Like I

564
00:28:01,280 --> 00:28:03,639
Speaker 4: was just like, oh my god. And there's a break

565
00:28:03,640 --> 00:28:05,560
Speaker 4: at the end of Flash to the Beat where the

566
00:28:05,600 --> 00:28:13,400
Speaker 4: beat changes and it's like boom boom boom. When you're hot,

567
00:28:13,440 --> 00:28:15,880
Speaker 4: you're hot, and I was like, what is that when

568
00:28:15,960 --> 00:28:16,359
Speaker 4: you're not?

569
00:28:16,600 --> 00:28:19,239
Speaker 3: But that was you can't get to the machine, you

570
00:28:19,240 --> 00:28:19,920
Speaker 3: know what I'm saying.

571
00:28:20,320 --> 00:28:21,000
Speaker 1: I was going to say.

572
00:28:21,040 --> 00:28:23,879
Speaker 2: Most people don't know that there are two versions of

573
00:28:23,960 --> 00:28:30,600
Speaker 2: Flash to the Beat because there's the professional sugar Hill version, yeah,

574
00:28:30,640 --> 00:28:34,920
Speaker 2: and then the version that they captured live at the Yeah,

575
00:28:35,440 --> 00:28:40,280
Speaker 2: I believe right exactly. So wait, did you guys get

576
00:28:40,320 --> 00:28:43,320
Speaker 2: both versions or were you Yeah, we had both versions.

577
00:28:43,400 --> 00:28:46,400
Speaker 4: We had cat versions because you know, some kind of ways.

578
00:28:46,440 --> 00:28:49,280
Speaker 4: Somehow my dad used to get these songs, you know,

579
00:28:49,560 --> 00:28:52,240
Speaker 4: but he wasn't big on hip hop unless it was

580
00:28:52,240 --> 00:28:54,400
Speaker 4: a song that everybody and they just stayed in a pile.

581
00:28:54,840 --> 00:28:58,360
Speaker 4: So when when, So when I actually fell in love

582
00:28:58,440 --> 00:29:01,160
Speaker 4: with hip hop, I went back to the piling and

583
00:29:01,200 --> 00:29:04,320
Speaker 4: found all of these incredible songs that was like, oh

584
00:29:04,400 --> 00:29:06,480
Speaker 4: my god, like you know, because my dad didn't play that.

585
00:29:06,600 --> 00:29:10,080
Speaker 4: He played mostly disco. He played mostly soul records. And

586
00:29:10,120 --> 00:29:13,200
Speaker 4: I was like, this is an incredible stack of records

587
00:29:13,200 --> 00:29:15,840
Speaker 4: that you know, I want, like I want to hear this.

588
00:29:16,200 --> 00:29:19,760
Speaker 2: But when I remember, so the reject pile is how

589
00:29:19,800 --> 00:29:20,880
Speaker 2: you started building your.

590
00:29:21,160 --> 00:29:26,760
Speaker 4: The reject polish listen, I had say, well, my dad

591
00:29:26,800 --> 00:29:30,800
Speaker 4: didn't want I got, and then that's that's what built me. Okay, yeah,

592
00:29:30,880 --> 00:29:33,160
Speaker 4: that's dope. And let me tell you one of the

593
00:29:33,200 --> 00:29:36,040
Speaker 4: songs my dad slept on. He didn't not think it

594
00:29:36,080 --> 00:29:40,160
Speaker 4: was a good song. She good times what and yeah,

595
00:29:40,320 --> 00:29:43,400
Speaker 4: And that song was in that pile. And I remember

596
00:29:43,480 --> 00:29:45,680
Speaker 4: playing the song and I was and I'm telling my dad,

597
00:29:45,720 --> 00:29:48,560
Speaker 4: I'm like, dude, this song is bad ass. I don't

598
00:29:48,560 --> 00:29:50,680
Speaker 4: know why you put that over here, but you might

599
00:29:50,800 --> 00:29:53,200
Speaker 4: want to put this back put this in rotation in

600
00:29:53,240 --> 00:29:55,720
Speaker 4: your you know, and because New Orleans was a weird

601
00:29:55,760 --> 00:29:58,680
Speaker 4: place at the time, New Orleans, you rejected a lot

602
00:29:58,720 --> 00:30:00,000
Speaker 4: of stuff like we had.

603
00:29:59,880 --> 00:30:03,360
Speaker 3: A moment in New Orleans where we only played New Orleans.

604
00:30:03,360 --> 00:30:05,960
Speaker 4: And we've had those moments a lot of times over

605
00:30:06,040 --> 00:30:08,120
Speaker 4: you know, over time, where we're just like now, we

606
00:30:08,160 --> 00:30:10,160
Speaker 4: don't want to hear nothing else but what we playing.

607
00:30:10,720 --> 00:30:13,120
Speaker 4: And there was a few songs that you know that

608
00:30:13,200 --> 00:30:15,800
Speaker 4: came through, but most of all it would be songs

609
00:30:15,800 --> 00:30:17,960
Speaker 4: that kind of they sounded right to New Orleans.

610
00:30:18,120 --> 00:30:22,600
Speaker 2: I was gonna say, what is the ratio between local

611
00:30:22,680 --> 00:30:27,280
Speaker 2: support and local talent versus FuMO, Like, oh, we need

612
00:30:27,280 --> 00:30:29,120
Speaker 2: to catch up with the rest of America. This is

613
00:30:29,120 --> 00:30:31,840
Speaker 2: what the rest of America's playing. We need to get

614
00:30:31,840 --> 00:30:35,160
Speaker 2: with it. But is just depending on you knowing what

615
00:30:35,200 --> 00:30:35,960
Speaker 2: they want.

616
00:30:36,200 --> 00:30:39,600
Speaker 4: I think New Orleans real real talk my era of

617
00:30:39,640 --> 00:30:43,560
Speaker 4: when I started actually djam and started doing house parties

618
00:30:43,640 --> 00:30:45,880
Speaker 4: or whatever, it kind of changed the scope of what

619
00:30:46,000 --> 00:30:49,640
Speaker 4: New Orleans hip hop was because we were open to

620
00:30:49,760 --> 00:30:52,920
Speaker 4: playing West Coast songs. We was open to playing East

621
00:30:53,000 --> 00:30:55,560
Speaker 4: Coast songs. Before that, DJ's didn't do that.

622
00:30:55,840 --> 00:30:56,840
Speaker 3: But this is a shift.

623
00:30:57,080 --> 00:31:00,840
Speaker 4: Here comes hip hop, you know, and now everybody loves it.

624
00:31:00,840 --> 00:31:03,320
Speaker 4: Everybody likes it, you know what I'm saying, and we're like, oh,

625
00:31:03,400 --> 00:31:05,720
Speaker 4: we got easy Ease, we got you know what I'm saying.

626
00:31:05,760 --> 00:31:08,200
Speaker 4: We got the West Coast is popping off and those

627
00:31:08,240 --> 00:31:12,080
Speaker 4: songs are big. And at the time, I remember every

628
00:31:12,120 --> 00:31:15,560
Speaker 4: time somebody came to New Orleans, I opened up, Like,

629
00:31:15,720 --> 00:31:15,960
Speaker 4: you know.

630
00:31:15,920 --> 00:31:18,480
Speaker 3: If it was a tour, but the tour was East

631
00:31:18,520 --> 00:31:20,360
Speaker 3: and West Coast, you would.

632
00:31:20,160 --> 00:31:22,400
Speaker 1: Be the opening DJ for whoever was in jail.

633
00:31:22,760 --> 00:31:27,400
Speaker 4: Yeah, yo, what was your first l coolj easy, anybody

634
00:31:27,400 --> 00:31:30,040
Speaker 4: that can run DMC, anybody that came to New Orleans,

635
00:31:30,120 --> 00:31:32,480
Speaker 4: Like if it was a major concert, I would always

636
00:31:32,480 --> 00:31:35,640
Speaker 4: be the opening DJ. I would always be you know,

637
00:31:36,120 --> 00:31:38,800
Speaker 4: the guy who used to MC with me way back, Denny,

638
00:31:38,840 --> 00:31:41,080
Speaker 4: Him and cut Creator grew up together. He was from

639
00:31:41,120 --> 00:31:43,720
Speaker 4: New York, so I was in the group New York Incorporated,

640
00:31:43,720 --> 00:31:44,960
Speaker 4: but it was my friends Denny.

641
00:31:45,160 --> 00:31:46,280
Speaker 3: He started this group.

642
00:31:46,680 --> 00:31:47,440
Speaker 4: Denny was one of.

643
00:31:47,360 --> 00:31:49,720
Speaker 3: The first people who I saw transformed.

644
00:31:49,760 --> 00:31:52,240
Speaker 4: We had no idea what that was, but he came

645
00:31:52,280 --> 00:31:54,760
Speaker 4: from New York with it, and then he showed me

646
00:31:54,840 --> 00:31:57,200
Speaker 4: so many different things that you know, because I thought

647
00:31:57,200 --> 00:32:00,120
Speaker 4: I was God on the turntables, you know, because I'm like,

648
00:32:00,360 --> 00:32:01,880
Speaker 4: I know how to back spin, I know how I

649
00:32:01,880 --> 00:32:05,520
Speaker 4: got a little good but right right, And he just

650
00:32:05,640 --> 00:32:08,960
Speaker 4: came and just read. And the crazy thing was he

651
00:32:09,080 --> 00:32:12,640
Speaker 4: had a Newmark mixer with the turnnob. He didn't have

652
00:32:12,680 --> 00:32:15,240
Speaker 4: a face, oh no, and you know, but he was

653
00:32:15,280 --> 00:32:18,200
Speaker 4: doing all of this crazy transform stuff with the turnnob,

654
00:32:18,320 --> 00:32:20,680
Speaker 4: like you know, and I was just like, wait, hold on.

655
00:32:22,680 --> 00:32:25,040
Speaker 4: But that was my first time ever seeing the Newmark

656
00:32:25,120 --> 00:32:29,000
Speaker 4: mixer and seeing twelve hundred turntables. My dad had a

657
00:32:29,000 --> 00:32:30,920
Speaker 4: big Meter mixer. I think that was the company that

658
00:32:30,960 --> 00:32:33,000
Speaker 4: made it. It was called Meter or whatever, but it was

659
00:32:33,040 --> 00:32:37,600
Speaker 4: a huge, huge mixer and he had Technique turntables, but

660
00:32:37,640 --> 00:32:41,080
Speaker 4: there was belt driven with the belt driven had some

661
00:32:41,360 --> 00:32:45,680
Speaker 4: sheeper turntables without pitching. Nothing on it, belt driven, no pitch,

662
00:32:46,120 --> 00:32:48,480
Speaker 4: no pitch, radio shack mixer, the.

663
00:32:48,480 --> 00:32:52,640
Speaker 3: Realistic mix you had to be good. Yeah, no pitch.

664
00:32:53,880 --> 00:32:56,240
Speaker 1: Wait, there's one particular record.

665
00:32:56,800 --> 00:33:00,760
Speaker 2: I want to shout out my comrade Nordwar for bringing

666
00:33:00,760 --> 00:33:04,840
Speaker 2: this to light because when he interviewed Lil Wayne, I

667
00:33:04,880 --> 00:33:08,960
Speaker 2: was really unaware of just your origins. How did New

668
00:33:09,040 --> 00:33:15,560
Speaker 2: Orleans discover and adopt trigger Man's Showboys? Like for people

669
00:33:15,640 --> 00:33:19,960
Speaker 2: listening right now, the trigger Man break is what I

670
00:33:20,040 --> 00:33:23,720
Speaker 2: typically called the New Orleans break, the Bounce break, which is.

671
00:33:29,080 --> 00:33:32,760
Speaker 1: With the break. I did not know that was a

672
00:33:32,800 --> 00:33:36,400
Speaker 1: New York record, and I never heard it.

673
00:33:36,920 --> 00:33:39,360
Speaker 2: I mean I was pretty much aware of you know,

674
00:33:39,800 --> 00:33:42,160
Speaker 2: hip hop radio as far as like cousins given me

675
00:33:43,040 --> 00:33:46,200
Speaker 2: tapes from WB, like from Mister Magic Show, and of

676
00:33:46,240 --> 00:33:50,360
Speaker 2: course we had Lady B in Philadelphia. But how did

677
00:33:50,560 --> 00:33:55,080
Speaker 2: that record wind up defining a city?

678
00:33:56,120 --> 00:33:59,080
Speaker 3: DJs? Honestly DJs. So this is what happened.

679
00:33:59,120 --> 00:34:03,800
Speaker 4: For for maybe five years, we played the vocal side

680
00:34:03,840 --> 00:34:05,920
Speaker 4: of the record, like, you know, just the regular vocal

681
00:34:05,960 --> 00:34:08,439
Speaker 4: side of the record, and everybody in New Orleans knew

682
00:34:08,480 --> 00:34:11,760
Speaker 4: this record, everybody in New York because that's that's an

683
00:34:11,800 --> 00:34:15,160
Speaker 4: example of DJ's breaking the record. But it was broken

684
00:34:15,200 --> 00:34:18,200
Speaker 4: New Orleans because like it just the storyline of it.

685
00:34:18,239 --> 00:34:21,160
Speaker 4: The storyline of the song is like it's a criminal storyline,

686
00:34:21,239 --> 00:34:22,000
Speaker 4: you know what I'm saying.

687
00:34:22,120 --> 00:34:24,400
Speaker 3: It's two gangsters fighting over whatever.

688
00:34:24,480 --> 00:34:26,840
Speaker 4: So that that fit in that era of you know,

689
00:34:27,000 --> 00:34:29,359
Speaker 4: and plus it had that eight oh eight beat. For

690
00:34:29,480 --> 00:34:32,720
Speaker 4: some reason, we have always been a city that's drawn

691
00:34:32,800 --> 00:34:35,040
Speaker 4: to the eight oh eight, you know, I don't know.

692
00:34:35,200 --> 00:34:38,759
Speaker 4: Maybe my earliest stuff was Miami bas and that was

693
00:34:39,080 --> 00:34:42,200
Speaker 4: New Orleans introduction to you know, a hip hop producer.

694
00:34:42,440 --> 00:34:44,760
Speaker 3: So all my earliest stuff was eight oh eight bass.

695
00:34:44,800 --> 00:34:47,200
Speaker 4: So everybody thought like, okay, that's what this is kind

696
00:34:47,200 --> 00:34:49,759
Speaker 4: of like what you gotta follow, like, you know, this

697
00:34:49,840 --> 00:34:51,640
Speaker 4: is this is how you produce a song like and

698
00:34:51,760 --> 00:34:53,759
Speaker 4: this is what we used to hearing. So the eight

699
00:34:53,840 --> 00:34:58,320
Speaker 4: of eight always resonated with us. And then we start

700
00:34:58,560 --> 00:35:01,680
Speaker 4: like the essence of hip We started doing calling response

701
00:35:01,719 --> 00:35:05,040
Speaker 4: and what's nuts is this kind of started with my dad.

702
00:35:05,760 --> 00:35:09,600
Speaker 4: My dad would let juven them rock the mic off

703
00:35:09,640 --> 00:35:13,080
Speaker 4: of the trigger Man beat. And this was before a

704
00:35:13,160 --> 00:35:15,880
Speaker 4: bounce was even called bounced. This was just in the

705
00:35:15,960 --> 00:35:18,719
Speaker 4: projects where you would give an MC a mic and

706
00:35:18,800 --> 00:35:21,879
Speaker 4: be like, hey, let's see who you know. But when

707
00:35:21,880 --> 00:35:24,520
Speaker 4: the eight oh eight part dropped, that's when the crowd

708
00:35:24,600 --> 00:35:27,759
Speaker 4: went crazy. It had like heart Linde drum sounds or whatever,

709
00:35:27,800 --> 00:35:32,520
Speaker 4: and then it went and then it went then it

710
00:35:32,600 --> 00:35:34,200
Speaker 4: went to that eight o weight drop. But when the

711
00:35:34,280 --> 00:35:36,919
Speaker 4: eight o eight drop happened, that's when the crowd went.

712
00:35:36,960 --> 00:35:39,279
Speaker 4: You know, you're just like, oh that part right there,

713
00:35:39,560 --> 00:35:42,439
Speaker 4: and so you had MC's going well, can you make

714
00:35:42,520 --> 00:35:45,800
Speaker 4: that part go back and forth? So that part became

715
00:35:46,160 --> 00:35:48,600
Speaker 4: a part of the show, going like, hey, so just

716
00:35:48,680 --> 00:35:51,279
Speaker 4: back spend just that part like on some grand Master

717
00:35:51,320 --> 00:35:53,520
Speaker 4: flash it where you find a break in the song

718
00:35:53,560 --> 00:35:56,680
Speaker 4: and you just like just this these four bars right here,

719
00:35:56,960 --> 00:36:01,799
Speaker 4: this guy repeat and it became just calling response and

720
00:36:01,880 --> 00:36:05,719
Speaker 4: mostly projects and block parties, and it would be like

721
00:36:07,160 --> 00:36:11,200
Speaker 4: back and forth, Uptown did this Downtown, y'all gotta come harder,

722
00:36:11,480 --> 00:36:13,680
Speaker 4: But it was always over that beat, like you know

723
00:36:13,680 --> 00:36:15,960
Speaker 4: what I'm saying. And then if it was something where

724
00:36:16,160 --> 00:36:17,960
Speaker 4: say like if it was a school dance and I

725
00:36:18,080 --> 00:36:21,040
Speaker 4: was DJing or something, everybody met up at that school

726
00:36:21,160 --> 00:36:23,160
Speaker 4: dance and then the best people would be like, hey,

727
00:36:23,400 --> 00:36:26,160
Speaker 4: let's see who rocked this song the best. And before

728
00:36:26,239 --> 00:36:28,880
Speaker 4: you know it, it evolved into Bounce and even the

729
00:36:28,920 --> 00:36:31,200
Speaker 4: reason why we even call it bounced because everybody used

730
00:36:31,200 --> 00:36:33,120
Speaker 4: to just kind of like do this off of every

731
00:36:33,120 --> 00:36:36,960
Speaker 4: time it came on, you know, and we always shortened

732
00:36:36,960 --> 00:36:40,319
Speaker 4: everything up. In New Orleans, the original song is called

733
00:36:40,440 --> 00:36:43,120
Speaker 4: drag Rap. We called it trigger Man because there's a

734
00:36:43,200 --> 00:36:45,560
Speaker 4: delay part in the song that go trigger man, trigger

735
00:36:45,719 --> 00:36:49,760
Speaker 4: and everybody was like, so of course.

736
00:36:49,680 --> 00:36:50,640
Speaker 1: It's called drag rap.

737
00:36:50,960 --> 00:36:55,000
Speaker 3: It's called drag rap. But there's a.

738
00:36:55,040 --> 00:36:57,840
Speaker 4: Part, the the lay part that says trigger man. Everybody

739
00:36:57,880 --> 00:37:00,560
Speaker 4: always liked that little part, so this the calling the

740
00:37:00,640 --> 00:37:01,520
Speaker 4: song trigger Man.

741
00:37:01,800 --> 00:37:03,960
Speaker 3: It was like, hey, play trigger Man. I'll give you

742
00:37:04,000 --> 00:37:04,640
Speaker 3: some history.

743
00:37:05,000 --> 00:37:07,600
Speaker 4: So even that beat, like when we say that beat

744
00:37:07,680 --> 00:37:09,840
Speaker 4: is more of like a bounce beat, It started with

745
00:37:10,360 --> 00:37:14,240
Speaker 4: people beating on the DJ, like beating on the plexa glass.

746
00:37:14,280 --> 00:37:15,120
Speaker 3: Go and play that beat.

747
00:37:15,440 --> 00:37:18,000
Speaker 4: Play that beat, you know, play that beat, and then

748
00:37:18,080 --> 00:37:20,600
Speaker 4: you know, people start calling it that beat. They're like,

749
00:37:20,640 --> 00:37:22,200
Speaker 4: you know, you know what that beat is, and that

750
00:37:22,239 --> 00:37:23,879
Speaker 4: beat is always a bounce like.

751
00:37:25,320 --> 00:37:26,080
Speaker 1: I never knew that.

752
00:37:26,360 --> 00:37:29,480
Speaker 4: Yeah, the earlier days, the essence of it, like the

753
00:37:29,520 --> 00:37:31,920
Speaker 4: hand claps and all of that. I created that in

754
00:37:31,960 --> 00:37:34,480
Speaker 4: the club that I was DJing at me and KLC,

755
00:37:34,760 --> 00:37:38,160
Speaker 4: I used to bring my SP twelve because I was

756
00:37:38,239 --> 00:37:41,160
Speaker 4: up against some dope DJs. It was KLC and it

757
00:37:41,280 --> 00:37:43,279
Speaker 4: was this dude DJ Duck, and I was like, to

758
00:37:43,360 --> 00:37:45,560
Speaker 4: make it a little bit better, I'm gonna start bringing

759
00:37:45,600 --> 00:37:48,440
Speaker 4: my drum machines just on. So when the SB twelve

760
00:37:48,520 --> 00:37:50,520
Speaker 4: came out, of course it ain't have nothing but probably

761
00:37:50,520 --> 00:37:54,080
Speaker 4: four or five seconds, but it was genius because I

762
00:37:54,080 --> 00:37:56,759
Speaker 4: could take this trigger Man loop, sample it and put

763
00:37:56,800 --> 00:37:59,120
Speaker 4: some hand collaps on it. And whenever I did that

764
00:37:59,200 --> 00:38:01,880
Speaker 4: in the club, and you know, it went crazy because

765
00:38:01,880 --> 00:38:03,799
Speaker 4: everybody would be like, who has this song?

766
00:38:03,840 --> 00:38:04,600
Speaker 3: What is this song?

767
00:38:04,800 --> 00:38:06,520
Speaker 4: And I'm like, no, this is a sequence. This is

768
00:38:06,560 --> 00:38:10,440
Speaker 4: something that and that became a big deal. And and

769
00:38:10,480 --> 00:38:13,719
Speaker 4: every time you hear that that was something that I

770
00:38:13,760 --> 00:38:16,279
Speaker 4: created in the club, and you know, and more and

771
00:38:16,320 --> 00:38:17,759
Speaker 4: more people was asking for it.

772
00:38:18,000 --> 00:38:19,959
Speaker 3: You know, Jubilee is getting ready, getting ready.

773
00:38:20,040 --> 00:38:23,080
Speaker 4: That's people are like, wait, you did that song.

774
00:38:23,120 --> 00:38:24,879
Speaker 3: I was like, you did that song? Yes, I did

775
00:38:24,920 --> 00:38:25,359
Speaker 3: that song.

776
00:38:30,320 --> 00:38:32,600
Speaker 4: Yeah, yeah, And folks is like, I didn't know y'all

777
00:38:32,680 --> 00:38:34,160
Speaker 4: was like, yeah, that's one of my beats.

778
00:38:34,200 --> 00:38:35,560
Speaker 3: Like you know what I'm saying. And that's kind of

779
00:38:35,560 --> 00:38:37,200
Speaker 3: like the essence of hip hop.

780
00:38:37,280 --> 00:38:39,520
Speaker 4: Hip hop, you know how it starts with a beat

781
00:38:39,520 --> 00:38:42,920
Speaker 4: of breaking just some just a crazy idea. But Bounce

782
00:38:43,040 --> 00:38:47,759
Speaker 4: is really Cameron Paul that the Brown Beat song and

783
00:38:47,920 --> 00:38:51,319
Speaker 4: trigger Man. Now before Brown Beat, there was this dude,

784
00:38:51,440 --> 00:38:57,440
Speaker 4: Derek Beat, who made rock the Beat a profile. Rock

785
00:38:57,480 --> 00:38:59,759
Speaker 4: the Beat is actually the same song. We used to

786
00:38:59,800 --> 00:39:02,200
Speaker 4: play Rocked the Beat all the time in New Orleans,

787
00:39:02,239 --> 00:39:03,319
Speaker 4: just the instrumental woman.

788
00:39:03,800 --> 00:39:06,279
Speaker 3: Is that boom boom ke boom boom?

789
00:39:07,000 --> 00:39:09,879
Speaker 4: Yes, yeah, So we would always play rock to Beat,

790
00:39:09,880 --> 00:39:11,880
Speaker 4: but nobody in New Orleans knew the name of it,

791
00:39:11,920 --> 00:39:13,560
Speaker 4: so they just start calling it that beat.

792
00:39:15,920 --> 00:39:19,000
Speaker 1: Wow. Okay, Okay, that's what's up.

793
00:39:20,280 --> 00:39:23,640
Speaker 2: This is everything I ever wanted to know about New

794
00:39:23,760 --> 00:39:26,399
Speaker 2: Orleans culture that I never got to ask.

795
00:39:26,719 --> 00:39:28,720
Speaker 4: Yeah, because you got to think both of these songs

796
00:39:29,040 --> 00:39:33,120
Speaker 4: by label status, I mean, by labels it was failures.

797
00:39:32,360 --> 00:39:33,480
Speaker 3: Derrek Beat, Rock the Beat.

798
00:39:33,480 --> 00:39:36,320
Speaker 4: You just like, nobody ever jammed that song or whatever,

799
00:39:36,360 --> 00:39:40,239
Speaker 4: but New Orleans, yeah, trigger Man, nobody jammed that song

800
00:39:40,320 --> 00:39:43,239
Speaker 4: New Orleans, like and Ali, both of them. Still they

801
00:39:43,239 --> 00:39:45,239
Speaker 4: are legends in New Orleans. They could pretty much do

802
00:39:45,239 --> 00:39:47,920
Speaker 4: whatever they want. And I remember the first time the

803
00:39:48,040 --> 00:39:52,719
Speaker 4: group came to New Orleans, right and they performed, and

804
00:39:52,800 --> 00:39:54,960
Speaker 4: this drug dealer dude got them, you know, and got

805
00:39:55,040 --> 00:39:56,720
Speaker 4: them to come to New Orleans and they were singing

806
00:39:56,760 --> 00:39:58,839
Speaker 4: like I think they had a song called Cartoon something

807
00:39:58,880 --> 00:40:01,160
Speaker 4: or whatever at the time, and they did that and

808
00:40:01,200 --> 00:40:03,440
Speaker 4: we was like, bro, y'all got to sing, just do

809
00:40:03,520 --> 00:40:05,279
Speaker 4: the song, yeah, just do the song. And it was

810
00:40:05,320 --> 00:40:09,040
Speaker 4: just like it was like, just do the song. And

811
00:40:09,120 --> 00:40:11,600
Speaker 4: when the song came on, the crowd went crazy and

812
00:40:11,640 --> 00:40:14,319
Speaker 4: it was just like dude, and we were just like, yeah,

813
00:40:14,320 --> 00:40:15,239
Speaker 4: that's the anthem die.

814
00:40:15,719 --> 00:40:16,880
Speaker 1: So they had no clue.

815
00:40:17,040 --> 00:40:20,719
Speaker 4: Yeah, they had no clue none whatsoever. And they had

816
00:40:20,719 --> 00:40:22,719
Speaker 4: to do that song three times back to back.

817
00:40:35,560 --> 00:40:37,840
Speaker 2: All right, So you said run DMC was kind of

818
00:40:37,920 --> 00:40:39,759
Speaker 2: your calling the hip hop Yeah?

819
00:40:40,000 --> 00:40:40,480
Speaker 3: Yeah.

820
00:40:40,560 --> 00:40:43,400
Speaker 1: What was the first live show that you saw with

821
00:40:43,840 --> 00:40:44,480
Speaker 1: hip hop in it?

822
00:40:44,600 --> 00:40:48,200
Speaker 2: Or releast, what was the moment where you decided, Okay,

823
00:40:48,239 --> 00:40:50,320
Speaker 2: this is my calling, I'm in this culture.

824
00:40:50,760 --> 00:40:56,160
Speaker 4: The first live show I think I saw was a

825
00:40:56,200 --> 00:40:58,560
Speaker 4: young ll COOLJ when he was on Death Jam. And

826
00:40:58,840 --> 00:41:02,080
Speaker 4: I want to say he's he was on that show, okay,

827
00:41:02,440 --> 00:41:07,440
Speaker 4: and who else was on there? Nikki B what daddy?

828
00:41:07,480 --> 00:41:08,640
Speaker 4: Don't no one heard him?

829
00:41:10,120 --> 00:41:10,920
Speaker 3: You know what I'm saying.

830
00:41:11,120 --> 00:41:14,200
Speaker 4: But to see when ll cool J came out in

831
00:41:14,239 --> 00:41:16,680
Speaker 4: the crowd response and you know, this is your backgroard,

832
00:41:16,680 --> 00:41:18,719
Speaker 4: this is your backyard, you in New Orleans. But to

833
00:41:18,760 --> 00:41:22,960
Speaker 4: see everybody just damn like this is phenomenal, Like he

834
00:41:23,040 --> 00:41:26,000
Speaker 4: got their attention for everything he does, everything he do,

835
00:41:26,360 --> 00:41:28,600
Speaker 4: that was life changing. That was you know, and I

836
00:41:28,640 --> 00:41:30,400
Speaker 4: was like, this is definitely what I need to do.

837
00:41:31,360 --> 00:41:35,160
Speaker 2: When do you feel is though New Orleans really got

838
00:41:35,239 --> 00:41:40,000
Speaker 2: its identity because I know that for first generational hip hop,

839
00:41:40,040 --> 00:41:42,480
Speaker 2: it was like, all right, let's do what New York

840
00:41:42,520 --> 00:41:45,480
Speaker 2: is sort of doing and try to sort of acclimate

841
00:41:45,520 --> 00:41:48,319
Speaker 2: ourselves to what New York is doing or what you know,

842
00:41:48,440 --> 00:41:51,439
Speaker 2: what's popular. But when's the period that you feel is like, yo,

843
00:41:52,000 --> 00:41:54,520
Speaker 2: this is our shit and this is our culture and

844
00:41:54,560 --> 00:41:55,600
Speaker 2: this is what we're gonna do.

845
00:41:56,320 --> 00:41:57,200
Speaker 3: Believe it or not.

846
00:41:57,360 --> 00:42:00,319
Speaker 4: It still has a lot to do with outcasts, like

847
00:42:00,400 --> 00:42:04,400
Speaker 4: you know, the whole South's identity. Like, you know, I

848
00:42:04,440 --> 00:42:08,000
Speaker 4: don't think production wise, we was there yet, you know,

849
00:42:08,239 --> 00:42:10,800
Speaker 4: because the first generation of cash money a lot of

850
00:42:10,800 --> 00:42:13,360
Speaker 4: people don't notice. They think like you know, from Juvie,

851
00:42:13,400 --> 00:42:15,759
Speaker 4: and that wasn't the first generation. The first generation of

852
00:42:15,800 --> 00:42:18,120
Speaker 4: cash money was bounce artists, you know, and we was

853
00:42:18,160 --> 00:42:19,920
Speaker 4: trying to figure out what we was gonna do, if

854
00:42:19,920 --> 00:42:22,600
Speaker 4: we was gonna stay there or whatever. And then you know,

855
00:42:22,760 --> 00:42:25,879
Speaker 4: you got outcasts and they come out with songs that

856
00:42:26,440 --> 00:42:28,319
Speaker 4: we can do this, but we were scared to do

857
00:42:28,360 --> 00:42:32,359
Speaker 4: it where we actually you were scared. Yeah, we heard

858
00:42:32,480 --> 00:42:34,760
Speaker 4: musicianship or whatever and all of that. We just didn't

859
00:42:34,760 --> 00:42:37,239
Speaker 4: think that it was gonna be received well, you know,

860
00:42:37,480 --> 00:42:39,799
Speaker 4: to say, like, you know what, this is not what

861
00:42:39,880 --> 00:42:42,239
Speaker 4: hip hop sounds like to us, because a lot of

862
00:42:42,280 --> 00:42:44,359
Speaker 4: stuff we was masked from, like you know, even though

863
00:42:44,360 --> 00:42:47,279
Speaker 4: we was getting songs, but the favorite was the West Coast,

864
00:42:47,360 --> 00:42:49,800
Speaker 4: over the East Coast and down South, I mean down south,

865
00:42:49,920 --> 00:42:53,360
Speaker 4: but West Coast sounds songs sounded like kind of like

866
00:42:53,400 --> 00:42:55,959
Speaker 4: Miami bass sounds just slowed down.

867
00:42:56,160 --> 00:42:57,920
Speaker 3: They were all eight to eight driven.

868
00:42:58,000 --> 00:42:59,960
Speaker 4: Like you know what I'm saying, So it kind of

869
00:43:00,040 --> 00:43:03,080
Speaker 4: resonated easy to us. But then you had Dre that

870
00:43:03,200 --> 00:43:07,000
Speaker 4: picked incredible songs the sample that we kind of knew

871
00:43:07,040 --> 00:43:09,840
Speaker 4: them because my dad knew all of these songs, you know,

872
00:43:09,880 --> 00:43:10,720
Speaker 4: he would call them.

873
00:43:10,560 --> 00:43:11,719
Speaker 3: Out whenever dah da da dah.

874
00:43:11,920 --> 00:43:14,720
Speaker 4: But it was just so genius, and I was just like, well,

875
00:43:15,200 --> 00:43:16,839
Speaker 4: I want to do that, but I don't think they

876
00:43:16,960 --> 00:43:20,560
Speaker 4: ready to let me do that, you know, because I've

877
00:43:20,600 --> 00:43:24,280
Speaker 4: been known I'm still a DJ. I'm starting to get producer,

878
00:43:24,560 --> 00:43:26,919
Speaker 4: you know, these credits and accolades or whatever, but I'm

879
00:43:27,040 --> 00:43:29,960
Speaker 4: still a street DJ, and my job is to keep

880
00:43:30,000 --> 00:43:32,640
Speaker 4: the party going. And what I was good at was

881
00:43:32,640 --> 00:43:35,799
Speaker 4: finding these incredible eight to eight breaks from songs that

882
00:43:35,880 --> 00:43:39,200
Speaker 4: you know and making that something my own. I was

883
00:43:39,280 --> 00:43:43,600
Speaker 4: fearful of musicianship for a certain you know, and then I.

884
00:43:43,520 --> 00:43:45,960
Speaker 2: Hear the way the way that I would dig for

885
00:43:46,200 --> 00:43:49,640
Speaker 2: break beats from the seventies record you're digging hip hop

886
00:43:50,480 --> 00:43:52,520
Speaker 2: to dig for eight oweight breaks?

887
00:43:52,600 --> 00:43:53,480
Speaker 3: Yeah? Yeah.

888
00:43:53,719 --> 00:43:55,000
Speaker 1: Do you like Original Concept?

889
00:43:55,200 --> 00:43:57,960
Speaker 3: Yeah? Yeah. Pumped that bass and all of that. All

890
00:43:57,960 --> 00:43:59,960
Speaker 3: of that was big in New Orleans. All of that.

891
00:44:00,400 --> 00:44:04,000
Speaker 4: Yeah, that acknowledged me. All of that was big. What

892
00:44:04,600 --> 00:44:06,560
Speaker 4: all of that was big in New Orleans?

893
00:44:06,680 --> 00:44:11,120
Speaker 2: That's so crazy because like Original Concept, I'm not saying

894
00:44:11,360 --> 00:44:15,359
Speaker 2: couldn't get arrested. But again, it's one of those if

895
00:44:15,360 --> 00:44:18,200
Speaker 2: you knew, you knew, and because they have the deaf

896
00:44:18,280 --> 00:44:21,799
Speaker 2: jam shield behind them, I always wanted them to be

897
00:44:21,960 --> 00:44:25,680
Speaker 2: bigger than what they were, but only certain few knew

898
00:44:25,719 --> 00:44:27,680
Speaker 2: about Original Concept.

899
00:44:27,880 --> 00:44:30,399
Speaker 1: But you're taking this all in and.

900
00:44:30,760 --> 00:44:34,120
Speaker 4: You ask any DJ from my era, anybody that grew up,

901
00:44:34,160 --> 00:44:36,319
Speaker 4: not just DJs that grew up in my era of

902
00:44:36,320 --> 00:44:37,240
Speaker 4: the House of Blues.

903
00:44:37,600 --> 00:44:40,680
Speaker 3: When Pump that base came on, it got crazy. There

904
00:44:40,800 --> 00:44:42,319
Speaker 3: them that.

905
00:44:42,400 --> 00:44:45,160
Speaker 4: Get a little stupid, get a little stupid and pumped

906
00:44:45,160 --> 00:44:48,160
Speaker 4: that and that's all it was, was an instrumental eight

907
00:44:48,239 --> 00:44:49,840
Speaker 4: to eight instrumental.

908
00:44:50,280 --> 00:44:52,520
Speaker 3: And you just rocked that the whole time and rocked

909
00:44:52,520 --> 00:44:53,879
Speaker 3: that the whole time.

910
00:44:54,520 --> 00:44:58,720
Speaker 2: Once I dug into your history and I'm talking about

911
00:44:58,719 --> 00:45:02,279
Speaker 2: like like buck Jump Time, Yeah, the fact that you

912
00:45:02,719 --> 00:45:07,279
Speaker 2: and Gregory and yeah mc gregory did a Freddy Krueger rap.

913
00:45:07,880 --> 00:45:10,640
Speaker 1: Yeah before Jazzy Jeff in the.

914
00:45:10,600 --> 00:45:13,760
Speaker 4: Fresh Jeff the Fresh Prince did it and the Fat Boys.

915
00:45:13,800 --> 00:45:18,960
Speaker 2: So the musical underline was it was almost like it

916
00:45:19,000 --> 00:45:22,000
Speaker 2: was at oh but with I assume that was a

917
00:45:22,040 --> 00:45:25,879
Speaker 2: live brass bend inside the at least on buck Jump Time?

918
00:45:26,120 --> 00:45:28,440
Speaker 4: Was that a buck Jump time? That was? So what

919
00:45:28,520 --> 00:45:30,960
Speaker 4: happened even with that, it's a crazy story. I was

920
00:45:31,000 --> 00:45:33,239
Speaker 4: doing a song for somebody else and they didn't show up,

921
00:45:33,239 --> 00:45:36,200
Speaker 4: and it was an Alan Tucson studio and he was like, hey,

922
00:45:36,560 --> 00:45:38,879
Speaker 4: you can have the studio since they didn't show up.

923
00:45:39,440 --> 00:45:41,759
Speaker 4: Whatever you come up with, you can have it. So

924
00:45:41,840 --> 00:45:43,960
Speaker 4: I called a couple of people. Greg was the only

925
00:45:44,000 --> 00:45:46,000
Speaker 4: one that came. I was like, hey, I got a

926
00:45:46,000 --> 00:45:48,600
Speaker 4: studio for a day, let's make a record. Like we

927
00:45:48,600 --> 00:45:51,160
Speaker 4: could literally make a record. And that's what came out

928
00:45:51,200 --> 00:45:55,160
Speaker 4: of it. Buck Jump, Who's on the phone? That was

929
00:45:55,239 --> 00:45:58,400
Speaker 4: a sample that I got from actually his son, Reggie.

930
00:45:58,800 --> 00:46:00,400
Speaker 4: He played me some stuff and I was like, and

931
00:46:00,719 --> 00:46:02,600
Speaker 4: at the time, I had an SP twelve, so I

932
00:46:02,640 --> 00:46:04,960
Speaker 4: only had a few seconds, and I was just like, hey,

933
00:46:05,160 --> 00:46:07,920
Speaker 4: let me jack that that little sound right there or whatever,

934
00:46:08,160 --> 00:46:10,319
Speaker 4: you know, And you knew on SP twelve you had

935
00:46:10,320 --> 00:46:12,759
Speaker 4: the slide to make the baseline to make the notes

936
00:46:12,840 --> 00:46:14,920
Speaker 4: or whatever. So I just made the notes on the

937
00:46:14,920 --> 00:46:17,200
Speaker 4: slide or whatever out of just like a little bass

938
00:46:17,239 --> 00:46:19,799
Speaker 4: clip or something that I fought, and you know, and

939
00:46:19,840 --> 00:46:22,120
Speaker 4: me and Greg made that song and that was like

940
00:46:22,160 --> 00:46:25,480
Speaker 4: that ran New Orleans for like ten eleven years.

941
00:46:25,800 --> 00:46:29,000
Speaker 1: Okay. So in my mind again when I told you

942
00:46:29,040 --> 00:46:30,240
Speaker 1: the story of like us.

943
00:46:30,080 --> 00:46:33,200
Speaker 2: Wanting to move down there, yeah, there was a brass

944
00:46:33,239 --> 00:46:35,080
Speaker 2: band that we took a liking to that we were

945
00:46:35,120 --> 00:46:37,239
Speaker 2: going to adopt and have them on the album like

946
00:46:37,320 --> 00:46:38,439
Speaker 2: incorporated with us.

947
00:46:38,880 --> 00:46:41,560
Speaker 1: They were called the two b Continued Brass Band, Okay.

948
00:46:41,760 --> 00:46:44,640
Speaker 2: And the thing was, I'd never heard buck jump time,

949
00:46:44,719 --> 00:46:48,480
Speaker 2: So in my head, I'm like, yo, like, okay, I

950
00:46:48,520 --> 00:46:51,520
Speaker 2: know with bounce music they're using eight o eight's and keyboards,

951
00:46:51,880 --> 00:46:54,120
Speaker 2: but then we have like brass bands over here, like

952
00:46:54,200 --> 00:46:56,440
Speaker 2: how come they never murge?

953
00:46:56,520 --> 00:46:57,960
Speaker 1: Both magamated it.

954
00:46:57,920 --> 00:47:02,040
Speaker 2: And then when I heard that, like, to me, that's

955
00:47:02,080 --> 00:47:04,880
Speaker 2: what I wanted to achieve, to see if that could happen.

956
00:47:05,360 --> 00:47:06,920
Speaker 1: How can that hasn't happened more?

957
00:47:07,719 --> 00:47:10,839
Speaker 4: I think the thing was after me and him did it,

958
00:47:10,960 --> 00:47:14,520
Speaker 4: because that song ran so long. By then hip hop

959
00:47:14,560 --> 00:47:16,719
Speaker 4: had them changed, Like you had people that were scared to,

960
00:47:17,080 --> 00:47:20,319
Speaker 4: you know, do brass music that you know, because hip hop,

961
00:47:20,880 --> 00:47:23,359
Speaker 4: you know, everybody start to be, oh, I'm cool now

962
00:47:23,560 --> 00:47:26,880
Speaker 4: I can't be associated with what this sounds like, you know,

963
00:47:26,960 --> 00:47:29,680
Speaker 4: like with second line music sounds like or whatever I

964
00:47:29,680 --> 00:47:32,719
Speaker 4: wanted to be. Yeah, because they felt it was old,

965
00:47:32,800 --> 00:47:34,320
Speaker 4: like they felt like, you know, it's a lot of

966
00:47:34,360 --> 00:47:36,840
Speaker 4: people that felt like, you know, it was old, you know,

967
00:47:36,920 --> 00:47:38,440
Speaker 4: and it was just like and that was that was

968
00:47:38,520 --> 00:47:42,279
Speaker 4: part of okay, something changing because this still this is

969
00:47:42,320 --> 00:47:45,640
Speaker 4: still jamming music, you know. And even I was having

970
00:47:45,640 --> 00:47:48,120
Speaker 4: a conversation with Kanye one day and he was telling

971
00:47:48,120 --> 00:47:50,400
Speaker 4: me about huh and he was like, I don't understand,

972
00:47:50,440 --> 00:47:52,880
Speaker 4: like how you did the drums like the snare rows

973
00:47:52,880 --> 00:47:54,279
Speaker 4: and the dah da da da, And I was like,

974
00:47:54,320 --> 00:47:56,120
Speaker 4: it comes from second line. I'm like a lot of

975
00:47:56,160 --> 00:47:58,520
Speaker 4: it is second line because that's what I heard drummers

976
00:47:58,600 --> 00:48:02,520
Speaker 4: do the little you know what I'm saying, And he

977
00:48:02,640 --> 00:48:04,080
Speaker 4: was like, well, I was like I kind of just

978
00:48:04,480 --> 00:48:07,640
Speaker 4: that was self examing, like before we had Sazam. You know,

979
00:48:07,680 --> 00:48:10,120
Speaker 4: you heard somebody do something. He was just like, oh, yeah,

980
00:48:10,360 --> 00:48:13,960
Speaker 4: I'm gonna keep that. What you said about on teen Spirit,

981
00:48:14,000 --> 00:48:15,360
Speaker 4: the guy said, you know he got it from the

982
00:48:15,400 --> 00:48:18,080
Speaker 4: Gap bandit the way it starts, right.

983
00:48:20,280 --> 00:48:23,000
Speaker 2: Were you at all shocked at the way that How

984
00:48:23,560 --> 00:48:28,560
Speaker 2: was embraced Because I tend to notice when big moments

985
00:48:28,600 --> 00:48:32,440
Speaker 2: happened in hip hop history and how it affects people.

986
00:48:32,640 --> 00:48:36,840
Speaker 2: Usually the first time when something stops you and you

987
00:48:36,880 --> 00:48:40,000
Speaker 2: look at the speaker and you're like, is that allowed

988
00:48:40,000 --> 00:48:43,200
Speaker 2: to happen? And the thing is is that I'm hearing

989
00:48:43,239 --> 00:48:44,680
Speaker 2: it on Hot ninety seven.

990
00:48:45,239 --> 00:48:45,759
Speaker 3: Yeah.

991
00:48:46,040 --> 00:48:47,960
Speaker 1: I wish I could describe to you.

992
00:48:49,840 --> 00:48:52,480
Speaker 2: The week that this came out, like it was almost

993
00:48:52,560 --> 00:48:57,640
Speaker 2: like giving a baby a t bone steak. Yeah, I mean,

994
00:48:57,719 --> 00:48:59,839
Speaker 2: something good but just absolutely foreign to you.

995
00:49:00,719 --> 00:49:03,000
Speaker 1: It's like we looked at it and just didn't know

996
00:49:03,600 --> 00:49:04,560
Speaker 1: what to make of it.

997
00:49:04,880 --> 00:49:09,440
Speaker 2: But it was catchy as hell, and I feel like

998
00:49:09,560 --> 00:49:12,840
Speaker 2: How was one of the songs that I wish I

999
00:49:12,920 --> 00:49:15,400
Speaker 2: knew a better term than to make new York vulnerable

1000
00:49:15,440 --> 00:49:18,920
Speaker 2: because you know, like how stubborn New York was, like

1001
00:49:19,520 --> 00:49:22,719
Speaker 2: we're the Kings were and we're ruling shit and none

1002
00:49:22,719 --> 00:49:25,040
Speaker 2: of y'all saying we're number one, We're number one, like

1003
00:49:25,480 --> 00:49:29,040
Speaker 2: whatever New York's hip hop's version is of America first,

1004
00:49:29,560 --> 00:49:30,120
Speaker 2: you know what I mean?

1005
00:49:30,960 --> 00:49:32,640
Speaker 1: And in one.

1006
00:49:32,480 --> 00:49:36,200
Speaker 2: Fell swoop, people thought it was going to be Notorious

1007
00:49:36,239 --> 00:49:40,920
Speaker 2: Thugs with Biggie and I'm certain had had he survived

1008
00:49:41,239 --> 00:49:45,040
Speaker 2: and it probably would have had a video and would

1009
00:49:45,040 --> 00:49:48,759
Speaker 2: have probably did it. But how I managed to do

1010
00:49:49,000 --> 00:49:54,719
Speaker 2: something that I thought was impenetrable, like absolutely impossible, which

1011
00:49:54,880 --> 00:49:57,280
Speaker 2: was it broke New York down?

1012
00:49:57,480 --> 00:49:59,200
Speaker 1: And then jay Z turns around?

1013
00:49:59,400 --> 00:50:02,120
Speaker 2: Can you tell me even how jay Z wound up

1014
00:50:02,200 --> 00:50:03,680
Speaker 2: on the remix to it?

1015
00:50:03,880 --> 00:50:07,720
Speaker 4: Honestly, just knowing Jay you know, he's a fan of music,

1016
00:50:07,840 --> 00:50:10,080
Speaker 4: like you know, to just say, hey, this is my

1017
00:50:10,200 --> 00:50:13,120
Speaker 4: introduction to y'all culture, and this is y'all introduction to

1018
00:50:13,239 --> 00:50:16,600
Speaker 4: our culture, and it's all so crazy. At the time,

1019
00:50:17,200 --> 00:50:19,759
Speaker 4: baby them had no clue of what jay Z was

1020
00:50:19,800 --> 00:50:21,719
Speaker 4: and hip hop you know where you know what his

1021
00:50:21,800 --> 00:50:25,160
Speaker 4: stamp was. Then they knew nothing. Me and Julie was

1022
00:50:25,280 --> 00:50:28,600
Speaker 4: just like, hey, bro, this got a state like you know,

1023
00:50:28,640 --> 00:50:30,120
Speaker 4: and it was just like, well he wont he won.

1024
00:50:30,120 --> 00:50:31,960
Speaker 3: Our sound, he just won our dah da da dad.

1025
00:50:31,960 --> 00:50:34,280
Speaker 4: And we was like, hey, bro, we're trying to break

1026
00:50:34,320 --> 00:50:36,880
Speaker 4: this market like this is we need this to happen.

1027
00:50:37,080 --> 00:50:38,359
Speaker 3: And it was like, well, we don't even know who

1028
00:50:38,440 --> 00:50:39,760
Speaker 3: this dude is. Who is dadda?

1029
00:50:39,880 --> 00:50:42,320
Speaker 4: You know, because one of the things in cash Money

1030
00:50:42,360 --> 00:50:45,760
Speaker 4: that was big to Baby and Slim was cash money.

1031
00:50:45,880 --> 00:50:48,960
Speaker 4: That's it. We ain't doing nothing else. We ain't doing

1032
00:50:49,000 --> 00:50:51,680
Speaker 4: nothing outside of it. Outside of that, we ain't listening

1033
00:50:51,680 --> 00:50:53,759
Speaker 4: to nothing outside of that. You know. What made me

1034
00:50:53,800 --> 00:50:55,640
Speaker 4: a little different was I was a DJ, you know,

1035
00:50:55,719 --> 00:50:58,319
Speaker 4: I had to listen to everything, and they had no

1036
00:50:58,360 --> 00:51:01,520
Speaker 4: clue like some of these songs were influenced by other things,

1037
00:51:01,840 --> 00:51:05,040
Speaker 4: you know, huh. To me, it's kind of like a

1038
00:51:05,120 --> 00:51:07,440
Speaker 4: modern Man Tronics you know what I'm saying, Like it

1039
00:51:07,520 --> 00:51:12,520
Speaker 4: has you know, like it's it's more it's kind of

1040
00:51:12,520 --> 00:51:14,440
Speaker 4: like a Man Tronics song, you know, And I'm a

1041
00:51:14,480 --> 00:51:17,399
Speaker 4: big fan of Man Tronics. Like I'm a huge fan

1042
00:51:17,440 --> 00:51:21,839
Speaker 4: of Man Yeah, like you know, so to me, like

1043
00:51:21,880 --> 00:51:24,759
Speaker 4: there's elements of that in that song, like you know,

1044
00:51:24,920 --> 00:51:29,000
Speaker 4: from the drum switch to yes yeah, yeah, you know,

1045
00:51:29,920 --> 00:51:32,120
Speaker 4: you're right, it's a lot of that, you know, but

1046
00:51:32,280 --> 00:51:34,200
Speaker 4: talking to a slimming baby, you know, they kind of

1047
00:51:34,280 --> 00:51:36,400
Speaker 4: was like, no, this is and I'm like no, we

1048
00:51:36,520 --> 00:51:38,799
Speaker 4: all kind of influenced from different things. And then when

1049
00:51:38,880 --> 00:51:41,640
Speaker 4: Jay did it, me and Juvie of course, we was like,

1050
00:51:41,680 --> 00:51:44,239
Speaker 4: oh my god, this is it. Jay Z jumped on it.

1051
00:51:44,560 --> 00:51:45,000
Speaker 3: They you know.

1052
00:51:45,080 --> 00:51:47,399
Speaker 4: Baby then was like, na, bro, we don't. We don't,

1053
00:51:47,520 --> 00:51:49,400
Speaker 4: and I'm like, we do need this. I'm like, we

1054
00:51:49,400 --> 00:51:51,799
Speaker 4: need this co sign, you know, as well as what

1055
00:51:51,920 --> 00:51:54,560
Speaker 4: he's doing too. He wants the South, we want that,

1056
00:51:54,840 --> 00:51:58,200
Speaker 4: you know. And we did the Tunnel and it was

1057
00:51:58,320 --> 00:52:01,759
Speaker 4: terrifying because people told us just like you know, like

1058
00:52:01,760 --> 00:52:03,640
Speaker 4: like you you got folks whispering to you and your

1059
00:52:03,640 --> 00:52:05,879
Speaker 4: ear going, Bro, they're gonna kill y'all in there, They're

1060
00:52:05,880 --> 00:52:08,959
Speaker 4: gonna you know, and we just like damn, like even

1061
00:52:09,719 --> 00:52:13,320
Speaker 4: you know what I'm saying, We doubting each other before

1062
00:52:13,360 --> 00:52:15,520
Speaker 4: the performance, like you know what I'm saying, because we

1063
00:52:15,560 --> 00:52:18,720
Speaker 4: don't know the song has really took an off, you know. Okay,

1064
00:52:18,719 --> 00:52:20,560
Speaker 4: we get booked to do the Tunnel, but we don't

1065
00:52:20,600 --> 00:52:22,719
Speaker 4: know that New York is jamming this song.

1066
00:52:22,920 --> 00:52:27,000
Speaker 3: Y Yeah, hell. Yeah. We were scared. Forget nervous.

1067
00:52:27,040 --> 00:52:30,320
Speaker 4: We were scared, scared shitless, like you know, because it

1068
00:52:30,440 --> 00:52:32,920
Speaker 4: was so many, like you said, that New York attitude

1069
00:52:33,080 --> 00:52:35,200
Speaker 4: where they was like, bro, y'all gonna bomb y'all, you know,

1070
00:52:35,440 --> 00:52:37,719
Speaker 4: just right off through. Nobody telling you it's gonna be

1071
00:52:37,760 --> 00:52:40,640
Speaker 4: all right. It was just constantly y'all ain't gonna make it.

1072
00:52:40,680 --> 00:52:42,120
Speaker 4: This is it right here at the tunnel about the

1073
00:52:42,239 --> 00:52:45,240
Speaker 4: tell y'all up, they gonna tell y'all. And if you notice,

1074
00:52:45,719 --> 00:52:48,720
Speaker 4: when we did it, the crowd, you know, went crazy.

1075
00:52:48,760 --> 00:52:52,240
Speaker 4: But the after, the after it was like Julie winning

1076
00:52:52,239 --> 00:52:53,240
Speaker 4: the Olympics or whatever.

1077
00:52:53,360 --> 00:52:55,040
Speaker 3: He was talking so much shit.

1078
00:52:55,480 --> 00:52:58,080
Speaker 4: After after we performed, Like you know what I'm saying,

1079
00:52:58,080 --> 00:52:59,400
Speaker 4: he stuck his chest out and was.

1080
00:52:59,440 --> 00:53:01,520
Speaker 3: Like, yeah, we did it, and da da da dah,

1081
00:53:01,640 --> 00:53:02,000
Speaker 3: New York.

1082
00:53:02,040 --> 00:53:03,160
Speaker 4: You can't tell me nothing.

1083
00:53:03,360 --> 00:53:06,080
Speaker 3: It was just because it was so much pressure.

1084
00:53:06,760 --> 00:53:09,160
Speaker 4: It was so much pressure put on us where people

1085
00:53:09,239 --> 00:53:11,640
Speaker 4: was like, this is New York. You're not coming here

1086
00:53:11,640 --> 00:53:14,200
Speaker 4: with this shit. Y'all not gonna do this. And when

1087
00:53:14,239 --> 00:53:17,359
Speaker 4: the song dropped and the crowd went crazy, Bro, it

1088
00:53:17,400 --> 00:53:19,919
Speaker 4: was it was such a relief for us because I'm

1089
00:53:19,960 --> 00:53:22,560
Speaker 4: telling you to the time the song came on. We

1090
00:53:22,560 --> 00:53:24,840
Speaker 4: were scared as shit because it was that many people

1091
00:53:24,920 --> 00:53:27,480
Speaker 4: told us that this was not going to work.

1092
00:53:28,160 --> 00:53:32,400
Speaker 2: Dude, Like I would have thought the complete opposite, if anything.

1093
00:53:33,160 --> 00:53:35,520
Speaker 2: I thought the annihilation was y'all coming to New York

1094
00:53:35,560 --> 00:53:38,640
Speaker 2: and annihilating us, like not knowing that you guys were

1095
00:53:39,320 --> 00:53:40,960
Speaker 2: nervous about that at all, Like.

1096
00:53:41,000 --> 00:53:43,120
Speaker 4: Yeah, because it was told to us like, you know,

1097
00:53:43,239 --> 00:53:45,799
Speaker 4: like this this is no social media because we had

1098
00:53:45,880 --> 00:53:48,120
Speaker 4: no we had no idea what was going on on

1099
00:53:48,239 --> 00:53:50,319
Speaker 4: Hot ninety seven or what was going on in New York.

1100
00:53:50,520 --> 00:53:53,200
Speaker 4: We just heard that the song had momentum, you know

1101
00:53:53,280 --> 00:53:55,719
Speaker 4: what I'm saying. So we going, okay, did they did

1102
00:53:55,760 --> 00:53:58,239
Speaker 4: they book us here to you know, make fun of

1103
00:53:58,320 --> 00:53:59,920
Speaker 4: us and poke at us, or did they book us,

1104
00:54:00,560 --> 00:54:02,480
Speaker 4: you know, to have a good time. So it was

1105
00:54:02,520 --> 00:54:04,760
Speaker 4: it was, you know, and everything that we were getting

1106
00:54:05,040 --> 00:54:08,040
Speaker 4: from people that we really didn't know, but just that

1107
00:54:08,160 --> 00:54:10,920
Speaker 4: New York attitude was we was just getting y'all not

1108
00:54:10,920 --> 00:54:13,000
Speaker 4: coming in the tunnel with this ship, y'all not going

1109
00:54:13,080 --> 00:54:15,719
Speaker 4: you know what I'm saying, And every every artist in

1110
00:54:15,760 --> 00:54:20,040
Speaker 4: that era knew the tunnel was. It was brutal, dude.

1111
00:54:20,160 --> 00:54:22,120
Speaker 2: This is also the Penn and Pixel era of hip

1112
00:54:22,160 --> 00:54:25,560
Speaker 2: hop album covers. Yeah, so I was under the impression

1113
00:54:25,600 --> 00:54:29,319
Speaker 2: that every Penn and Pixel album cover was just under

1114
00:54:29,360 --> 00:54:32,480
Speaker 2: the same umbrella. So at one point I did think

1115
00:54:32,920 --> 00:54:37,160
Speaker 2: that No Limit and Cash Money were part of the

1116
00:54:37,200 --> 00:54:41,200
Speaker 2: same family until someone that's explained to me otherwise, No,

1117
00:54:41,320 --> 00:54:42,719
Speaker 2: these are two different camps.

1118
00:54:43,080 --> 00:54:45,840
Speaker 4: We all grew up together. Everybody just picked the side.

1119
00:54:45,880 --> 00:54:48,280
Speaker 4: That's the weird thing. But but but you know, that's

1120
00:54:48,320 --> 00:54:50,240
Speaker 4: that's kind of like how the East Coast and West

1121
00:54:50,239 --> 00:54:54,240
Speaker 4: Coast battle even started, like with people kind of putting

1122
00:54:54,239 --> 00:54:55,319
Speaker 4: their own spin on it.

1123
00:54:55,600 --> 00:54:57,360
Speaker 3: We never really had beef.

1124
00:54:57,440 --> 00:55:00,400
Speaker 4: The world assumed that we had beef because we was

1125
00:55:00,400 --> 00:55:03,680
Speaker 4: from different projects, different areas. But me and KLC, the

1126
00:55:03,760 --> 00:55:05,920
Speaker 4: dude from Beach by the Pound who did most of

1127
00:55:05,960 --> 00:55:08,560
Speaker 4: their stuff, we dj together as kids. You know, we

1128
00:55:08,840 --> 00:55:11,680
Speaker 4: grew up toget. We're still good friends. Mia X was

1129
00:55:11,680 --> 00:55:14,600
Speaker 4: in a group with me, you know, in New York

1130
00:55:14,640 --> 00:55:17,360
Speaker 4: Incorporated and she you know, and Mac who was on

1131
00:55:17,440 --> 00:55:20,560
Speaker 4: their Max's first song. I think he was nine years old.

1132
00:55:20,560 --> 00:55:22,640
Speaker 4: I did his song like you know what I'm saying.

1133
00:55:22,880 --> 00:55:25,440
Speaker 4: Wait what, Yeah, he was nine years old. He had

1134
00:55:25,480 --> 00:55:27,840
Speaker 4: a song called I Need Wills. It was a parody

1135
00:55:27,840 --> 00:55:29,760
Speaker 4: of I Need Love, Like you know what I'm.

1136
00:55:29,640 --> 00:55:32,200
Speaker 1: Saying, Well, was he won a bicycle.

1137
00:55:33,200 --> 00:55:33,719
Speaker 3: He was on a.

1138
00:55:33,719 --> 00:55:36,600
Speaker 4: Street car like saying the song to you know, to

1139
00:55:36,680 --> 00:55:37,560
Speaker 4: some girl, and it's.

1140
00:55:37,480 --> 00:55:38,799
Speaker 3: A video for it.

1141
00:55:38,400 --> 00:55:42,080
Speaker 4: It's literally a but but we all knew each.

1142
00:55:41,960 --> 00:55:43,560
Speaker 1: Other at the height of the madness.

1143
00:55:43,640 --> 00:55:46,680
Speaker 2: Not once was there a summit meeting that said, like, hey,

1144
00:55:47,160 --> 00:55:49,080
Speaker 2: let's do an all star record.

1145
00:55:49,560 --> 00:55:53,560
Speaker 4: It was friendly competition and people kind of made you

1146
00:55:53,560 --> 00:55:56,319
Speaker 4: know when you got those outside influences, like you know,

1147
00:55:56,320 --> 00:55:59,440
Speaker 4: when you start letting street dudes in and you know,

1148
00:56:00,040 --> 00:56:02,239
Speaker 4: and in that era that was big and hip hop,

1149
00:56:02,320 --> 00:56:03,960
Speaker 4: like you got your street friends with you and you

1150
00:56:03,960 --> 00:56:06,200
Speaker 4: got all but you didn't know like your street friends

1151
00:56:06,440 --> 00:56:09,680
Speaker 4: were the ones who was the authors of destruction, you know,

1152
00:56:09,880 --> 00:56:12,359
Speaker 4: like you like, this dude is the problem. He's telling

1153
00:56:12,360 --> 00:56:15,160
Speaker 4: you that these dudes is saying this, and they got

1154
00:56:15,200 --> 00:56:17,759
Speaker 4: some dudes over there saying, well, these dudes are saying that.

1155
00:56:18,200 --> 00:56:21,200
Speaker 4: So it kind of created a riff. But whenever we

1156
00:56:21,239 --> 00:56:23,000
Speaker 4: saw each other, like let's just say, we went to

1157
00:56:23,040 --> 00:56:25,400
Speaker 4: a club on a Friday night, the House of Blues,

1158
00:56:25,440 --> 00:56:27,279
Speaker 4: and we saw folks from No Limit. We saw we

1159
00:56:27,320 --> 00:56:29,200
Speaker 4: all got together and we kicked it and we hung

1160
00:56:29,520 --> 00:56:32,359
Speaker 4: but when we went our separate ways, it seemed like, oh,

1161
00:56:32,360 --> 00:56:34,080
Speaker 4: they hate each other, you know what I'm saying.

1162
00:56:34,120 --> 00:56:35,920
Speaker 3: But that never really occurred.

1163
00:56:36,600 --> 00:56:41,160
Speaker 2: As far as D Jay's concern and support, is there

1164
00:56:41,400 --> 00:56:47,920
Speaker 2: local mainstream radio support of the culture or did you

1165
00:56:48,280 --> 00:56:50,600
Speaker 2: have to figure out other ways to get the word out.

1166
00:56:51,000 --> 00:56:53,040
Speaker 3: We definitely had to figure out other ways.

1167
00:56:53,080 --> 00:56:55,280
Speaker 4: You know. It was a little different from us because

1168
00:56:55,320 --> 00:56:58,680
Speaker 4: we was kissing baby, shaking hands, making deals out the trunk,

1169
00:56:58,960 --> 00:57:02,080
Speaker 4: you know, doing things the old school way of making

1170
00:57:02,120 --> 00:57:05,200
Speaker 4: it work, you know, going from city to city, sharing

1171
00:57:05,239 --> 00:57:07,080
Speaker 4: the car, whatever we had to do, like, you know,

1172
00:57:07,200 --> 00:57:09,200
Speaker 4: and we would we would stay in the city till

1173
00:57:09,239 --> 00:57:11,680
Speaker 4: they got tired of seeing us, till they start playing records,

1174
00:57:11,920 --> 00:57:13,360
Speaker 4: you know what. We just like, well, we're gonna be

1175
00:57:13,400 --> 00:57:15,560
Speaker 4: here and we gonna find all of the good DJs,

1176
00:57:15,880 --> 00:57:18,600
Speaker 4: you know, and service them with these records and bother

1177
00:57:18,720 --> 00:57:21,400
Speaker 4: them or either pay them whatever it took, like, hey man,

1178
00:57:21,400 --> 00:57:23,120
Speaker 4: give that guy a little money and let him play

1179
00:57:23,160 --> 00:57:25,600
Speaker 4: this song, you know. And a lot of times the

1180
00:57:25,680 --> 00:57:28,360
Speaker 4: greatness was the song played two or three times and

1181
00:57:28,400 --> 00:57:30,720
Speaker 4: then it was instant, you know, people liked it, and

1182
00:57:31,280 --> 00:57:33,120
Speaker 4: then that that right there showed you if you do

1183
00:57:33,160 --> 00:57:35,520
Speaker 4: a good record, you make it easy for DJ like

1184
00:57:35,560 --> 00:57:38,600
Speaker 4: but it was if it's a hard record where you're like, ah,

1185
00:57:38,680 --> 00:57:41,280
Speaker 4: and we've all been in that position where somebody like

1186
00:57:41,360 --> 00:57:43,840
Speaker 4: break this record and you're just like, I don't know

1187
00:57:43,880 --> 00:57:47,520
Speaker 4: about one. But when you give them something to work with,

1188
00:57:47,720 --> 00:57:50,760
Speaker 4: they like, okay that this could possibly work. So and

1189
00:57:51,160 --> 00:57:55,760
Speaker 4: a shift what happens in Cash Money was Beiji chop

1190
00:57:55,760 --> 00:57:56,160
Speaker 4: of City.

1191
00:57:56,600 --> 00:57:58,959
Speaker 3: The format changed from bounce.

1192
00:57:58,720 --> 00:58:01,480
Speaker 4: To rap and and I was like, if we're gonna

1193
00:58:01,480 --> 00:58:06,240
Speaker 4: do this, it's gotta be something that's so incredible that

1194
00:58:06,720 --> 00:58:09,600
Speaker 4: you know it can't be you know, like denied. And

1195
00:58:09,640 --> 00:58:12,520
Speaker 4: when we did the Chopper City album and it was

1196
00:58:12,640 --> 00:58:14,960
Speaker 4: rapping and it had musicianship and it had you know,

1197
00:58:15,080 --> 00:58:17,200
Speaker 4: different like you know, and everybody was like, this is

1198
00:58:17,320 --> 00:58:19,280
Speaker 4: many fresh. We not used to hear them, you know,

1199
00:58:19,360 --> 00:58:22,000
Speaker 4: we know the bounce mann afresh. We don't know him

1200
00:58:22,040 --> 00:58:25,240
Speaker 4: to do like full production on you know, a whole album.

1201
00:58:25,360 --> 00:58:29,160
Speaker 4: And these songs got guitars and they got you know, keyboards.

1202
00:58:29,160 --> 00:58:32,040
Speaker 4: And when we did that, the radio and everybody jumped

1203
00:58:32,040 --> 00:58:34,280
Speaker 4: behind it because the streets were so hot on it.

1204
00:58:34,280 --> 00:58:36,840
Speaker 4: It was one of them albums where every car was

1205
00:58:36,840 --> 00:58:40,560
Speaker 4: planned so radio had to start playing it just by

1206
00:58:40,800 --> 00:58:43,360
Speaker 4: it was being forced on them by what the streets

1207
00:58:43,440 --> 00:58:46,240
Speaker 4: was doing. And when that happened, you know, we saw

1208
00:58:46,280 --> 00:58:46,720
Speaker 4: a shift.

1209
00:58:58,720 --> 00:59:01,080
Speaker 2: I've never seen an M depth interview with you. So

1210
00:59:01,120 --> 00:59:04,040
Speaker 2: the reason why I'm kind of nerd out on you,

1211
00:59:04,040 --> 00:59:07,680
Speaker 2: you know, peer to peers, because like I'm asking questions,

1212
00:59:08,440 --> 00:59:09,600
Speaker 2: I never got.

1213
00:59:09,400 --> 00:59:13,200
Speaker 1: To hear you answer because yeah.

1214
00:59:12,720 --> 00:59:15,960
Speaker 2: As far as so, I mean now that decades of

1215
00:59:16,040 --> 00:59:19,080
Speaker 2: going by and you've seen the effect of it, like

1216
00:59:19,280 --> 00:59:21,280
Speaker 2: is this the way that you imagine that it would

1217
00:59:21,400 --> 00:59:23,959
Speaker 2: happen when you first started out, or.

1218
00:59:24,600 --> 00:59:25,640
Speaker 3: Yeah, let me tell you.

1219
00:59:25,680 --> 00:59:28,160
Speaker 4: One of the things that even you know Juvie will

1220
00:59:28,200 --> 00:59:31,600
Speaker 4: say right now interviews, he says, I got on their

1221
00:59:31,640 --> 00:59:35,400
Speaker 4: nerves with my talks of how I knew this was

1222
00:59:35,440 --> 00:59:39,000
Speaker 4: going to play out because I always was like, dude,

1223
00:59:39,320 --> 00:59:41,439
Speaker 4: that's going to yeah. I was like, this is going

1224
00:59:41,480 --> 00:59:43,880
Speaker 4: to be big. I don't know about y'all, and if

1225
00:59:43,960 --> 00:59:45,800
Speaker 4: y'all don't like it, go home, like you know, I

1226
00:59:45,800 --> 00:59:48,200
Speaker 4: would literally you know, and it was just like, well,

1227
00:59:48,440 --> 00:59:50,520
Speaker 4: how did you I'm like, bro, I know, I know,

1228
00:59:50,720 --> 00:59:52,880
Speaker 4: I know, I know, Like you know, even when we

1229
00:59:52,880 --> 00:59:54,919
Speaker 4: was doing back that ass up. I changed the song

1230
00:59:55,040 --> 00:59:57,080
Speaker 4: three times and he was like, why are you doing

1231
00:59:57,160 --> 00:59:58,760
Speaker 4: this and what are you and I'm like, because this

1232
00:59:58,880 --> 01:00:03,400
Speaker 4: song is huge, you know, and at the time when yeah,

1233
01:00:03,440 --> 01:00:05,080
Speaker 4: I knew it at the time when we did it.

1234
01:00:05,120 --> 01:00:07,680
Speaker 4: The whole reason why I put the intro on it.

1235
01:00:07,680 --> 01:00:10,640
Speaker 4: It was kind of like like from old songs, from

1236
01:00:10,680 --> 01:00:12,920
Speaker 4: seeing my dad do things. When it came back to me,

1237
01:00:13,120 --> 01:00:14,880
Speaker 4: they was like, well, why do the intro when it

1238
01:00:14,880 --> 01:00:15,560
Speaker 4: was already done.

1239
01:00:15,600 --> 01:00:17,080
Speaker 3: I was like, well, the intro is the setup.

1240
01:00:17,080 --> 01:00:21,360
Speaker 4: I'm like, it's giving you a second to get ready.

1241
01:00:21,760 --> 01:00:23,480
Speaker 4: I'm like, this is going to give you a second

1242
01:00:23,480 --> 01:00:26,600
Speaker 4: to get ready when it drops down. It's on from there.

1243
01:00:27,040 --> 01:00:27,240
Speaker 3: You know.

1244
01:00:27,360 --> 01:00:29,120
Speaker 4: We had already done the song and I went back

1245
01:00:29,160 --> 01:00:31,360
Speaker 4: and did the intro to it, and it was like, well, why.

1246
01:00:31,280 --> 01:00:33,520
Speaker 1: Were you wanted the intro in mastering or.

1247
01:00:33,920 --> 01:00:36,560
Speaker 4: Yeah, yeah, And I was like, I want the intro

1248
01:00:36,680 --> 01:00:38,240
Speaker 4: on it and they was like, well why, I'm like,

1249
01:00:38,280 --> 01:00:40,680
Speaker 4: because this is the setup. I'm like, this song is

1250
01:00:40,720 --> 01:00:43,200
Speaker 4: going to play for forever and you know, and it

1251
01:00:43,240 --> 01:00:45,520
Speaker 4: was just like see when you start talking like that

1252
01:00:45,520 --> 01:00:47,800
Speaker 4: that shit you and I'm like I know this. I'm like,

1253
01:00:47,960 --> 01:00:50,280
Speaker 4: I know this song is the one this is going

1254
01:00:50,360 --> 01:00:53,680
Speaker 4: to play. You know, Julie will say, I didn't see it.

1255
01:00:53,680 --> 01:00:55,280
Speaker 4: He was like many saw it. Man.

1256
01:00:55,280 --> 01:00:57,520
Speaker 3: He was like, this is, you know, one of them.

1257
01:00:57,720 --> 01:00:59,920
Speaker 4: If you're gonna give yourself credit, and you know, you like,

1258
01:01:00,080 --> 01:01:03,280
Speaker 4: you know, I'm not braggadocious, but I will say I've

1259
01:01:03,320 --> 01:01:06,120
Speaker 4: foreseen that song being here that long.

1260
01:01:06,440 --> 01:01:10,560
Speaker 2: Of your creations, like what are your top three Manny

1261
01:01:10,600 --> 01:01:11,560
Speaker 2: Fresh creations?

1262
01:01:12,080 --> 01:01:12,600
Speaker 3: Still Fly?

1263
01:01:13,040 --> 01:01:16,600
Speaker 4: Because still Fly it's not really it's not a super

1264
01:01:16,640 --> 01:01:19,040
Speaker 4: produced song. What I'm saying like, it wasn't hard to create,

1265
01:01:19,360 --> 01:01:23,120
Speaker 4: but it was hard to do because I wrote.

1266
01:01:22,840 --> 01:01:23,960
Speaker 3: It from a real place.

1267
01:01:24,320 --> 01:01:26,960
Speaker 4: And when you would have a labeled at the whole

1268
01:01:27,000 --> 01:01:30,000
Speaker 4: premise of what the label thinks is we get money,

1269
01:01:30,280 --> 01:01:32,400
Speaker 4: you know. That's all we do is we get money.

1270
01:01:32,520 --> 01:01:34,800
Speaker 4: And they like and you talking about being broken, you

1271
01:01:34,920 --> 01:01:37,280
Speaker 4: talking about a quarter tank of gas and you eat,

1272
01:01:37,320 --> 01:01:39,560
Speaker 4: you know, and it was just like bro. And I

1273
01:01:39,600 --> 01:01:42,000
Speaker 4: was like, honestly, I'm like, this is on real life.

1274
01:01:42,000 --> 01:01:46,720
Speaker 4: I'm like, yeah, it's relatable. I'm like, this is everybody's

1275
01:01:46,840 --> 01:01:49,360
Speaker 4: real life, you know. And that was one of the

1276
01:01:49,440 --> 01:01:52,440
Speaker 4: songs it was hated on by everybody. Then it was

1277
01:01:52,520 --> 01:01:54,120
Speaker 4: just like, I don't know what he doing in there

1278
01:01:54,200 --> 01:01:56,959
Speaker 4: right now, but he about to destroy this with this song.

1279
01:01:57,200 --> 01:02:01,760
Speaker 4: And I'm like, this song is everybody's life in the world, like,

1280
01:02:01,800 --> 01:02:04,360
Speaker 4: and I'm like, you've been here one of these lyrics,

1281
01:02:04,440 --> 01:02:06,280
Speaker 4: you've been here, one of them, or all of them

1282
01:02:06,320 --> 01:02:08,480
Speaker 4: in the hook, you've been there. So when I was

1283
01:02:08,520 --> 01:02:10,560
Speaker 4: doing it, you know, it was it came from a

1284
01:02:10,600 --> 01:02:13,240
Speaker 4: real life place. I need to say this, and they

1285
01:02:13,320 --> 01:02:15,640
Speaker 4: was just like no, you know, like our whole thing

1286
01:02:15,720 --> 01:02:18,480
Speaker 4: is our asana is get money, get money, get money,

1287
01:02:18,640 --> 01:02:21,480
Speaker 4: and you know, and I remember saying this is the

1288
01:02:21,560 --> 01:02:23,880
Speaker 4: gift and the curse. And I had an argument with

1289
01:02:24,040 --> 01:02:27,000
Speaker 4: Baby about this cause I was like, I don't want

1290
01:02:27,000 --> 01:02:29,640
Speaker 4: to turn hip hop into get money, get money. I'm like,

1291
01:02:29,720 --> 01:02:33,080
Speaker 4: this is our thing. But I'm like I'm seeing all

1292
01:02:33,080 --> 01:02:35,240
Speaker 4: of these labels and all of these kids under a

1293
01:02:35,360 --> 01:02:35,960
Speaker 4: switch to.

1294
01:02:36,240 --> 01:02:37,760
Speaker 3: That's all hip hop is now.

1295
01:02:38,560 --> 01:02:40,480
Speaker 4: And I'm like I had to explain it to him

1296
01:02:40,520 --> 01:02:42,840
Speaker 4: and break it down like just a little bit, like

1297
01:02:43,000 --> 01:02:44,800
Speaker 4: you know what I have to and he was like, well,

1298
01:02:44,880 --> 01:02:46,200
Speaker 4: I don't understand what you're saying.

1299
01:02:46,360 --> 01:02:49,880
Speaker 3: I was like, there's genres in hip hop. We figured

1300
01:02:49,880 --> 01:02:50,840
Speaker 3: out that.

1301
01:02:50,720 --> 01:02:53,480
Speaker 4: We would be, I mean, the boldest, the biggest, and

1302
01:02:53,720 --> 01:02:55,920
Speaker 4: whatever that was that was cash money thing. I'm like,

1303
01:02:55,960 --> 01:02:59,439
Speaker 4: that's not everybody's thing, but it's turning into everybody's thing.

1304
01:02:59,760 --> 01:03:02,280
Speaker 4: That's this is what hip hop is turning into. So

1305
01:03:02,360 --> 01:03:04,680
Speaker 4: I'm like, you gotta be careful on how you doing

1306
01:03:04,760 --> 01:03:09,000
Speaker 4: this because what we're doing is we're making people believe

1307
01:03:09,080 --> 01:03:11,800
Speaker 4: that hip hop is money, girls and bitches.

1308
01:03:11,800 --> 01:03:12,000
Speaker 3: You know.

1309
01:03:12,000 --> 01:03:14,840
Speaker 4: What I'm saying instead is a culture is a love

1310
01:03:14,920 --> 01:03:17,600
Speaker 4: for this. And you saw a shift where it just

1311
01:03:17,640 --> 01:03:20,160
Speaker 4: turned to the bling and we're still in the bling

1312
01:03:20,200 --> 01:03:24,440
Speaker 4: era of hip hop where everything is get money, get money,

1313
01:03:24,480 --> 01:03:27,520
Speaker 4: get money. So when I did that, it was all

1314
01:03:27,600 --> 01:03:30,280
Speaker 4: kind of feelings of you know, like I said, what's

1315
01:03:30,320 --> 01:03:33,880
Speaker 4: big about that song to me is not how you know,

1316
01:03:33,960 --> 01:03:36,240
Speaker 4: like the production or none of that. It was the

1317
01:03:36,280 --> 01:03:40,000
Speaker 4: backstory of it. The backstory was I had to fight

1318
01:03:40,080 --> 01:03:41,720
Speaker 4: for all of that. Like what I'm telling you where

1319
01:03:41,720 --> 01:03:44,120
Speaker 4: I'm going, Like, hey, bro, I don't want to just

1320
01:03:44,200 --> 01:03:48,040
Speaker 4: do songs that are just that's all we do is,

1321
01:03:48,080 --> 01:03:51,800
Speaker 4: you know, we glamorize this. Like I'm like every album

1322
01:03:51,800 --> 01:03:53,800
Speaker 4: that we do that should be at least one two

1323
01:03:53,840 --> 01:03:56,400
Speaker 4: songs that got a message that comes from.

1324
01:03:56,200 --> 01:03:57,280
Speaker 3: How you really feel.

1325
01:03:57,720 --> 01:04:01,600
Speaker 4: Yeah, that's relatable and that was one of even some

1326
01:04:01,640 --> 01:04:03,439
Speaker 4: of the parts of you know, people are like, well,

1327
01:04:03,440 --> 01:04:05,640
Speaker 4: when you stepped off, what happened? Was it financially? Some

1328
01:04:05,720 --> 01:04:08,200
Speaker 4: of it was financially, but some of it was it

1329
01:04:08,240 --> 01:04:11,040
Speaker 4: was growth, you know, as a musician, as a producer,

1330
01:04:11,280 --> 01:04:13,120
Speaker 4: it was growth when I'm like, hey, I want to

1331
01:04:13,120 --> 01:04:15,640
Speaker 4: do this, I want to try this, and you're like, nah,

1332
01:04:15,720 --> 01:04:17,960
Speaker 4: but this works, and I'm like, it don't work for me,

1333
01:04:18,040 --> 01:04:18,439
Speaker 4: no more?

1334
01:04:19,080 --> 01:04:19,880
Speaker 1: Gotcha?

1335
01:04:19,960 --> 01:04:23,560
Speaker 2: All right, I'm looking behind you and over your right shoulder.

1336
01:04:24,120 --> 01:04:26,840
Speaker 1: Uh huh do you still use and that's be twelve hundred?

1337
01:04:26,960 --> 01:04:29,880
Speaker 4: Yes, sir, I got the SB right here, and I

1338
01:04:29,920 --> 01:04:31,840
Speaker 4: got the eight aweight right here at old MPC.

1339
01:04:32,400 --> 01:04:36,120
Speaker 3: Yes, this is my baby, bro, my sp twelve hundred to.

1340
01:04:35,960 --> 01:04:37,920
Speaker 1: This day, Like that's your weapon of choice.

1341
01:04:38,000 --> 01:04:40,520
Speaker 3: Yes, yes, yes, all right, let's go.

1342
01:04:40,480 --> 01:04:43,880
Speaker 2: To the opposite of still fly, which I would say

1343
01:04:43,960 --> 01:04:46,400
Speaker 2: is probably blink bling.

1344
01:04:47,160 --> 01:04:47,480
Speaker 3: Yeah.

1345
01:04:47,520 --> 01:04:50,880
Speaker 2: Now, it's so weird how a perception of a song

1346
01:04:51,240 --> 01:04:58,000
Speaker 2: can alter your perception of even patches, because everything that

1347
01:04:58,040 --> 01:05:03,480
Speaker 2: you used and bling bling, it's such a shiny sound,

1348
01:05:03,640 --> 01:05:05,880
Speaker 2: like the did the idea come first? Like, Yo, I'm

1349
01:05:05,880 --> 01:05:09,040
Speaker 2: gonna make a song about diamonds and you made it

1350
01:05:09,200 --> 01:05:11,160
Speaker 2: or was it just I know just how it came.

1351
01:05:11,280 --> 01:05:14,680
Speaker 4: I know how it. I was listening to Johnson Crew

1352
01:05:14,920 --> 01:05:19,000
Speaker 4: Space is the Place boom boom bum bum bum bum

1353
01:05:19,280 --> 01:05:22,200
Speaker 4: blah blah blah bum boom boom bum and I was like, God, damn,

1354
01:05:22,240 --> 01:05:23,160
Speaker 4: that's jamming.

1355
01:05:23,000 --> 01:05:25,960
Speaker 1: Like shit, look Arthur Baker right now here in this

1356
01:05:26,120 --> 01:05:26,560
Speaker 1: all right.

1357
01:05:26,600 --> 01:05:29,120
Speaker 4: You know what I'm saying. So I was playing like

1358
01:05:29,160 --> 01:05:32,560
Speaker 4: the Johnson Crew album the whole day, like Space Cowboy

1359
01:05:32,960 --> 01:05:35,959
Speaker 4: all of that, and went to sleep and the hook

1360
01:05:36,200 --> 01:05:38,680
Speaker 4: of bling bling came to me, like you know what

1361
01:05:38,720 --> 01:05:40,320
Speaker 4: I'm saying, Like I just and I was like, I

1362
01:05:40,360 --> 01:05:42,360
Speaker 4: better get up and recard this before.

1363
01:05:42,120 --> 01:05:42,880
Speaker 3: I forget it.

1364
01:05:43,640 --> 01:05:47,040
Speaker 4: I recorded it over what you call I recorded because

1365
01:05:47,080 --> 01:05:49,120
Speaker 4: I was listening to the Johnson Crew all day. I

1366
01:05:49,200 --> 01:05:52,480
Speaker 4: just recorded the hook over Space is the Place, you

1367
01:05:52,520 --> 01:05:54,080
Speaker 4: know what I'm saying, because I was like, you know what,

1368
01:05:54,280 --> 01:05:56,200
Speaker 4: just because I had my little recorder, you know what

1369
01:05:56,240 --> 01:05:58,040
Speaker 4: I'm saying, I'm like, the only thing I got was this,

1370
01:05:58,240 --> 01:05:59,960
Speaker 4: So I played it and I just did the hook over.

1371
01:06:00,520 --> 01:06:02,080
Speaker 4: So I was like I kind of wanted to have

1372
01:06:02,160 --> 01:06:04,200
Speaker 4: that feel, like you know what I'm saying. I was like,

1373
01:06:04,240 --> 01:06:06,520
Speaker 4: I wanted to have that, and I recalled and the

1374
01:06:06,560 --> 01:06:08,640
Speaker 4: next day I went in the studio and put it down,

1375
01:06:08,800 --> 01:06:10,880
Speaker 4: but I recorded it late at night because it kept

1376
01:06:10,880 --> 01:06:11,440
Speaker 4: coming to me.

1377
01:06:12,400 --> 01:06:16,200
Speaker 2: This is so crazy to me that like records that

1378
01:06:16,280 --> 01:06:19,320
Speaker 2: I think don't have an impact. You know, it's you

1379
01:06:19,360 --> 01:06:22,600
Speaker 2: mentioned the Johnson Crew. I just had Arthur Baker on

1380
01:06:22,640 --> 01:06:26,560
Speaker 2: the show, yeah, a little while back. And of course,

1381
01:06:26,640 --> 01:06:30,200
Speaker 2: you know after the deluge, the after effect of Planet Rock,

1382
01:06:31,320 --> 01:06:33,200
Speaker 2: you know, coming with play at your Own Risk and

1383
01:06:33,240 --> 01:06:36,320
Speaker 2: all this stuff, and then you know, pack Jam comes

1384
01:06:36,320 --> 01:06:40,800
Speaker 2: from the Johnson Crew. And I remember that summer of

1385
01:06:40,840 --> 01:06:44,960
Speaker 2: eighty three buying. I brought Nuclears and I brought the

1386
01:06:45,040 --> 01:06:49,480
Speaker 2: Johnson Crew, Space Cowboy, all that stuff. And I was

1387
01:06:49,520 --> 01:06:52,600
Speaker 2: just under impression that because no one, none of my

1388
01:06:52,640 --> 01:06:56,520
Speaker 2: friends knew that song except me, and so my mind,

1389
01:06:56,560 --> 01:06:58,600
Speaker 2: I'm just like, oh, this is probably like a flop

1390
01:06:58,640 --> 01:07:01,800
Speaker 2: record that's.

1391
01:07:00,560 --> 01:07:02,600
Speaker 1: Going to make sense to nobody but me.

1392
01:07:02,920 --> 01:07:09,920
Speaker 2: I Wow, Okay, that's amazing to hear that. One question

1393
01:07:10,000 --> 01:07:13,600
Speaker 2: I always wanted to know actually has to do with

1394
01:07:14,800 --> 01:07:20,000
Speaker 2: probably the most surprising cash money signee, How did Tina

1395
01:07:20,040 --> 01:07:23,320
Speaker 2: Marie wind up in you guys's stratosphere?

1396
01:07:24,200 --> 01:07:27,240
Speaker 3: All of us are fans, all of us. Okay.

1397
01:07:28,120 --> 01:07:32,600
Speaker 4: So, so Tina Marie was huge in New Orleans. I

1398
01:07:32,680 --> 01:07:36,640
Speaker 4: mean like like you know, she she would be equivalent

1399
01:07:36,720 --> 01:07:40,040
Speaker 4: to like Supernova in New Orleans.

1400
01:07:40,360 --> 01:07:40,560
Speaker 3: You know.

1401
01:07:40,720 --> 01:07:44,880
Speaker 4: So I think somebody told Slim that I think it

1402
01:07:44,920 --> 01:07:47,480
Speaker 4: was one of her attorneys that Tina was looking for

1403
01:07:47,520 --> 01:07:50,760
Speaker 4: a deal, and he was like, we'll sign her.

1404
01:07:51,560 --> 01:07:53,560
Speaker 3: We you know, we we we'll sign her. We'll do

1405
01:07:53,600 --> 01:07:54,520
Speaker 3: whatever it takes, you know.

1406
01:07:54,600 --> 01:07:58,080
Speaker 4: And he said, I know many loves Tina Marie, like,

1407
01:07:58,120 --> 01:08:00,280
Speaker 4: you know, because I had these times where I'm gonna

1408
01:08:00,360 --> 01:08:00,720
Speaker 4: educate you.

1409
01:08:00,720 --> 01:08:01,880
Speaker 3: We about to play some R and.

1410
01:08:01,800 --> 01:08:04,040
Speaker 4: B music if this is the last ten minutes of

1411
01:08:04,080 --> 01:08:06,120
Speaker 4: my set, and it was always square Biars, like I

1412
01:08:06,120 --> 01:08:08,840
Speaker 4: would you know I start off with Slim was like

1413
01:08:08,880 --> 01:08:10,840
Speaker 4: that he go with that every time. You know what

1414
01:08:10,960 --> 01:08:13,920
Speaker 4: I'm saying, right, I'm like, but Square Bars was always

1415
01:08:13,960 --> 01:08:16,680
Speaker 4: in the set, and I think it was it was

1416
01:08:16,760 --> 01:08:19,599
Speaker 4: just pure coincidence that this guy reached out to her

1417
01:08:19,600 --> 01:08:21,439
Speaker 4: and she was like, okay, I'm willing to do it.

1418
01:08:21,840 --> 01:08:25,240
Speaker 4: And when I met her, I told her like, I'm like,

1419
01:08:25,280 --> 01:08:27,880
Speaker 4: I'm a huge fan. You know, I love everything that

1420
01:08:27,880 --> 01:08:30,120
Speaker 4: you've ever done, you know, And we could have went

1421
01:08:30,160 --> 01:08:32,040
Speaker 4: on and on it because I definitely do know all

1422
01:08:32,040 --> 01:08:35,040
Speaker 4: Tina Marie songs, like just like anybody else in New Orleans.

1423
01:08:35,120 --> 01:08:37,200
Speaker 4: And I called my dad and I said, hey, you'll

1424
01:08:37,240 --> 01:08:39,680
Speaker 4: never believe who. And my dad was like, now you're

1425
01:08:39,720 --> 01:08:43,560
Speaker 4: doing something. All that other shit is all right, yeah,

1426
01:08:43,760 --> 01:08:46,519
Speaker 4: but that like you got Teina Marie.

1427
01:08:46,680 --> 01:08:48,800
Speaker 3: Don't you fail team to Marie?

1428
01:08:49,280 --> 01:08:51,920
Speaker 1: That is crazy. That's why I asked you the Meeters question.

1429
01:08:52,000 --> 01:08:54,320
Speaker 2: There's some artists that are so big in your life

1430
01:08:54,880 --> 01:08:58,080
Speaker 2: that you just assume, yeah, the world knows about it.

1431
01:08:58,600 --> 01:09:01,240
Speaker 2: Like when I was in ninth grade, love a girl

1432
01:09:01,479 --> 01:09:05,200
Speaker 2: just went top ten. Yeah, she had one pop hit

1433
01:09:05,640 --> 01:09:09,519
Speaker 2: that like the rest of America got introduced to her,

1434
01:09:09,720 --> 01:09:12,400
Speaker 2: you know, like they thought that was her first song,

1435
01:09:12,439 --> 01:09:16,280
Speaker 2: you know what I'm saying. But that's what I learned, like, oh,

1436
01:09:16,439 --> 01:09:18,679
Speaker 2: the world doesn't know about Tina Marie, Like she only

1437
01:09:18,720 --> 01:09:19,320
Speaker 2: means something.

1438
01:09:19,160 --> 01:09:22,519
Speaker 4: To us that is up in my own When you say,

1439
01:09:22,520 --> 01:09:25,080
Speaker 4: like your top accomplishments, that is one of them that

1440
01:09:25,120 --> 01:09:26,080
Speaker 4: means the world.

1441
01:09:25,840 --> 01:09:30,960
Speaker 2: To me, Well congratulations man. Yeah for me, it's I'm

1442
01:09:31,000 --> 01:09:34,080
Speaker 2: sad that that was her swan song. Yeah, but I

1443
01:09:34,160 --> 01:09:37,679
Speaker 2: too also got to meet her, like in the late

1444
01:09:37,800 --> 01:09:41,760
Speaker 2: nineties and whatnot. And you know, I knew of her

1445
01:09:41,840 --> 01:09:43,880
Speaker 2: struggles to try to get back in the game and

1446
01:09:44,439 --> 01:09:48,000
Speaker 2: get the lawsuits with her previous labels and whatnot. Yeah,

1447
01:09:48,000 --> 01:09:51,640
Speaker 2: I'm just so happy that not only like does she

1448
01:09:51,760 --> 01:09:54,720
Speaker 2: land the plane, but she got reintroduced to like a

1449
01:09:54,720 --> 01:09:59,759
Speaker 2: whole nother generation because oftentimes, like our greats, can easily

1450
01:09:59,840 --> 01:10:03,800
Speaker 2: get it just discarded and got about like yesterday's news.

1451
01:10:03,960 --> 01:10:05,840
Speaker 4: One of the things she asked when we was doing

1452
01:10:05,880 --> 01:10:09,519
Speaker 4: the song she wanted to she wanted something like still fly,

1453
01:10:10,280 --> 01:10:12,160
Speaker 4: she was like, and I was like, no, miss Marie,

1454
01:10:12,200 --> 01:10:13,719
Speaker 4: we're not you know. And she was like, you stopped

1455
01:10:13,720 --> 01:10:16,760
Speaker 4: calling me. And I was like, miss Marie.

1456
01:10:16,560 --> 01:10:19,200
Speaker 1: I was like, she want that bounce?

1457
01:10:19,360 --> 01:10:20,639
Speaker 3: Yeah, And I was like, I.

1458
01:10:20,560 --> 01:10:22,600
Speaker 4: Love your music and we gonna make music for you.

1459
01:10:23,120 --> 01:10:25,439
Speaker 4: So when we wrote the I'm Still in Love song,

1460
01:10:25,520 --> 01:10:27,960
Speaker 4: you know, she was open to it. She let me

1461
01:10:27,960 --> 01:10:29,680
Speaker 4: write some of it, she let me you know, and

1462
01:10:29,800 --> 01:10:32,400
Speaker 4: and I was like, we could do like this al greenflip,

1463
01:10:32,439 --> 01:10:34,360
Speaker 4: tell me what you like, and she like the dome

1464
01:10:34,479 --> 01:10:36,559
Speaker 4: throw to the do throw, and I was like, yeah,

1465
01:10:36,840 --> 01:10:38,800
Speaker 4: I'm like that's easy. I'm like, We'll come up with

1466
01:10:38,880 --> 01:10:41,320
Speaker 4: something real simple. And I'm like and we'll keep it

1467
01:10:41,600 --> 01:10:43,600
Speaker 4: with your crowd. I'm like, I think if we do

1468
01:10:43,720 --> 01:10:46,919
Speaker 4: something outside of that, you're going to lose your core audience.

1469
01:10:47,120 --> 01:10:49,559
Speaker 4: And you know, and she trusted me and and that

1470
01:10:49,760 --> 01:10:52,719
Speaker 4: right there, and that's like sometimes that's the difference between

1471
01:10:52,800 --> 01:10:56,120
Speaker 4: beat making and producing. You know, we got a lot

1472
01:10:56,120 --> 01:10:58,800
Speaker 4: of beat makers. We got a ton of that. We

1473
01:10:58,840 --> 01:11:00,559
Speaker 4: don't have a lot of people who in invest in

1474
01:11:00,960 --> 01:11:03,160
Speaker 4: who you're working with and and vice versa and who

1475
01:11:03,160 --> 01:11:03,840
Speaker 4: they working with.

1476
01:11:04,120 --> 01:11:06,400
Speaker 2: There is a period where I forget what year it was,

1477
01:11:06,479 --> 01:11:09,599
Speaker 2: but most told us like, yeah, like dog, I'm gonna

1478
01:11:09,600 --> 01:11:12,320
Speaker 2: mess with Manny Fresh and do some joints together. What's

1479
01:11:12,360 --> 01:11:14,439
Speaker 2: the personal work that you got to put in to

1480
01:11:14,560 --> 01:11:16,920
Speaker 2: know what fits an artists or not? Because I'm certain

1481
01:11:16,960 --> 01:11:21,280
Speaker 2: everyone's coming to you expected, yeah.

1482
01:11:20,160 --> 01:11:22,160
Speaker 3: Talk to you. I personally want to talk to you.

1483
01:11:22,280 --> 01:11:25,240
Speaker 4: And and one of the things I'm going to start

1484
01:11:25,280 --> 01:11:28,160
Speaker 4: off with and I've always been this way, I don't

1485
01:11:28,200 --> 01:11:31,000
Speaker 4: make hits, like you know, I'm like, songs can evolve

1486
01:11:31,040 --> 01:11:31,559
Speaker 4: into hits.

1487
01:11:31,600 --> 01:11:33,040
Speaker 3: I don't know how to make a hit record.

1488
01:11:33,280 --> 01:11:34,640
Speaker 4: There's you know, because a lot of people are like

1489
01:11:34,680 --> 01:11:36,600
Speaker 4: I need a hit, and I'm like, I don't know

1490
01:11:36,640 --> 01:11:39,080
Speaker 4: how to do that I know how we can be

1491
01:11:39,400 --> 01:11:42,120
Speaker 4: in hear and do some good songs and because and

1492
01:11:42,680 --> 01:11:45,960
Speaker 4: God's on is truth. If the song get handed off

1493
01:11:46,120 --> 01:11:48,320
Speaker 4: to the wrong people and they don't work it, then

1494
01:11:48,840 --> 01:11:50,760
Speaker 4: it's not a hit record. You know, it takes a

1495
01:11:50,840 --> 01:11:52,240
Speaker 4: village to make a song a hit.

1496
01:11:52,880 --> 01:11:57,600
Speaker 2: Okay, let's say this is five hours after you finalize

1497
01:11:58,520 --> 01:12:01,160
Speaker 2: the final mix of what we know as back that

1498
01:12:01,240 --> 01:12:05,280
Speaker 2: ass up. Where's the first place you're taking it to

1499
01:12:05,280 --> 01:12:06,360
Speaker 2: to know if it works or not?

1500
01:12:07,200 --> 01:12:10,120
Speaker 4: Oh, I'm definitely gonna The way I worked it was

1501
01:12:10,160 --> 01:12:12,639
Speaker 4: always a party. It was always the way I recorded,

1502
01:12:12,880 --> 01:12:15,800
Speaker 4: it was always a party. So our studio sessions, a

1503
01:12:15,800 --> 01:12:18,960
Speaker 4: lot of times I would gel off with people like

1504
01:12:19,040 --> 01:12:21,040
Speaker 4: you know what I'm saying. So if we had people

1505
01:12:21,080 --> 01:12:24,040
Speaker 4: around and and I and I saw that reaction of

1506
01:12:24,360 --> 01:12:27,640
Speaker 4: this is the one you know that that was it.

1507
01:12:27,720 --> 01:12:29,960
Speaker 3: That was the homework for you mean, the actual studio

1508
01:12:30,200 --> 01:12:31,240
Speaker 3: and the actual studio.

1509
01:12:31,439 --> 01:12:34,120
Speaker 1: Ah, but it aren't you afraid of a yes man?

1510
01:12:34,600 --> 01:12:34,840
Speaker 3: Yeah?

1511
01:12:34,840 --> 01:12:37,960
Speaker 4: But this would always be outsiders like where I'm just like, hey,

1512
01:12:38,200 --> 01:12:40,639
Speaker 4: what are y'all doing? Like, like, let's let's say, for instance,

1513
01:12:41,040 --> 01:12:44,000
Speaker 4: somebody else is in the other room. Well, we'll even

1514
01:12:44,040 --> 01:12:47,000
Speaker 4: say something completely different from me. They like, hey, you

1515
01:12:47,040 --> 01:12:50,920
Speaker 4: know John Legend is creating blah blah blah. And I'm like, okay,

1516
01:12:50,960 --> 01:12:53,160
Speaker 4: how many people that there's ten people? Come over here, man,

1517
01:12:53,200 --> 01:12:55,760
Speaker 4: y'all just check this out. Might not even say it

1518
01:12:55,800 --> 01:12:58,000
Speaker 4: was something that I produced or whatever. Just played three

1519
01:12:58,080 --> 01:13:00,679
Speaker 4: songs then let that one come on, just to see

1520
01:13:00,800 --> 01:13:03,400
Speaker 4: what the temperature was like. As a DJ like, I'm like,

1521
01:13:03,400 --> 01:13:05,080
Speaker 4: you know what, I'm gonna play like three songs and

1522
01:13:05,080 --> 01:13:07,840
Speaker 4: then I'm gonna sneak this one in somewhere and let's

1523
01:13:07,840 --> 01:13:09,040
Speaker 4: see what happens. You know.

1524
01:13:10,160 --> 01:13:15,000
Speaker 2: Okay, So for me, if the person stands completely still,

1525
01:13:16,160 --> 01:13:17,000
Speaker 2: I trust it.

1526
01:13:17,600 --> 01:13:18,160
Speaker 1: Yeah.

1527
01:13:18,439 --> 01:13:21,360
Speaker 2: If they bounce their head in the first six seconds,

1528
01:13:22,160 --> 01:13:23,120
Speaker 2: that to me is the death.

1529
01:13:23,200 --> 01:13:23,400
Speaker 1: Now.

1530
01:13:23,600 --> 01:13:27,799
Speaker 2: I don't know why, but I feel like if someone

1531
01:13:28,160 --> 01:13:29,960
Speaker 2: is afraid to be honest with me and tell me

1532
01:13:30,000 --> 01:13:33,360
Speaker 2: they don't feel it, yeah, they forced themselves to look

1533
01:13:33,400 --> 01:13:37,280
Speaker 2: at the ground and then they bounced their heads. How

1534
01:13:37,320 --> 01:13:40,479
Speaker 2: do you know if the response is genuine or not.

1535
01:13:41,000 --> 01:13:43,639
Speaker 4: But with us, a lot of times my DJ radar,

1536
01:13:44,240 --> 01:13:46,800
Speaker 4: you know, because I always picked the singles like for

1537
01:13:46,840 --> 01:13:49,200
Speaker 4: everybody on every album. You know what I'm saying. But

1538
01:13:49,240 --> 01:13:51,800
Speaker 4: it was always my DJ radar that was like this

1539
01:13:51,880 --> 01:13:54,080
Speaker 4: is the song, this is the one, so you know,

1540
01:13:54,439 --> 01:13:58,880
Speaker 4: and there was a weird period where, you know, where

1541
01:13:59,240 --> 01:14:02,200
Speaker 4: my Jedi powers were incredible and what I mean like,

1542
01:14:02,240 --> 01:14:05,040
Speaker 4: I would you literally say we're doing the single today,

1543
01:14:05,360 --> 01:14:07,680
Speaker 4: you and everybody would be like, oh shit, how you

1544
01:14:07,720 --> 01:14:10,000
Speaker 4: know that. I'm like, today is the single day? Like

1545
01:14:10,080 --> 01:14:11,800
Speaker 4: you know what I'm saying. And we might have did

1546
01:14:12,040 --> 01:14:14,599
Speaker 4: twelve songs and I'm like, but today we're doing the single.

1547
01:14:14,640 --> 01:14:19,280
Speaker 4: And that always worked, like you know, so my process

1548
01:14:19,439 --> 01:14:21,840
Speaker 4: was always like, Okay, this is cool, but none of

1549
01:14:21,840 --> 01:14:24,080
Speaker 4: these aren't the single, and today is going to be

1550
01:14:24,200 --> 01:14:25,160
Speaker 4: you know, what.

1551
01:14:25,040 --> 01:14:27,600
Speaker 1: Other talent do you have that we don't know about?

1552
01:14:27,840 --> 01:14:31,439
Speaker 4: Oh? Cars, definitely, you know. I rebuild motors, I restore

1553
01:14:31,520 --> 01:14:32,599
Speaker 4: my cars, all of that.

1554
01:14:32,720 --> 01:14:35,360
Speaker 1: I want to ask you so bad about car culture.

1555
01:14:35,439 --> 01:14:38,599
Speaker 2: But I'm not a car person, but I know that

1556
01:14:38,680 --> 01:14:41,920
Speaker 2: you are infamous for your car.

1557
01:14:42,040 --> 01:14:43,160
Speaker 1: How many cars do you own?

1558
01:14:43,760 --> 01:14:44,200
Speaker 4: Oh?

1559
01:14:44,280 --> 01:14:47,040
Speaker 3: Right now? Shit, bro, probably like about thirty.

1560
01:14:47,880 --> 01:14:51,400
Speaker 4: What is it about car culture that attracted you? It

1561
01:14:51,479 --> 01:14:53,479
Speaker 4: was always something with me and my dad. We always

1562
01:14:53,479 --> 01:14:55,720
Speaker 4: worked on and you know, and even if you was

1563
01:14:55,800 --> 01:14:58,920
Speaker 4: young and you had horrible cars, you learned how to

1564
01:14:58,960 --> 01:15:01,040
Speaker 4: work on them to make them, and that was the connection,

1565
01:15:01,400 --> 01:15:04,760
Speaker 4: my connection growing up. My dad had horrible cars. Then

1566
01:15:04,800 --> 01:15:05,280
Speaker 4: I had a.

1567
01:15:05,200 --> 01:15:07,400
Speaker 3: Horrible car, you know, and we always worked on them together.

1568
01:15:08,920 --> 01:15:12,479
Speaker 4: My first car was a Cavalier like a you know,

1569
01:15:12,600 --> 01:15:14,680
Speaker 4: a Chevy Cavil that was horrible, like you know what

1570
01:15:14,720 --> 01:15:15,080
Speaker 4: I'm saying.

1571
01:15:15,120 --> 01:15:16,240
Speaker 3: Everything was wrong with.

1572
01:15:16,160 --> 01:15:18,400
Speaker 4: It, you know. And then I got a mighty Colo

1573
01:15:18,520 --> 01:15:21,519
Speaker 4: later on. But you know, back then, you worked on

1574
01:15:21,600 --> 01:15:23,240
Speaker 4: your car. You couldn't send it to the shop. You

1575
01:15:23,240 --> 01:15:23,920
Speaker 4: figured it out.

1576
01:15:24,240 --> 01:15:24,960
Speaker 3: So you know, my.

1577
01:15:26,520 --> 01:15:27,240
Speaker 1: Actually work on it.

1578
01:15:27,320 --> 01:15:28,679
Speaker 3: Yeah, I had to work on my car.

1579
01:15:28,920 --> 01:15:31,200
Speaker 4: You know. My dad would you know, give me tips

1580
01:15:31,200 --> 01:15:33,719
Speaker 4: and pointers on how to do it because I worked

1581
01:15:33,760 --> 01:15:36,320
Speaker 4: on his van or his car with him. So that

1582
01:15:36,360 --> 01:15:39,280
Speaker 4: was that was the connection to doing it. And I

1583
01:15:39,320 --> 01:15:43,599
Speaker 4: think having crappy cars and just playing that's my car

1584
01:15:43,640 --> 01:15:45,680
Speaker 4: when you were young, when a nice car passed, it

1585
01:15:45,720 --> 01:15:47,160
Speaker 4: was like one day, I'm gonna be able to get

1586
01:15:47,400 --> 01:15:50,120
Speaker 4: some of these things, and I didn't believe it or not.

1587
01:15:50,600 --> 01:15:53,160
Speaker 4: That's my cool off period to me, that's my reset.

1588
01:15:53,240 --> 01:15:55,800
Speaker 4: If I'm working on my car or whatever, I'm calm,

1589
01:15:55,880 --> 01:15:59,879
Speaker 4: I'm good and the world passes slow, you know, because

1590
01:16:00,640 --> 01:16:03,560
Speaker 4: sometimes music gets crazy to me, like you know, and

1591
01:16:03,840 --> 01:16:07,000
Speaker 4: sometimes what people expect from you on what you just said.

1592
01:16:07,080 --> 01:16:09,439
Speaker 4: Folks always say, make me a back that ass up,

1593
01:16:09,439 --> 01:16:11,800
Speaker 4: and I'm like, I can't. That's that one is already done.

1594
01:16:11,800 --> 01:16:14,200
Speaker 4: It's in the camp. They'll never be another one of them.

1595
01:16:14,479 --> 01:16:17,720
Speaker 4: We might come close to it, but there there's you know,

1596
01:16:17,800 --> 01:16:20,599
Speaker 4: and we're not gonna try to redo that song over

1597
01:16:20,760 --> 01:16:23,360
Speaker 4: you know where it sounds, you know, like it's that song.

1598
01:16:23,439 --> 01:16:25,200
Speaker 3: And somebody like, I know what you tried to do,

1599
01:16:25,720 --> 01:16:27,560
Speaker 3: you know, got you.

1600
01:16:28,200 --> 01:16:30,639
Speaker 1: I considered working in the studio, going to the gym.

1601
01:16:31,560 --> 01:16:35,519
Speaker 2: Yeah, what's the longest you can go without creating a song,

1602
01:16:36,240 --> 01:16:38,360
Speaker 2: Like if you have an idea in your head that like, goddamn,

1603
01:16:38,439 --> 01:16:39,040
Speaker 2: this would work.

1604
01:16:39,120 --> 01:16:40,600
Speaker 1: But and I'll let it go.

1605
01:16:41,120 --> 01:16:43,439
Speaker 4: It's been a couple of months, you know why, Because

1606
01:16:43,720 --> 01:16:46,520
Speaker 4: I'm finding that the older I am, I can concentrate

1607
01:16:46,560 --> 01:16:49,640
Speaker 4: on one thing, I can't do both. So if I'm djaying,

1608
01:16:50,080 --> 01:16:53,160
Speaker 4: I really don't have no interest in doing beats, I

1609
01:16:53,240 --> 01:16:55,759
Speaker 4: really don't have no interest at all in doing beats.

1610
01:16:56,000 --> 01:16:59,000
Speaker 4: Last night, I did like some soul songs like the

1611
01:16:59,120 --> 01:17:02,719
Speaker 4: King George Got My Whiskey and and but and and and.

1612
01:17:02,640 --> 01:17:04,240
Speaker 3: Everything clicked so well.

1613
01:17:04,320 --> 01:17:06,439
Speaker 4: I did like five of them, like cause cause I

1614
01:17:06,439 --> 01:17:08,880
Speaker 4: got a guy that I work with that's asking me

1615
01:17:09,080 --> 01:17:10,640
Speaker 4: to like he was like, man, and I'm like, I

1616
01:17:10,680 --> 01:17:13,320
Speaker 4: love them songs. I love that circuit of like you

1617
01:17:13,360 --> 01:17:17,040
Speaker 4: know them them classic bluesy top like soul songs like

1618
01:17:17,080 --> 01:17:19,280
Speaker 4: you know one Monk, you don't stop, no show like,

1619
01:17:20,240 --> 01:17:22,120
Speaker 4: and I'm like, yeah, I'm like, bro, let's do them.

1620
01:17:22,200 --> 01:17:24,680
Speaker 4: And and last night, just last night, we did like

1621
01:17:24,720 --> 01:17:26,479
Speaker 4: four of them and dude was like, Man, you in

1622
01:17:26,520 --> 01:17:28,479
Speaker 4: the pocket right now? You really And I was like

1623
01:17:28,560 --> 01:17:31,280
Speaker 4: maybe because I haven't been around this that long and

1624
01:17:31,600 --> 01:17:34,360
Speaker 4: this is a different genre for me, you know, to

1625
01:17:34,479 --> 01:17:38,479
Speaker 4: to do this. But I also know for me to

1626
01:17:38,520 --> 01:17:41,160
Speaker 4: be good, I have to challenge myself. And and I

1627
01:17:41,200 --> 01:17:44,280
Speaker 4: know sometimes people don't want you to grow up. They

1628
01:17:44,320 --> 01:17:46,639
Speaker 4: want you to stay in this one little box or whatever.

1629
01:17:46,680 --> 01:17:49,320
Speaker 4: And you're just like, I'm like, that's hard for me.

1630
01:17:49,880 --> 01:17:52,360
Speaker 4: But I can express myself in DJing and and I

1631
01:17:52,360 --> 01:17:56,040
Speaker 4: love that because I can play Nirvana, I can play

1632
01:17:56,120 --> 01:17:58,800
Speaker 4: you know what I'm saying. I can play a hip

1633
01:17:58,840 --> 01:18:01,120
Speaker 4: hop from from from that to easy eat whatever I

1634
01:18:01,120 --> 01:18:03,040
Speaker 4: want to play or whatever, And that feels good to me.

1635
01:18:03,080 --> 01:18:04,760
Speaker 4: And that's the space that I'm in right now.

1636
01:18:16,800 --> 01:18:19,760
Speaker 2: If given an opportunity to just pick one artist to

1637
01:18:19,840 --> 01:18:24,160
Speaker 2: do an entire album with, who would it be?

1638
01:18:24,840 --> 01:18:27,160
Speaker 4: That's easy? It would be Marvin Gay. I mean, he

1639
01:18:27,280 --> 01:18:30,320
Speaker 4: is gone, but that's by far my favorite artist, Like

1640
01:18:30,360 --> 01:18:33,719
Speaker 4: you know, his truthfulness and in a lot of his songs,

1641
01:18:33,720 --> 01:18:36,120
Speaker 4: and you know, I'm like, damn, this took some guts.

1642
01:18:36,160 --> 01:18:38,920
Speaker 4: I mean, now it's easy to do that, but back then,

1643
01:18:39,000 --> 01:18:39,280
Speaker 4: you know.

1644
01:18:42,040 --> 01:18:44,120
Speaker 1: Exactly here, my dear is man.

1645
01:18:45,640 --> 01:18:48,760
Speaker 4: You know, if you listening to that with your significant other,

1646
01:18:48,880 --> 01:18:50,639
Speaker 4: you're just like, are you hearing what he's saying?

1647
01:18:57,160 --> 01:19:01,240
Speaker 2: My second and last question to you is, and I

1648
01:19:01,320 --> 01:19:03,040
Speaker 2: know that you know there have been.

1649
01:19:03,600 --> 01:19:05,639
Speaker 1: Fractured reunions, whatever one.

1650
01:19:06,000 --> 01:19:08,360
Speaker 2: I know you're tired of getting asked this question, So

1651
01:19:08,680 --> 01:19:12,519
Speaker 2: I'm framing it in another way. Is the cash money

1652
01:19:12,520 --> 01:19:15,120
Speaker 2: era or at least I don't know what it is

1653
01:19:15,240 --> 01:19:18,680
Speaker 2: as as a cash money fan that I'm hoping for,

1654
01:19:19,240 --> 01:19:23,720
Speaker 2: like a true reunion. Whatever is that in your rear

1655
01:19:23,800 --> 01:19:27,320
Speaker 2: view mirror now? Or is it still something?

1656
01:19:28,120 --> 01:19:32,160
Speaker 4: This is the problem we have like members that I

1657
01:19:32,160 --> 01:19:34,960
Speaker 4: would say, like incarceration came out, you know, went to

1658
01:19:35,080 --> 01:19:37,880
Speaker 4: jail came out in the world, changed the world changed

1659
01:19:37,880 --> 01:19:41,479
Speaker 4: around them, so I still think they playing catch up,

1660
01:19:42,400 --> 01:19:44,599
Speaker 4: you know. And it's the truest answer I could give you.

1661
01:19:44,640 --> 01:19:47,400
Speaker 4: And social media and the internet is not your friend.

1662
01:19:47,439 --> 01:19:50,160
Speaker 4: It's a tool that you use to sell something, you know,

1663
01:19:50,280 --> 01:19:53,880
Speaker 4: And we have this thing where it's like, hey, bro,

1664
01:19:54,560 --> 01:19:56,800
Speaker 4: you gotta stop with whatever you know, airing out your

1665
01:19:57,120 --> 01:19:59,519
Speaker 4: your goods, your bads and your uglies, you know what

1666
01:19:59,560 --> 01:20:02,400
Speaker 4: I'm saying. And when it comes to this, I just

1667
01:20:02,439 --> 01:20:03,960
Speaker 4: want you to come to work, like you know what

1668
01:20:04,000 --> 01:20:08,200
Speaker 4: I'm saying. And there's a disconnect to that. As a

1669
01:20:08,200 --> 01:20:12,479
Speaker 4: cash money fan, they want to hear cash money, you know.

1670
01:20:12,560 --> 01:20:15,559
Speaker 4: And what I mean is I get that we're all

1671
01:20:15,840 --> 01:20:18,559
Speaker 4: different individuals and you might have your record company thing

1672
01:20:18,680 --> 01:20:21,320
Speaker 4: going on right now and whatever you're doing, but you

1673
01:20:21,360 --> 01:20:24,479
Speaker 4: can't make it on this on this stage. And a

1674
01:20:24,479 --> 01:20:26,360
Speaker 4: lot of it is creative. That's that's that's what the

1675
01:20:26,479 --> 01:20:28,559
Speaker 4: argument to be. Like somebody going, well, you know, I

1676
01:20:28,600 --> 01:20:30,400
Speaker 4: got my own label and I got my own artists,

1677
01:20:30,400 --> 01:20:32,160
Speaker 4: and I want ten minutes to do that, and I'm like,

1678
01:20:32,200 --> 01:20:34,000
Speaker 4: we can't do that. That's not what our fans came

1679
01:20:34,040 --> 01:20:36,559
Speaker 4: to see. It's unfair to them. You can't make your

1680
01:20:36,640 --> 01:20:39,240
Speaker 4: label and your new artists off of this show. They

1681
01:20:39,520 --> 01:20:42,240
Speaker 4: are die hard cash Money fans. They came to see

1682
01:20:42,400 --> 01:20:44,120
Speaker 4: cash Money. They want us to sing the hits.

1683
01:20:44,520 --> 01:20:49,400
Speaker 2: Who's the diplomatic member of the crew that has the patience?

1684
01:20:50,200 --> 01:20:53,559
Speaker 4: Definitely say not everybody always say if anybody could put

1685
01:20:53,560 --> 01:20:54,320
Speaker 4: it together.

1686
01:20:54,200 --> 01:20:57,799
Speaker 1: Is me Alburnhams. Is that to lay on your shoulders there.

1687
01:20:58,000 --> 01:21:02,200
Speaker 4: Very very very very very because the truth hurts a

1688
01:21:02,200 --> 01:21:04,000
Speaker 4: lot of times. But I'd rather tell you the truth

1689
01:21:04,040 --> 01:21:05,880
Speaker 4: when I'm like, hey man, you're doing too much. You're

1690
01:21:05,880 --> 01:21:08,320
Speaker 4: doing this, or you're doing like exactly how I'm speaking

1691
01:21:08,320 --> 01:21:11,280
Speaker 4: it to you where I'm going like, hey, dude, I

1692
01:21:11,400 --> 01:21:13,519
Speaker 4: get it. You want to make your you know, whatever

1693
01:21:13,560 --> 01:21:15,760
Speaker 4: this thing is that you're building, but you got to

1694
01:21:15,840 --> 01:21:18,479
Speaker 4: understand that this is not what we're getting together for.

1695
01:21:18,800 --> 01:21:21,200
Speaker 4: We're not getting together. You got to do that on

1696
01:21:21,240 --> 01:21:22,960
Speaker 4: your own. You got to you gotta make whatever this

1697
01:21:23,080 --> 01:21:26,200
Speaker 4: thing is that that you're trying to do. We can't

1698
01:21:26,240 --> 01:21:28,599
Speaker 4: give you fifteen minutes for you to say something that

1699
01:21:28,640 --> 01:21:31,360
Speaker 4: you know nobody don't want to hear, you know, because

1700
01:21:31,400 --> 01:21:35,120
Speaker 4: it's not made yet. You trying to make another identity

1701
01:21:35,200 --> 01:21:37,400
Speaker 4: off of something that that's that's not what people came

1702
01:21:37,439 --> 01:21:40,479
Speaker 4: to see. Now I could tell you what we're working

1703
01:21:40,520 --> 01:21:43,280
Speaker 4: on right now. It's and it's looking up. We're working

1704
01:21:43,280 --> 01:21:46,480
Speaker 4: on a no limit and cash money tour. Like whereas

1705
01:21:46,520 --> 01:21:49,720
Speaker 4: both of us and I keep saying this, Bro, I

1706
01:21:49,720 --> 01:21:51,400
Speaker 4: can say this to you and you're gonna get it.

1707
01:21:51,720 --> 01:21:54,680
Speaker 4: I'm like, listen, sir, this is the fourth quarter. I

1708
01:21:54,720 --> 01:21:57,719
Speaker 4: keep and I've been saying this to everybody that's involved

1709
01:21:57,800 --> 01:22:00,240
Speaker 4: with me. I'm like, this is the fourth quarter. This

1710
01:22:00,280 --> 01:22:03,759
Speaker 4: is probably all throughout your career. This is the money

1711
01:22:03,800 --> 01:22:07,080
Speaker 4: that you didn't make. You can say it right now, this.

1712
01:22:07,120 --> 01:22:08,719
Speaker 1: Is Rolling Stone's money time.

1713
01:22:09,040 --> 01:22:12,000
Speaker 2: And I'm not and I don't want to, Okay, I

1714
01:22:12,040 --> 01:22:13,960
Speaker 2: don't want anyone who's listening.

1715
01:22:14,160 --> 01:22:14,400
Speaker 3: I don't.

1716
01:22:14,400 --> 01:22:18,360
Speaker 2: I don't want to prioritize the monetary benefits of it all.

1717
01:22:18,760 --> 01:22:21,560
Speaker 2: But it's like everything that you work for and building

1718
01:22:21,600 --> 01:22:25,080
Speaker 2: a legacy comes to this moment. This is this is

1719
01:22:25,120 --> 01:22:28,599
Speaker 2: where legacy truly starts. Yes, and if you just show

1720
01:22:28,680 --> 01:22:31,599
Speaker 2: up and curb your ego, just show up.

1721
01:22:32,000 --> 01:22:34,240
Speaker 1: Yes, ah man that.

1722
01:22:35,720 --> 01:22:37,760
Speaker 2: You know And dude, I'm not even ready for this,

1723
01:22:37,920 --> 01:22:40,840
Speaker 2: Like how big would that combination be?

1724
01:22:41,520 --> 01:22:44,280
Speaker 4: What you just said and meet and saying that, listen, bro,

1725
01:22:44,439 --> 01:22:47,679
Speaker 4: put all of that aside, you know, and I even

1726
01:22:47,720 --> 01:22:49,920
Speaker 4: have to bring up things that but they're very true.

1727
01:22:49,960 --> 01:22:52,200
Speaker 4: And I'm like, all throughout your mother's life or your

1728
01:22:52,520 --> 01:22:54,559
Speaker 4: father's life, how much money did they make, how did

1729
01:22:54,600 --> 01:22:56,360
Speaker 4: they get treated in life, and all of that, Well,

1730
01:22:56,439 --> 01:22:58,840
Speaker 4: this is the time right now that all of that

1731
01:22:58,960 --> 01:23:01,320
Speaker 4: is paidback, right now, at this very moment. If you

1732
01:23:01,360 --> 01:23:04,240
Speaker 4: put all of this foolishness aside, think about what you

1733
01:23:04,360 --> 01:23:06,679
Speaker 4: make a night, like, you know, for something that you love.

1734
01:23:07,880 --> 01:23:09,880
Speaker 3: This is something that you love to do. It ain't

1735
01:23:09,920 --> 01:23:11,479
Speaker 3: hard to do.

1736
01:23:10,960 --> 01:23:15,040
Speaker 4: Don't You're being doing everything you can do to destroy that.

1737
01:23:15,040 --> 01:23:16,560
Speaker 3: That's crazy, that's insanity.

1738
01:23:17,240 --> 01:23:20,880
Speaker 2: Look at new addition, Yeah, and you know, I mean,

1739
01:23:21,640 --> 01:23:24,240
Speaker 2: without being too TMI with it, I mean, there's a

1740
01:23:24,280 --> 01:23:30,480
Speaker 2: group of six individual members and at one point I

1741
01:23:30,640 --> 01:23:33,400
Speaker 2: know some of the ins and outs of certain beefs

1742
01:23:33,439 --> 01:23:37,240
Speaker 2: or whatever. But at the end of the day, when

1743
01:23:37,280 --> 01:23:42,040
Speaker 2: that introduction happens, the sixth of them are on stage

1744
01:23:42,080 --> 01:23:45,160
Speaker 2: thy and I know mentally, you know, there's a lot

1745
01:23:45,200 --> 01:23:47,080
Speaker 2: of Jedi mind tricking you have to do and juggling

1746
01:23:47,160 --> 01:23:52,919
Speaker 2: personalities that stuff. But man, if people could just especially

1747
01:23:52,920 --> 01:23:56,920
Speaker 2: for hip hop, man, I mean, one is surviving just

1748
01:23:56,920 --> 01:23:58,080
Speaker 2: just making.

1749
01:23:57,760 --> 01:24:00,160
Speaker 1: It to fifty, making it to sixty, make it at

1750
01:24:00,160 --> 01:24:00,719
Speaker 1: the seventies.

1751
01:24:00,800 --> 01:24:04,800
Speaker 4: Yeah, Bro, we're unicorns that don't happen in hip hop.

1752
01:24:05,439 --> 01:24:08,360
Speaker 4: It does not happen, you know when you're telling somebody

1753
01:24:08,400 --> 01:24:10,360
Speaker 4: that listen, bro, this is this.

1754
01:24:10,320 --> 01:24:11,439
Speaker 1: Is you are here.

1755
01:24:11,960 --> 01:24:15,559
Speaker 3: Yeah. Yeah, also you are on Earth. Yeah.

1756
01:24:15,800 --> 01:24:20,120
Speaker 4: And thirty years later they still want these songs that

1757
01:24:20,479 --> 01:24:23,519
Speaker 4: will that ever happen again in hip hop? You know

1758
01:24:23,600 --> 01:24:24,200
Speaker 4: what I'm saying.

1759
01:24:25,600 --> 01:24:26,120
Speaker 3: Here's the thing.

1760
01:24:26,120 --> 01:24:30,240
Speaker 2: I'm not even gonna front like I am the quirt

1761
01:24:30,360 --> 01:24:33,640
Speaker 2: carrying flag waving member. I meant what matters is I

1762
01:24:33,680 --> 01:24:35,560
Speaker 2: came to the altar. I was slow to come to

1763
01:24:35,600 --> 01:24:40,600
Speaker 2: the altar, but I can to the altar, and dude, like,

1764
01:24:41,040 --> 01:24:46,160
Speaker 2: I hope, I really hope it happens just just so

1765
01:24:46,240 --> 01:24:49,320
Speaker 2: that hip I mean, hip hop needs it, not even

1766
01:24:49,360 --> 01:24:50,479
Speaker 2: you need it or your kids.

1767
01:24:50,960 --> 01:24:54,040
Speaker 4: Absolutely right, there's a great thing in our culture that's

1768
01:24:54,080 --> 01:24:58,400
Speaker 4: happening right now. We are so brotherly love and sisterly

1769
01:24:58,439 --> 01:25:02,559
Speaker 4: love right now to its us our generation, you know

1770
01:25:02,640 --> 01:25:06,360
Speaker 4: what I'm saying, And that just that example can save

1771
01:25:06,840 --> 01:25:09,600
Speaker 4: hip hop and save this younger generation, like you know,

1772
01:25:09,680 --> 01:25:12,960
Speaker 4: by by giving examples, we are so like you know,

1773
01:25:13,320 --> 01:25:15,960
Speaker 4: like we man when we do shows, like you know,

1774
01:25:16,000 --> 01:25:17,720
Speaker 4: me and Juvie did a tour and that's kind of

1775
01:25:17,720 --> 01:25:19,920
Speaker 4: what started the whole talks of us.

1776
01:25:19,800 --> 01:25:21,640
Speaker 3: Doing it when Me and Juvie did and it was

1777
01:25:21,680 --> 01:25:22,920
Speaker 3: a very successful tour.

1778
01:25:23,000 --> 01:25:26,960
Speaker 4: But we also paid attention to what the fans were

1779
01:25:27,000 --> 01:25:30,400
Speaker 4: saying to us, you know, and we realized, like, y'all

1780
01:25:30,400 --> 01:25:32,880
Speaker 4: not just fans, y'all family, y'all been with us for

1781
01:25:32,920 --> 01:25:35,519
Speaker 4: so long, like you know what I'm saying, you know,

1782
01:25:35,640 --> 01:25:38,559
Speaker 4: and they just like, hey, dude, you know when somebody

1783
01:25:38,640 --> 01:25:41,360
Speaker 4: tells you like, man, Bro, I was in a dark

1784
01:25:41,400 --> 01:25:44,519
Speaker 4: place and this everything that y'all did, you know got

1785
01:25:44,520 --> 01:25:46,760
Speaker 4: me out of that. Bro, Your music, you know, just

1786
01:25:47,360 --> 01:25:50,200
Speaker 4: sometimes watching an interview and you say something positive you

1787
01:25:50,200 --> 01:25:52,040
Speaker 4: know that got me, And I'm like, this is a

1788
01:25:52,080 --> 01:25:54,320
Speaker 4: connection to a lot of people, and you know, and

1789
01:25:54,360 --> 01:25:58,200
Speaker 4: telling somebody why be selfish? Why are you something that's

1790
01:25:58,200 --> 01:26:00,639
Speaker 4: a gift, that's a blessing, like and this is something

1791
01:26:00,640 --> 01:26:03,519
Speaker 4: that you know your family wants, not just your fans,

1792
01:26:03,600 --> 01:26:06,640
Speaker 4: your family, because I consider anybody that way. You know,

1793
01:26:06,680 --> 01:26:09,360
Speaker 4: when you go somewhere and you got everywhere you've been

1794
01:26:09,680 --> 01:26:11,719
Speaker 4: like as the roots or whatever, when you was doing

1795
01:26:11,720 --> 01:26:13,760
Speaker 4: stuff everywhere that you've been. I'm more in a show.

1796
01:26:13,800 --> 01:26:16,800
Speaker 4: You have picked up some people that they friends, they

1797
01:26:16,960 --> 01:26:19,479
Speaker 4: genuine friends. Well, you know when when you're coming through

1798
01:26:19,479 --> 01:26:22,120
Speaker 4: somewhere and somebody's like, oh, that's that's my man. You know,

1799
01:26:22,720 --> 01:26:25,000
Speaker 4: I've known him for fifteen years coming to this and

1800
01:26:25,040 --> 01:26:28,000
Speaker 4: we have people like that in cities where I'm like, bro,

1801
01:26:28,479 --> 01:26:31,519
Speaker 4: there's no we are connected to these people. Come on, man,

1802
01:26:31,600 --> 01:26:33,040
Speaker 4: let's get out here and give them what they what

1803
01:26:33,080 --> 01:26:34,400
Speaker 4: they need and what they want.

1804
01:26:34,640 --> 01:26:36,120
Speaker 1: From your mouth to God's ears.

1805
01:26:36,160 --> 01:26:39,920
Speaker 2: Man, whatever you have planned in the twenty twenty six

1806
01:26:40,080 --> 01:26:45,520
Speaker 2: and beyond, I support it, and I thank you so likewise,

1807
01:26:46,040 --> 01:26:48,440
Speaker 2: and I'm glad we finally had our first conversation.

1808
01:26:48,560 --> 01:26:48,760
Speaker 4: Man.

1809
01:26:48,800 --> 01:26:51,519
Speaker 2: I thank you for coming on the Quest Left show. Brother,

1810
01:26:52,320 --> 01:26:55,280
Speaker 2: thank you man, Freaky Fresh. I appreciate it.

1811
01:26:55,439 --> 01:26:57,439
Speaker 4: Well, you already know I'm gonna see you somewhere, bro,

1812
01:26:57,520 --> 01:27:00,519
Speaker 4: because you know, I'm all over this, all over the place,

1813
01:27:00,680 --> 01:27:04,320
Speaker 4: you know, with this DJ thing, and that's healing to me.

1814
01:27:04,800 --> 01:27:06,640
Speaker 4: So I don't like to say, you know how some

1815
01:27:06,680 --> 01:27:08,920
Speaker 4: people say I could, I'll be all right, you know,

1816
01:27:09,320 --> 01:27:11,360
Speaker 4: I don't like that. I'm like, I would love to

1817
01:27:11,600 --> 01:27:14,360
Speaker 4: have my group, you know, and let's go down in

1818
01:27:14,439 --> 01:27:17,320
Speaker 4: history and make some incredible songs like the other people do,

1819
01:27:17,439 --> 01:27:20,120
Speaker 4: like the other races do, and other faces do, Like, hey,

1820
01:27:20,200 --> 01:27:23,760
Speaker 4: we need to do that, and you know improve you

1821
01:27:23,800 --> 01:27:25,799
Speaker 4: know the negativity and all of that wrong and everybody

1822
01:27:25,840 --> 01:27:27,800
Speaker 4: that said we couldn't do this as black men and

1823
01:27:27,880 --> 01:27:30,880
Speaker 4: we can't put this these beefs aside, you know. But

1824
01:27:31,680 --> 01:27:35,040
Speaker 4: until then, yeah, I will continue to DJ and you know,

1825
01:27:35,080 --> 01:27:37,519
Speaker 4: and heal people with music and bring my a game

1826
01:27:37,560 --> 01:27:41,240
Speaker 4: everywhere I go. But I would love, love, love love,

1827
01:27:41,240 --> 01:27:43,360
Speaker 4: and I hope all of them see this to have

1828
01:27:43,439 --> 01:27:45,760
Speaker 4: them all together on the stage and let's do.

1829
01:27:45,760 --> 01:27:50,599
Speaker 2: It, manifested, It's gonna happen, Yes, sir, it'll happen, all right, Well,

1830
01:27:51,000 --> 01:27:54,800
Speaker 2: thank you very much, and for all of you listening, Yo,

1831
01:27:55,360 --> 01:27:58,720
Speaker 2: this is a great grant, incredible Manny freaky fresh on

1832
01:27:58,760 --> 01:27:59,559
Speaker 2: The Quest Love Show.

1833
01:28:00,000 --> 01:28:00,960
Speaker 1: See y'all next week, you sir.

1834
01:28:05,439 --> 01:28:07,960
Speaker 2: The Quest Love Show is hosted by me a Mere

1835
01:28:08,040 --> 01:28:12,400
Speaker 2: Quest Love Thompson. The executive producers are Sean g Brian

1836
01:28:12,479 --> 01:28:18,479
Speaker 2: Calhoun and Me. Produced by Brittany Benjamin and Jacob Payne.

1837
01:28:19,520 --> 01:28:25,040
Speaker 2: Produced for iHeart by Noel Brown, Edited by Alex conn

1838
01:28:25,560 --> 01:28:31,040
Speaker 2: iHeart Video support by Mark Canton Logos, graphics and animation

1839
01:28:31,160 --> 01:28:32,320
Speaker 2: by Nick Blowe.

1840
01:28:33,920 --> 01:28:35,759
Speaker 1: Additional support by Lance Coleman.

1841
01:28:37,280 --> 01:28:42,040
Speaker 5: Special thanks to Kathy Brown, Special thanks to Sugar Steve Mandel.

1842
01:28:43,479 --> 01:28:46,559
Speaker 5: Please subscribe, Brain review, and share The Quest Love Show

1843
01:28:46,840 --> 01:28:50,040
Speaker 5: wherever you stream your podcast. Make sure you follow us

1844
01:28:50,040 --> 01:28:53,920
Speaker 5: on socials that's at q LS.

1845
01:28:55,600 --> 01:28:58,760
Speaker 2: Check out hundreds and hundreds of QLs episodes, including The

1846
01:28:58,840 --> 01:29:04,360
Speaker 2: Quest Love Supreme Show, in our podcast archives. The Quest

1847
01:29:04,360 --> 01:29:21,280
Speaker 2: Loup Show is a production of iHeart redem