WEBVTT - Mannie Fresh 0:00:00.240 --> 0:00:03.680 The Quest Loft Show is a production of iHeart Radio. 0:00:11.600 --> 0:00:15.280 Good People, Good people. Welcome to the Quest Loft Show. 0:00:15.560 --> 0:00:16.080 Today. 0:00:16.160 --> 0:00:22.640 We have an absolute legend, an architectural mastermind of hip 0:00:22.680 --> 0:00:26.880 hop culture from the heart of the Big Easy New Orleans. 0:00:27.240 --> 0:00:31.080 Our guest today has brought a sound I will say, 0:00:31.840 --> 0:00:35.040 really brought the sound of the South to life and 0:00:35.159 --> 0:00:41.440 to prominence, anti dominance, literally defining an era with his 0:00:41.720 --> 0:00:43.120 unmatched production talent. 0:00:43.640 --> 0:00:45.960 We know all the icons that he's collaborated with. 0:00:46.280 --> 0:00:49.279 It's part of our daily fiber, our daily nutrients, if 0:00:49.280 --> 0:00:54.240 you will. From of course, his comrades Juvenile and Weezy 0:00:54.360 --> 0:00:57.840 and UGK and Trina and Ti I and two Chains, 0:00:57.880 --> 0:00:59.639 and the list goes on and on and on and on. 0:01:00.120 --> 0:01:01.040 A longtime fan. 0:01:01.120 --> 0:01:03.880 If you are a hip hop historian, of course you 0:01:04.000 --> 0:01:07.160 know of his entry into the game in the late eighties. 0:01:07.480 --> 0:01:08.360 Of course with M. C. 0:01:08.480 --> 0:01:12.080 Gregory, d our guest today is literally the Army and 0:01:12.120 --> 0:01:15.600 the Navy, the Space Force, and the Air Force and 0:01:15.640 --> 0:01:18.680 the Marines. He is the number one, two, three, four 0:01:18.800 --> 0:01:21.840 and five stunner. I'm glad I get to say these words. 0:01:22.160 --> 0:01:24.679 Manny Fresh, Welcome to the Quest Love Show. 0:01:24.720 --> 0:01:25.160 How are you? 0:01:25.319 --> 0:01:28.360 Thank you? Bro? That was an awesome intro. I'm gonna 0:01:28.360 --> 0:01:31.040 have to use that or something. You deserve it. 0:01:31.080 --> 0:01:32.160 You deserve it, man. 0:01:32.080 --> 0:01:34.120 Thank you, brother, I appreciate it. Thank you. 0:01:34.440 --> 0:01:35.840 This time we hold each other up in light. 0:01:36.160 --> 0:01:37.520 Yes, yes we should. 0:01:37.840 --> 0:01:40.480 You and I have done occasional gigs together. 0:01:40.959 --> 0:01:45.120 Yes, but aside from like the casual pleasantries and given 0:01:45.160 --> 0:01:48.440 pounds and whatnot, we really haven't officially kicked it. 0:01:48.720 --> 0:01:53.080 And I have so many questions. I have so many questions. Yeah, 0:01:53.120 --> 0:01:57.520 what is your very first musical memory? 0:01:58.280 --> 0:02:00.559 I just remember my dad always had in a gang 0:02:00.600 --> 0:02:04.200 of forty fives and just all of these soul songs 0:02:04.240 --> 0:02:06.920 that they made the house feel better, like you know, 0:02:07.160 --> 0:02:09.640 the songs that were like the cool, the Sam Cook 0:02:09.760 --> 0:02:12.040 songs like you know. When my dad would play those 0:02:12.040 --> 0:02:15.520 songs or whatever, it just made the whole structure of 0:02:15.560 --> 0:02:19.399 our house feel better, like you know. And we had 0:02:19.480 --> 0:02:22.359 no clue that we lived in public housing. We had 0:02:22.400 --> 0:02:26.720 no clue. And because those songs made it feel that good. 0:02:26.919 --> 0:02:30.480 So my introduction to music was through forty fives. That's 0:02:30.480 --> 0:02:33.320 what my dad was playing first, you know. And one 0:02:33.360 --> 0:02:36.880 of his favorite artists was Sam Cook and he played 0:02:37.360 --> 0:02:39.880 I mean, like the hell out of Sam cook songs 0:02:39.919 --> 0:02:42.440 and you know, and we knew the songs, you know, 0:02:42.560 --> 0:02:44.720 by my dad playing them, so we knew the lyrics 0:02:44.800 --> 0:02:47.480 to all of those songs. But to see my mom 0:02:47.520 --> 0:02:50.840 and my dad interact when those songs played, you know, 0:02:50.960 --> 0:02:53.919 it showed you that this is a part of. 0:02:53.919 --> 0:02:56.760 Music, is the glue to you know, to make things better. 0:02:57.400 --> 0:02:59.320 How many albums were in the household? 0:02:59.480 --> 0:03:01.720 Oh my god, God, bro, we lost. 0:03:02.280 --> 0:03:04.320 I wish my mom was here right now because you know, 0:03:04.360 --> 0:03:07.080 people would be like, nah, he exaggerating. I think we 0:03:07.280 --> 0:03:12.400 probably had over over the years, maybe thirty to forty thousand, 0:03:12.720 --> 0:03:15.280 forty fives that my dad acted. We had stacks and 0:03:15.320 --> 0:03:18.640 stacks of forty fives, like you know, because from his 0:03:18.760 --> 0:03:21.640 era of DJing, like you know, and that was the 0:03:21.760 --> 0:03:24.840 that was the first thing that DJ spent forty fives. 0:03:24.919 --> 0:03:26.920 And the crazy thing was a lot of them wasn't 0:03:26.919 --> 0:03:30.160 in the sleeve. They was just stacked up. And even 0:03:30.280 --> 0:03:32.720 some of my younger baby pictures, you know, people were like, 0:03:32.760 --> 0:03:35.240 well was that AI did you know? I'm like, that's 0:03:35.320 --> 0:03:37.800 really what I played with forty fives like that was 0:03:37.840 --> 0:03:38.640 that was my talk? 0:03:40.680 --> 0:03:43.720 I got you, no, this this is I'm glad to 0:03:43.720 --> 0:03:47.200 finally talk to someone that I had the same childhood. 0:03:47.400 --> 0:03:50.360 You know, growing up, we had about maybe four thousand, 0:03:51.400 --> 0:03:56.040 five thousand albums. I would judge records based on how 0:03:56.080 --> 0:04:02.120 they looked label wise, Yeah, hitting on the turntable. So 0:04:03.400 --> 0:04:07.160 can I assume that as a kid, were you a 0:04:07.360 --> 0:04:10.560 record obsessive or was it a thing where it's like. 0:04:11.040 --> 0:04:14.200 Your parents ramp it down your throat, so you just inherited. 0:04:14.040 --> 0:04:16.080 My parents kind of rammed it down my throat, like 0:04:16.120 --> 0:04:19.600 you know, my dad on played keys, he played drums, 0:04:19.839 --> 0:04:22.360 you know, and he didn't play professionally, but he knew 0:04:22.360 --> 0:04:25.440 how to play by ear. So it was always around 0:04:25.520 --> 0:04:28.159 me that you know, like this is something that you know, 0:04:28.200 --> 0:04:30.080 you're gonna have to tangle with it for a little bit, 0:04:30.160 --> 0:04:31.800 or you're gonna have to mess with it, you know. 0:04:31.839 --> 0:04:35.200 We had an old piano. Of course it wasn't on. 0:04:35.320 --> 0:04:39.320 Tune, but my dad would mimic the old songs, like 0:04:39.360 --> 0:04:41.599 the Duop songs, because all of those songs was probably 0:04:41.640 --> 0:04:43.599 two cards and just you know, like a little bass 0:04:43.640 --> 0:04:46.680 part and you know, and then I started on going, oh, 0:04:46.680 --> 0:04:48.919 it's kind of easy to play, you know, mimicking that 0:04:49.080 --> 0:04:49.440 or whatever. 0:04:49.520 --> 0:04:50.560 And then before you know, it. 0:04:50.600 --> 0:04:52.440 You know, you're doing things on your own and you 0:04:52.480 --> 0:04:55.080 don't even know like this is really you creating something 0:04:55.800 --> 0:04:59.520 because that genre of music, there was so many ripoffs 0:04:59.560 --> 0:05:01.679 of a song that you know, it was the same 0:05:01.839 --> 0:05:03.960 song where you were just like, well, you know, this 0:05:04.120 --> 0:05:06.720 is that song and it's also the Beach Boys song. 0:05:06.560 --> 0:05:09.159 You know the Blues and yeah, just yeah, I get it, 0:05:09.440 --> 0:05:11.719 I get it. You know. A lot of this is 0:05:11.760 --> 0:05:12.839 coming of course. 0:05:12.960 --> 0:05:13.080 You know. 0:05:13.160 --> 0:05:15.480 I was raised in Philadelphia, in the Northeast. 0:05:16.480 --> 0:05:19.600 I was basically just led under the impression that damn 0:05:19.680 --> 0:05:23.240 near one out of three people in New Orleans had 0:05:23.240 --> 0:05:30.240 some sort of musical talent. Was that just like a 0:05:30.440 --> 0:05:34.720 kind of like breathing air or eating bread, Like, oh, 0:05:34.800 --> 0:05:38.520 you have to eventually figure out some sort even if 0:05:38.560 --> 0:05:40.040 your desires not to do me. 0:05:40.200 --> 0:05:44.000 Yeah, and every neighborhood, every project that was a band 0:05:44.120 --> 0:05:48.440 being started somewhere like you know, and that was the norm. Like, 0:05:48.480 --> 0:05:50.920 you know, if you didn't pay attention to everything else 0:05:50.960 --> 0:05:54.080 around you, you played instruments, you know, And one of 0:05:54.080 --> 0:05:56.559 the cool things about New Orleans was if you did 0:05:56.640 --> 0:05:59.039 do that, you know, the street dudes would leave you 0:05:59.080 --> 0:06:02.760 alone because they knew how important it was to the culture. 0:06:03.320 --> 0:06:05.880 It was respected that you know, you did that. You know, 0:06:06.240 --> 0:06:08.920 it's tons of people that can tell you stories, like, 0:06:08.960 --> 0:06:10.640 you know, growing up in New Orleans, like they would 0:06:10.680 --> 0:06:12.760 just raise up my window and leave the window open 0:06:12.880 --> 0:06:15.240 because I was DJing, I was in, you know, playing something. 0:06:15.279 --> 0:06:17.120 They was like, hey, bro, can we just listen, you 0:06:17.160 --> 0:06:19.240 know while we're out here doing whatever we're doing. And 0:06:19.240 --> 0:06:21.279 I'm like, yeah, I just leave a window up, you know. 0:06:21.440 --> 0:06:23.440 And it was just you know, because I was in, 0:06:23.760 --> 0:06:25.720 I was trying to figure out whatever I was doing, 0:06:25.760 --> 0:06:28.599 whatever that mix was, whatever I was creating, but it 0:06:28.680 --> 0:06:30.360 was cool to them, and you know, and it would 0:06:30.400 --> 0:06:33.120 be like even if I tried something crazy growing up, 0:06:33.320 --> 0:06:35.440 they would send me on my way. They would be like, hey, bro, 0:06:35.560 --> 0:06:38.680 get back to music, dude, this is not for you. 0:06:38.720 --> 0:06:40.120 Go back to music. 0:06:40.920 --> 0:06:44.440 So in your childhood, what was what I would call 0:06:44.560 --> 0:06:47.919 hustle culture or get like how prominent. 0:06:47.680 --> 0:06:50.000 Again around all around me, dude. 0:06:50.040 --> 0:06:53.279 And luckily I grew up with guys that respected what 0:06:53.360 --> 0:06:56.240 I was doing and saw something in me, like you know, 0:06:56.279 --> 0:06:59.520 that was just like and I knew after trying something, 0:06:59.680 --> 0:07:02.960 you know, people always glorified that I was horrible at 0:07:02.960 --> 0:07:05.280 that that was not my thing, like I would have 0:07:05.320 --> 0:07:08.120 got everybody killed in myself tried it, but I was 0:07:08.200 --> 0:07:10.040 just like, nah, this is not for me, you know. 0:07:10.120 --> 0:07:12.240 And then when you're home, you know, somebody who you 0:07:12.240 --> 0:07:14.280 grew up with, one of your homies, he's just like, hey, bro, 0:07:14.600 --> 0:07:15.120 get off. 0:07:15.000 --> 0:07:17.400 The streets, get back to music, you. 0:07:17.400 --> 0:07:21.920 Know, and hustle. That just wasn't for me. And even 0:07:22.560 --> 0:07:25.040 I'm so glad my dad was just like, if you 0:07:25.040 --> 0:07:27.160 get in trouble for that, I'm not coming get you. 0:07:27.280 --> 0:07:30.080 Because I respected my dad like to the fullest, you know, 0:07:30.160 --> 0:07:32.240 and he was just like, there's so many opportunities out 0:07:32.240 --> 0:07:34.040 here for you, but if you if you're trying to 0:07:34.080 --> 0:07:36.440 hustle with your friends and you get in trouble for that, 0:07:36.640 --> 0:07:37.680 I'm not coming get you. 0:07:37.840 --> 0:07:39.760 And that's scared that he be g be was out 0:07:39.800 --> 0:07:39.920 of me. 0:07:40.520 --> 0:07:42.880 I know that film, bro, Yeah, I know that. 0:07:44.160 --> 0:07:50.560 I'm always curious about kind of the first generation of DJ's, 0:07:50.640 --> 0:07:54.680 those DJs that had to operate with one turntable or 0:07:54.840 --> 0:07:57.920 sock op DJs or whatever DJing was in the sixties 0:07:57.960 --> 0:08:00.200 and seventies, When did your father start dj. 0:08:00.560 --> 0:08:04.040 My father, he was a cook at the Roosevelt Hotel. 0:08:04.360 --> 0:08:08.800 He was a chef there and he actually heard a 0:08:08.960 --> 0:08:12.000 DJ like heard I forget who the popular DJ was. 0:08:12.040 --> 0:08:13.760 This was his story from what he was telling me. 0:08:14.000 --> 0:08:16.920 That was on a radio station, just on a radio station. 0:08:17.120 --> 0:08:20.640 But he said, when they had sock hops or whatever, 0:08:21.200 --> 0:08:23.640 you could not get those records. You couldn't get those 0:08:23.640 --> 0:08:26.600 songs or whatever, like the really really good songs like 0:08:26.680 --> 0:08:29.440 you know, because in those days you had you know, 0:08:29.480 --> 0:08:32.040 the way they operated, the way New Orleans operated or whatever. 0:08:32.120 --> 0:08:35.840 Everything was a paola. It was mafia influenced or whatever, 0:08:36.040 --> 0:08:38.520 and all of that even music. So he was just 0:08:38.640 --> 0:08:41.920 like they weren't invited to certain things, you know, like 0:08:42.040 --> 0:08:44.480 basically they would get the bottom of the bowl if 0:08:44.480 --> 0:08:46.080 it was a sock hop or whatever. And he was 0:08:46.120 --> 0:08:49.680 like a DJ didn't have the music of our culture 0:08:50.000 --> 0:08:52.880 or whatever. So he seen it as an opportunity to 0:08:52.880 --> 0:08:55.280 say like, hey, you know what this is missing. This 0:08:55.360 --> 0:08:57.760 is what's missing from our culture if we if we 0:08:57.800 --> 0:08:59.480 go somewhere, it was like we got to hear the 0:08:59.480 --> 0:09:02.480 same three songs over and over again. Where if it's 0:09:02.520 --> 0:09:05.680 on the other side of town, they get everything, you know, 0:09:06.000 --> 0:09:09.839 because there wasn't really no good DJs that could get 0:09:09.920 --> 0:09:14.200 good music. So what he did was he started hanging 0:09:14.240 --> 0:09:18.640 out at the radio station and figured out, like the 0:09:18.679 --> 0:09:21.760 way this worked, the way Paola worked in that time, 0:09:21.960 --> 0:09:24.320 was they would actually give the DJs. If you were 0:09:24.360 --> 0:09:26.760 a so called DJ, they would give you the records 0:09:26.800 --> 0:09:29.440 and give you a little money to break it, you 0:09:29.480 --> 0:09:32.320 know what I'm saying. So that's the way our whole 0:09:32.360 --> 0:09:35.000 collection of forty five's and all of that started. My 0:09:35.080 --> 0:09:36.920 dad would get records that, you know, some of them 0:09:36.960 --> 0:09:39.280 was good, some of them was horrible, but a lot 0:09:39.320 --> 0:09:41.680 of it was because he was he was going up 0:09:41.720 --> 0:09:45.080 in the ranks, and when he first started DJing, it 0:09:45.160 --> 0:09:47.720 appealed to black people. So you had all of these 0:09:47.760 --> 0:09:49.960 record companies going, this is the guy to go to. 0:09:50.400 --> 0:09:52.760 And he decided to make a living off of it. 0:09:52.760 --> 0:09:54.200 He was just like, you know what, I think I 0:09:54.200 --> 0:09:57.120 could quit my job and do this. And you know, 0:09:57.320 --> 0:10:00.640 he raised me and my two sisters off DJing. That 0:10:00.720 --> 0:10:02.520 was the only job I know my dad ever had 0:10:02.720 --> 0:10:05.160 after quitting, you know, his job from being a chef. 0:10:05.720 --> 0:10:07.720 What types of parties did he do? 0:10:08.040 --> 0:10:10.840 What was big in A in A in the sixties. 0:10:11.320 --> 0:10:13.319 I remember even talking about this with him. They had 0:10:13.320 --> 0:10:15.640 this gong show that they used to do. And the 0:10:15.720 --> 0:10:18.520 Gong Show was kind of like kind of equivalent to 0:10:19.200 --> 0:10:21.720 you know, mimicking a song or whatever and somebody would 0:10:21.760 --> 0:10:24.080 dressed up like the act or whatever and sang the song. 0:10:24.440 --> 0:10:28.200 But that was big, like you know, like like karaoke basically, 0:10:28.520 --> 0:10:30.920 like but that was big that you you dressed the party. 0:10:30.920 --> 0:10:32.840 If you did Little Richard, you had to show up 0:10:32.880 --> 0:10:35.680 dressed up like Little Richard, like you know what I'm saying. 0:10:35.760 --> 0:10:38.720 And and my dad was the orchestrator of kind of 0:10:38.760 --> 0:10:41.160 the Gong Show and that was a big thing for 0:10:41.240 --> 0:10:43.720 people in New Orleans to go out and do. And 0:10:43.800 --> 0:10:46.600 then from there it went to you know, like the 0:10:46.640 --> 0:10:49.600 little sock hop or maybe the gym or whatever, and 0:10:49.679 --> 0:10:52.680 all of and evolved. I remember finding like some of 0:10:52.679 --> 0:10:55.280 my dad's first amps, like the tube amps with no 0:10:55.360 --> 0:10:57.160 back on him, with just a plug in them. 0:10:57.360 --> 0:11:01.319 How did the music project in? I mean in days 0:11:01.679 --> 0:11:04.440 now we have cabinets and yeah, yeah, and. 0:11:04.840 --> 0:11:07.040 My dad had a lot of old equipment, like you know, 0:11:07.200 --> 0:11:09.880 the first generation PV speakers. Well you know, like those 0:11:09.920 --> 0:11:12.880 those speakers were you know, just loud. You know, you 0:11:12.920 --> 0:11:15.760 couldn't tune them or whatever. In the first generation apps 0:11:15.960 --> 0:11:17.520 that you know, you just plugged in them and the 0:11:17.640 --> 0:11:19.559 back was open, so if you stuck your finger in 0:11:19.600 --> 0:11:26.199 there or whatever, you was dead. And I saw it 0:11:26.520 --> 0:11:30.680 evolved from that to better equipment, you know, and I'm like, oh, well, 0:11:30.720 --> 0:11:33.360 you actually are moving, you know. And then from there 0:11:33.440 --> 0:11:36.720 it became like every hole in the wall bar, every 0:11:36.800 --> 0:11:39.480 every place in New Orleans my dad played. And then 0:11:39.520 --> 0:11:43.520 around somewhere around fourteen fifteen, I started hooking up my 0:11:43.600 --> 0:11:46.040 dad's equipment wherever he was playing. You know. He was 0:11:46.080 --> 0:11:48.280 just like, hey, could you go hook this up and 0:11:48.280 --> 0:11:50.560 then before you go to school, come back and get it. 0:11:50.800 --> 0:11:52.840 You know. I was driving without a license, me and 0:11:52.880 --> 0:11:54.719 my friend Wap, you know, my dad was she was 0:11:54.760 --> 0:11:57.520 this DJ van because that's what you had at the time. 0:11:57.600 --> 0:11:59.960 Right, Okay, so you got tricked into the family. 0:12:00.559 --> 0:12:01.840 Yeah, I got tricked into it. 0:12:01.880 --> 0:12:05.920 I got tricked into it by literally bringing his equipment, 0:12:05.960 --> 0:12:08.600 hooking it up, and coming back to get it. And 0:12:08.840 --> 0:12:11.720 one late night it was like a smoky hole in 0:12:11.760 --> 0:12:14.960 the wall bar or whatever. I kind of got there early, 0:12:15.320 --> 0:12:17.280 and my dad was like, long as you stay in 0:12:17.320 --> 0:12:19.600 the background, you know what I'm saying, and just stay 0:12:19.640 --> 0:12:21.760 out of the way. You can stay here because you 0:12:21.760 --> 0:12:23.880 can't get you know, So I was just in the 0:12:23.920 --> 0:12:27.600 background and I saw, like that changed my life for forever. 0:12:27.640 --> 0:12:30.080 I saw what the DJ do and what music do 0:12:30.200 --> 0:12:30.680 for people. 0:12:31.080 --> 0:12:36.000 What year was this, This was probably somewhere on early eighties, 0:12:36.640 --> 0:12:38.960 early eighties, like very very early eighties. 0:12:39.640 --> 0:12:44.280 In your observation of being your air quote your dad's apprenticed, 0:12:44.920 --> 0:12:49.640 when are you taking note of what works and what 0:12:49.720 --> 0:12:53.640 doesn't work? Because what I noticed about the most successful 0:12:53.720 --> 0:12:58.800 producers in black music the common denominator that they have 0:12:59.640 --> 0:13:02.480 handful of them. Jimmy jam is one of them. Doctor 0:13:02.559 --> 0:13:05.400 Dre's a great example of them. Of course, you know 0:13:05.480 --> 0:13:09.440 most people before they produce, they were once DJs. Like 0:13:09.600 --> 0:13:13.800 Dre's example is the reason why he's so good is 0:13:13.840 --> 0:13:18.800 because he DJ'd in some of the most hostile environments ever. 0:13:19.720 --> 0:13:24.160 And if you played the wrong song, that was your ass. 0:13:24.200 --> 0:13:27.440 Like you're responsible for the lives of if you play 0:13:27.480 --> 0:13:31.400 something that doesn't work. Yeah, so the pressure is on 0:13:31.520 --> 0:13:35.240 you almost to build the perfect house of cards. You're 0:13:35.280 --> 0:13:38.640 the perfect person that asks this question, because I will say, 0:13:38.760 --> 0:13:40.959 now you. 0:13:40.840 --> 0:13:41.520 Hold the key. 0:13:41.559 --> 0:13:45.440 There's the one record that will last fifty years that 0:13:45.600 --> 0:13:49.959 no matter what environment it's in, it works. When people 0:13:50.040 --> 0:13:52.640 play the intro to Michael Jackson's Don't Stop to Get Enough. 0:13:52.920 --> 0:13:56.520 It was that feeling when I play Smells like Teen Spirits. 0:13:56.559 --> 0:14:02.000 Sometimes there's that feeling there's no in the world, Like 0:14:02.040 --> 0:14:06.679 when the first four bars of back that Ass Up 0:14:06.720 --> 0:14:11.679 comes on. Yeah, it's almost like Pandemonium's gonna start in 0:14:11.760 --> 0:14:16.120 fifteen seconds. In your opinion, what was that record when 0:14:16.160 --> 0:14:19.240 you first started as an apprentice with your dad observing 0:14:19.320 --> 0:14:19.760 him DJ. 0:14:20.520 --> 0:14:23.120 Believe it or not, Marvin Gase got to give it 0:14:23.200 --> 0:14:25.160 up when that came on. 0:14:25.280 --> 0:14:28.560 It worse to this day when that came on wherever. 0:14:28.240 --> 0:14:30.920 He was DJ, and they went nuts, like you know, 0:14:31.360 --> 0:14:34.640 and I used to go out in pond, you know. 0:14:34.800 --> 0:14:36.720 And the crazy thing was that was the era when 0:14:36.760 --> 0:14:39.240 you could play the song three or four times, and 0:14:39.280 --> 0:14:42.160 he would play that song three or four times and 0:14:42.440 --> 0:14:45.560 the set probably was four hours. But every time it 0:14:45.600 --> 0:14:48.960 came on, it was like it was brand new. It 0:14:48.960 --> 0:14:51.080 would be like it was brand new to the crowd 0:14:51.120 --> 0:14:52.960 where you're just like wow, like. 0:14:52.920 --> 0:14:54.360 This really, you know. 0:14:54.560 --> 0:14:57.360 And we had so many songs that did that in 0:14:57.400 --> 0:15:00.360 New Orleans. Like how some people say playing the wrong 0:15:00.440 --> 0:15:02.280 song you would get fucked up. I was grew up 0:15:02.320 --> 0:15:04.680 on playing the right song. Like you know, I know 0:15:04.920 --> 0:15:07.440 exactly what he mean by if you played the wrong song, 0:15:07.680 --> 0:15:10.640 you would be you know. But mine was always kind 0:15:10.640 --> 0:15:13.800 of like play the right song, like you know, there's 0:15:13.840 --> 0:15:17.080 a moment where you know, drop this right now, and 0:15:17.840 --> 0:15:20.720 you know you're going down in history for you. 0:15:20.880 --> 0:15:23.320 How hard is it to break a new song? 0:15:23.360 --> 0:15:25.760 It's very hard, because let me tell you what's one 0:15:25.760 --> 0:15:29.680 of the things. Even with me, I have nothing against 0:15:29.720 --> 0:15:32.480 a young crowd, but I don't want to play for 0:15:32.520 --> 0:15:36.080 a young crowd. And that's one of the way even now, 0:15:36.240 --> 0:15:38.080 I don't want to play for a young crowd. 0:15:38.120 --> 0:15:39.200 I really don't. 0:15:39.400 --> 0:15:41.560 I have all of the songs, I have all of 0:15:41.560 --> 0:15:44.000 the ammunition, but I don't want to play for a 0:15:44.040 --> 0:15:47.720 young crowd because I have not figured out how to 0:15:47.800 --> 0:15:51.120 break young songs yet. I'm figuring them out as I go, 0:15:51.280 --> 0:15:53.640 Like I'll say, like, oh, that one is worthy, that 0:15:53.680 --> 0:15:55.560 one is worth, and you know, and it's and I 0:15:55.600 --> 0:15:58.400 got kids, I call them kids, but they grown ups, 0:15:58.400 --> 0:16:01.200 like you know, my own youngest son, it's twenty one, 0:16:01.520 --> 0:16:04.520 you know. So this is his error. And sometimes you know, 0:16:04.680 --> 0:16:06.680 he'll put the fear of God in me because because 0:16:06.800 --> 0:16:09.560 I'm listening to him, you know, when I'm riding with 0:16:09.600 --> 0:16:11.240 my son, is something I think is a jam and 0:16:11.280 --> 0:16:13.560 he's like, nah, Dad, that ain't it. That ain't the one. 0:16:13.640 --> 0:16:17.080 So I'm being polluted by sometimes that. So I'm like, 0:16:17.160 --> 0:16:19.200 you know what, I need to stick with what I know. 0:16:20.200 --> 0:16:23.360 Wait, wait, time out, because this is the thing. Though 0:16:23.680 --> 0:16:28.080 there's no cap, there's not brown nosing. But literally where 0:16:28.080 --> 0:16:34.800 we are now is derivative of what you created. Yeah, 0:16:35.080 --> 0:16:40.480 texture wise, what's hidden today is derivative from what you created. 0:16:41.120 --> 0:16:43.640 That it's like a kid in a candy store for you. 0:16:43.760 --> 0:16:47.320 So even you have doubts of what works and what 0:16:47.360 --> 0:16:47.920 doesn't work. 0:16:48.040 --> 0:16:51.280 Yeah, yeah, I mean the younger me, I never thought 0:16:51.320 --> 0:16:51.680 that way. 0:16:51.720 --> 0:16:52.400 I never did. 0:16:52.440 --> 0:16:56.320 But but you know, there's a thing that I don't 0:16:56.360 --> 0:16:58.480 mind saying it, even if you know it rubs some 0:16:58.520 --> 0:16:59.880 people to the wrong ways. 0:17:00.280 --> 0:17:01.360 There's too much. 0:17:01.400 --> 0:17:04.520 Music being pushed on us, and some of it is 0:17:04.560 --> 0:17:07.760 not music, you know what I'm saying. So that's that's 0:17:07.880 --> 0:17:10.760 what's kind of making it hard to say, like, well, 0:17:10.800 --> 0:17:11.560 what do I work? 0:17:11.600 --> 0:17:13.960 What song do I break? What song do you know? 0:17:14.280 --> 0:17:16.800 Because if I get if I check you know, my 0:17:16.920 --> 0:17:19.560 pool and I see like I got forty records today, 0:17:19.800 --> 0:17:22.639 and I'm like, how is this possible? And when you 0:17:22.720 --> 0:17:25.440 listen to like, I don't know, thirty eight of them, you're. 0:17:25.280 --> 0:17:26.960 Like, who let these people do this? 0:17:27.600 --> 0:17:30.359 And I understand, like some songs are supposed to be 0:17:30.760 --> 0:17:33.159 just a parody and sometimes it's just a fun record, 0:17:33.280 --> 0:17:35.480 but we got too much of that going on right now. 0:17:36.040 --> 0:17:39.520 See to this day, you still trust and engage your 0:17:39.560 --> 0:17:40.119 record pool. 0:17:40.640 --> 0:17:46.800 Yeah, I'm shameless, brou I willzam the shit out of people. 0:17:46.800 --> 0:17:49.200 You're like, wow, man, I open for you back, and 0:17:49.280 --> 0:17:50.800 dah da da da da da dah. I'll be like, yeah, 0:17:51.040 --> 0:17:52.960 just here to listen. I will zam the shit out 0:17:53.000 --> 0:17:53.159 of it. 0:17:53.680 --> 0:17:56.360 Just so I definitely do that if I hear you play, 0:17:56.920 --> 0:17:59.320 if you play something that I like, I'm a savanna. 0:18:00.600 --> 0:18:03.280 You might catch me over your computer taking a picture. 0:18:04.240 --> 0:18:05.080 Okay. 0:18:06.840 --> 0:18:09.680 See if if the legendary man in Fresh feels that way, 0:18:09.720 --> 0:18:11.080 then I don't feel so Baday. 0:18:11.280 --> 0:18:13.560 You know I've done it to Jazzy Jeff like, what 0:18:13.600 --> 0:18:15.920 was that what you just played? Jeff Like He's like, what, Like, 0:18:16.040 --> 0:18:18.240 what was that that you just played? I need to 0:18:18.280 --> 0:18:19.840 get that record, like, you know. 0:18:34.160 --> 0:18:36.959 Back in two thousand and five, there was a moment 0:18:37.119 --> 0:18:41.040 where Lenny Kravitz had a spot in New Orleans. Yeah, 0:18:41.080 --> 0:18:46.440 and so did Solange and the Fellas and I were 0:18:46.520 --> 0:18:51.359 about to make a new record, and we decided, Okay, 0:18:51.440 --> 0:18:55.720 New Orleans is the probably one of the last real 0:18:56.040 --> 0:19:00.159 like three places in the United States that still as 0:19:00.200 --> 0:19:04.479 a musical identity that's sort of singular, you know, like 0:19:04.600 --> 0:19:07.720 the DMV has it with go go culture, you go 0:19:07.800 --> 0:19:10.800 to San Francisco, whatever, There's just a different type of 0:19:10.880 --> 0:19:11.880 hip hop culture there. 0:19:12.320 --> 0:19:14.760 And for us, it was like, Okay, we're. 0:19:14.600 --> 0:19:18.400 Gonna buy two houses, move to New Orleans. You know, 0:19:18.640 --> 0:19:22.080 mess with some jazz cats, mess with some brass cats. 0:19:22.280 --> 0:19:23.480 We wanted to hook up with you. 0:19:23.560 --> 0:19:28.399 So initially, from January to like August of two thousand 0:19:28.440 --> 0:19:30.440 and five, our plan was we're gonna tour for eight 0:19:30.480 --> 0:19:33.240 months and then when it's time to make this new record. 0:19:33.600 --> 0:19:35.080 We purchased the two houses. 0:19:35.760 --> 0:19:42.040 We were ready voptorship ourselves literally two nights before Katrina. 0:19:42.280 --> 0:19:45.159 We were going to move down there, And part of 0:19:45.240 --> 0:19:49.240 me wonders, in some sort of alternate timeline, what would 0:19:49.240 --> 0:19:51.760 have happened if had we moved down there? 0:19:52.200 --> 0:19:55.200 For you, does it still feel the same to you? 0:19:55.280 --> 0:19:56.199 As it once was. 0:19:56.240 --> 0:19:58.399 Like now live with a bunch of disgruntled New Yorkers 0:19:58.440 --> 0:20:00.840 that are like gentrification, and this is not the New 0:20:00.880 --> 0:20:04.720 York I loved, And everywhere I go it sort of 0:20:04.800 --> 0:20:05.360 goes through that. 0:20:05.800 --> 0:20:10.919 What is Well, one of the things what's difficult with 0:20:10.960 --> 0:20:13.560 me too, is because I'm fighting for the identity of 0:20:13.640 --> 0:20:16.320 New Orleans to because we're not the same. 0:20:16.800 --> 0:20:19.040 We are not like, you know, culture wise. 0:20:19.119 --> 0:20:22.560 I think what happened was so many people after Hurricane 0:20:22.640 --> 0:20:27.840 Katrina moved away somewhere else and picked up they habits, 0:20:28.400 --> 0:20:31.280 you know, and some of them came back. You know what, Okay, 0:20:31.320 --> 0:20:33.520 you sound like you're from Atlanta. You sound like you're 0:20:33.560 --> 0:20:36.520 from just as small as Baton Rouge. You could have 0:20:36.560 --> 0:20:38.320 moved one hour out and you're just like, but you 0:20:38.400 --> 0:20:40.760 sound like you're from Baton Rouge. You don't sound like 0:20:40.800 --> 0:20:43.080 New Orleans no more. You don't move like and and 0:20:43.680 --> 0:20:46.040 I get it. That was a tragedy, so people had to, 0:20:46.440 --> 0:20:49.399 but it kind of it messed with our identity. It 0:20:49.440 --> 0:20:52.320 messed with our creativity and everything. So we are a 0:20:52.320 --> 0:20:56.840 city rebuilding our sound, you know, we and it's still 0:20:57.280 --> 0:20:59.280 you know, we're still waiting for some people. I don't 0:20:59.320 --> 0:21:02.720 know to come back or either to contribute, but we 0:21:02.720 --> 0:21:06.159 we we definitely we're a city that's rebuilding our sound. 0:21:06.960 --> 0:21:10.119 I was gonna say, twenty years after the fact, have 0:21:10.280 --> 0:21:13.280 you recovered twenty years after the fact? 0:21:13.320 --> 0:21:15.040 Or is this still something missing? Man? 0:21:15.160 --> 0:21:17.840 No, Yeah, that's something that does a disconnect with like 0:21:17.880 --> 0:21:20.120 even what I'm telling you with DJing, how that, how 0:21:20.119 --> 0:21:23.600 that has happened? There's a disconnect with younger New Orleans 0:21:23.640 --> 0:21:27.440 and older New Orleans as artists, Like, you know, you 0:21:27.800 --> 0:21:30.320 have younger artists that feel like, you know, if you're 0:21:30.359 --> 0:21:33.399 OJ status, then you know, you will waste the time, 0:21:33.800 --> 0:21:36.240 like you know, they just like, oh well, and when 0:21:36.280 --> 0:21:36.920 I grew. 0:21:36.720 --> 0:21:38.359 Up, we actually looked up to the. 0:21:38.760 --> 0:21:41.639 Meters, the Allen two Salts, you know, Erma tones, We 0:21:41.680 --> 0:21:43.840 looked up to everybody that was our you know, and 0:21:43.880 --> 0:21:46.760 we actually went to them for advice on how you 0:21:46.800 --> 0:21:48.560 got that sound or how you created this? 0:21:48.680 --> 0:21:50.960 How was that that warm? How is that? You know? 0:21:51.080 --> 0:21:54.280 And they didn't mind. But they're like, if you saying 0:21:54.320 --> 0:21:57.800 something to somebody young, because it's still that chip on 0:21:57.840 --> 0:21:59.920 their shoulder, you know, they're just like, well, dude, you 0:22:00.160 --> 0:22:03.920 just wasting time and the art of producing a song 0:22:04.160 --> 0:22:06.720 is gone. Like you know, when you produce a song, 0:22:06.760 --> 0:22:09.439 you sit with me, and we produced that song, not 0:22:09.560 --> 0:22:12.000 me sending you a beat, and like, hey, let's see 0:22:12.000 --> 0:22:15.280 what comes out, you know, And that just one of 0:22:15.280 --> 0:22:17.679 those that was so great about New Orleans that you 0:22:17.720 --> 0:22:20.639 could get a bunch of musicians together from from a 0:22:20.760 --> 0:22:23.080 jazz band, from a brass band, from a you know, 0:22:23.160 --> 0:22:25.159 and we can sit in the room and see what 0:22:25.200 --> 0:22:27.800 we come out with. You know, on the earlier Cash 0:22:27.840 --> 0:22:30.600 Money songs, Trombone Shady played on those songs when he 0:22:30.680 --> 0:22:34.679 was a kid, like you know, and that foundation some 0:22:34.880 --> 0:22:38.560 of that turned into Trombone Shady and then you're just like, wow, 0:22:38.640 --> 0:22:41.680 look at this played you know on some of these 0:22:41.680 --> 0:22:44.199 songs for wrestling tickets. That's all he wanted to do 0:22:44.240 --> 0:22:46.120 is go to the wrestling match, and then he turns 0:22:46.160 --> 0:22:49.080 into this icon like you know. And but but it 0:22:49.119 --> 0:22:52.280 was because we wanted to keep that guy off of 0:22:52.359 --> 0:22:54.520 the streets, because we saw how talented he was, and 0:22:54.560 --> 0:22:57.199 we also wanted to tell him whenever we got a 0:22:57.280 --> 0:22:59.880 chance to celebrate him, hey, bro, keep practicing, You're going 0:22:59.920 --> 0:23:03.600 to be something great. Now. There's a disconnect, like you know, 0:23:03.720 --> 0:23:05.639 when you when you're saying that to a younger artist, 0:23:05.920 --> 0:23:07.959 or you can't even call a younger artist. I'm going 0:23:08.040 --> 0:23:10.800 to show you. Notice, like I see kids all the 0:23:10.880 --> 0:23:14.119 time on the internet like spasing out, going crazy, and 0:23:14.160 --> 0:23:16.159 I just the inner me wants to reach out to 0:23:16.200 --> 0:23:18.560 them and say, hey, bro, what are you doing. 0:23:18.600 --> 0:23:19.600 It's not that serious. 0:23:19.640 --> 0:23:22.600 This is music, right, But if you do that, then 0:23:22.720 --> 0:23:24.720 you get called the clown or you ought to you know, 0:23:24.800 --> 0:23:26.720 you the week And I'm just like, well, I don't 0:23:26.760 --> 0:23:28.600 know how we fix that or how we you know, 0:23:28.800 --> 0:23:31.320 make that work. But there's something going on in the 0:23:31.359 --> 0:23:34.640 water or whatever happened that were not gelling the way 0:23:34.640 --> 0:23:35.159 we used to. 0:23:36.119 --> 0:23:39.000 There's a question I always wanted to ask a knowledge 0:23:39.119 --> 0:23:43.120 resident that's closer to my age that I never got 0:23:43.119 --> 0:23:47.600 to ask. Okay, I know that, you know, oftentimes music 0:23:47.640 --> 0:23:51.680 lovers will reminisce about yesteryear and how it was back 0:23:51.720 --> 0:23:54.080 in the day and music was way better back then. 0:23:54.160 --> 0:23:57.760 Da da da da da, And sometimes you know, I 0:23:57.800 --> 0:24:01.960 in doing research or just listening, I'm just under the 0:24:01.960 --> 0:24:06.760 impression that it's always been the same, meaning that there's 0:24:07.119 --> 0:24:11.480 a commercial artist, there's a moderately loved artist, there's an 0:24:11.560 --> 0:24:15.200 underground artist. There's a niche artist. Now here's the deal. 0:24:15.560 --> 0:24:20.359 I grew up in my crib with. In my actual childhood, 0:24:20.440 --> 0:24:25.360 I had one meters record. Yeah, it was reprise era meters. 0:24:26.680 --> 0:24:30.200 We know, there's two levels of the meters, the breakbeat, yeah, 0:24:30.280 --> 0:24:33.520 and then the more poly sophisticated I mean, you know, 0:24:34.680 --> 0:24:37.520 just kiss my baby, some shit works, you know what 0:24:37.560 --> 0:24:41.960 I mean. However, you know, I didn't discover air quote 0:24:42.080 --> 0:24:47.320 that meters until nineteen ninety when those first like five 0:24:47.400 --> 0:24:52.399 records were reissued. Were they a niche New Orleans group 0:24:52.520 --> 0:24:56.440 in terms of like if you know you know, because 0:24:56.560 --> 0:24:59.359 I'm just under the impression that even in nineteen seventy two, 0:25:00.320 --> 0:25:04.520 I can't imagine Sissy Struck getting airplay on the radio 0:25:04.760 --> 0:25:07.760 or that sort of thing. It's like, how popular were 0:25:07.800 --> 0:25:09.560 they in their time period? 0:25:10.480 --> 0:25:12.840 I think in New Orleans it was, you know, the 0:25:12.920 --> 0:25:15.760 Meters were gods. But outside of that, they were still 0:25:15.760 --> 0:25:19.080 trying to figure it out, you know, and nobody didn't 0:25:19.119 --> 0:25:22.160 Nobody thought this music was great because it still sounded 0:25:22.320 --> 0:25:24.720 New Orleans, you know. And then, like you said, the 0:25:24.760 --> 0:25:28.120 breakbeat era came and everybody was like, whoa the drummer 0:25:28.200 --> 0:25:30.280 and what he's doing? And these sounds are you know, 0:25:30.320 --> 0:25:34.560 they something crazy. But that showed you how much these 0:25:34.680 --> 0:25:38.080 dudes actually loved music, because I don't think they sold 0:25:38.119 --> 0:25:39.760 a lot of records. I don't think you know what 0:25:39.800 --> 0:25:41.760 I'm saying, they sold a whole butt to go back 0:25:41.800 --> 0:25:44.480 in right now, that's considered a failure, you. 0:25:44.400 --> 0:25:46.560 Know what I'm said. And there was a band who 0:25:46.600 --> 0:25:47.560 like we going back in there. 0:25:47.600 --> 0:25:50.640 We're gonna do another album, right you know, and we're 0:25:50.680 --> 0:25:52.680 gonna do another one. We're gonna change our name to 0:25:52.760 --> 0:25:54.639 Chocolate Milk and we're gonna do this, like you know 0:25:54.680 --> 0:25:56.600 what I'm saying, and then we're gonna go back to 0:25:56.640 --> 0:26:00.119 the meters. So and you got a lot of songs 0:26:00.240 --> 0:26:03.600 which which is so cool about an older era. And 0:26:03.600 --> 0:26:06.280 I'm not I'm not comparing like nothing new, but what 0:26:06.680 --> 0:26:08.840 was older Like a lot of those songs were the 0:26:08.920 --> 0:26:10.280 band members from other. 0:26:10.119 --> 0:26:11.960 Groups that were cool groups like. 0:26:11.880 --> 0:26:15.080 That that that sound was linked to other people, you know, 0:26:15.480 --> 0:26:17.880 like you take mister Big Stuff Gene Knight. You can 0:26:17.920 --> 0:26:21.040 hear the influence of Alan Tucson in that song, like 0:26:21.080 --> 0:26:23.040 you know, you can hear like some of the medias 0:26:23.760 --> 0:26:26.880 you know, like so that that that right there, that that. 0:26:26.880 --> 0:26:28.520 That's the energy that I think. 0:26:28.800 --> 0:26:29.800 Yes, music is. 0:26:29.760 --> 0:26:33.359 Still great, but we're killing that energy of the experience 0:26:33.400 --> 0:26:36.480 of knowing other people like you know, I think it's 0:26:36.520 --> 0:26:39.199 a big deal. Leo from the Meters called me like 0:26:39.200 --> 0:26:41.399 two days ago, but he's been calling me all my life. 0:26:41.640 --> 0:26:43.000 I think that's a big deal. 0:26:43.040 --> 0:26:45.480 When that guy calls me like you know what I'm 0:26:45.480 --> 0:26:48.200 saying and he'll just call it me like, hey man, 0:26:48.240 --> 0:26:50.199 I'm just checking on you. What you're doing, bro, Like 0:26:50.240 --> 0:26:52.119 you know what I'm saying, And I'm in my car 0:26:52.240 --> 0:26:53.680 going that's that's the meat. 0:26:53.760 --> 0:26:55.040 That's Leo the bass player. 0:26:55.960 --> 0:27:00.000 Leo is the king of the cold call boy, Yeah, 0:27:00.000 --> 0:27:04.040 it hit you like seven exactly exactly. 0:27:04.480 --> 0:27:09.840 Yes, you can you tell me how did you discover 0:27:10.520 --> 0:27:11.000 hip hop? 0:27:11.920 --> 0:27:15.320 Run BMC? Believe it or not, I thought. 0:27:15.080 --> 0:27:18.000 So even not even sugar Hill I was. 0:27:18.040 --> 0:27:20.000 I was okay with that. 0:27:20.000 --> 0:27:23.000 That was alright with me. It wasn't life changing until 0:27:23.080 --> 0:27:26.800 it's like really yeah, because I can tell you everything. 0:27:26.920 --> 0:27:29.600 Treacherous three, you know what I'm saying, Fearless four, all 0:27:29.640 --> 0:27:30.560 of that Grand Master Flag. 0:27:30.720 --> 0:27:33.800 How did sugar Hill era hip hop trickle down in 0:27:33.840 --> 0:27:34.520 New Orleans? 0:27:34.840 --> 0:27:36.879 Oh? That was incredible. That was phenomenal. 0:27:37.040 --> 0:27:39.320 My sister used to drag me to all of these 0:27:39.640 --> 0:27:42.760 school parties and I hadn't found myself as a DJ yet. 0:27:42.920 --> 0:27:45.199 I was just somebody who loved the music, like you 0:27:45.240 --> 0:27:47.119 know what I'm saying. And but that was the sugar 0:27:47.200 --> 0:27:49.879 Hill era. Flash to the Beat was one of my 0:27:49.960 --> 0:27:52.879 favorite all time songs. I heard that one time, and 0:27:53.080 --> 0:27:55.640 of course I was under age at my sister's high 0:27:55.640 --> 0:27:58.760 school dance and that came on, and that was one 0:27:58.800 --> 0:28:01.159 of the songs that changed me for forever. Like I 0:28:01.280 --> 0:28:03.639 was just like, oh my god. And there's a break 0:28:03.640 --> 0:28:05.560 at the end of Flash to the Beat where the 0:28:05.600 --> 0:28:13.400 beat changes and it's like boom boom boom. When you're hot, 0:28:13.440 --> 0:28:15.880 you're hot, and I was like, what is that when 0:28:15.960 --> 0:28:16.359 you're not? 0:28:16.600 --> 0:28:19.239 But that was you can't get to the machine, you 0:28:19.240 --> 0:28:19.920 know what I'm saying. 0:28:20.320 --> 0:28:21.000 I was going to say. 0:28:21.040 --> 0:28:23.879 Most people don't know that there are two versions of 0:28:23.960 --> 0:28:30.600 Flash to the Beat because there's the professional sugar Hill version, yeah, 0:28:30.640 --> 0:28:34.920 and then the version that they captured live at the Yeah, 0:28:35.440 --> 0:28:40.280 I believe right exactly. So wait, did you guys get 0:28:40.320 --> 0:28:43.320 both versions or were you Yeah, we had both versions. 0:28:43.400 --> 0:28:46.400 We had cat versions because you know, some kind of ways. 0:28:46.440 --> 0:28:49.280 Somehow my dad used to get these songs, you know, 0:28:49.560 --> 0:28:52.240 but he wasn't big on hip hop unless it was 0:28:52.240 --> 0:28:54.400 a song that everybody and they just stayed in a pile. 0:28:54.840 --> 0:28:58.360 So when when, So when I actually fell in love 0:28:58.440 --> 0:29:01.160 with hip hop, I went back to the piling and 0:29:01.200 --> 0:29:04.320 found all of these incredible songs that was like, oh 0:29:04.400 --> 0:29:06.480 my god, like you know, because my dad didn't play that. 0:29:06.600 --> 0:29:10.080 He played mostly disco. He played mostly soul records. And 0:29:10.120 --> 0:29:13.200 I was like, this is an incredible stack of records 0:29:13.200 --> 0:29:15.840 that you know, I want, like I want to hear this. 0:29:16.200 --> 0:29:19.760 But when I remember, so the reject pile is how 0:29:19.800 --> 0:29:20.880 you started building your. 0:29:21.160 --> 0:29:26.760 The reject polish listen, I had say, well, my dad 0:29:26.800 --> 0:29:30.800 didn't want I got, and then that's that's what built me. Okay, yeah, 0:29:30.880 --> 0:29:33.160 that's dope. And let me tell you one of the 0:29:33.200 --> 0:29:36.040 songs my dad slept on. He didn't not think it 0:29:36.080 --> 0:29:40.160 was a good song. She good times what and yeah, 0:29:40.320 --> 0:29:43.400 And that song was in that pile. And I remember 0:29:43.480 --> 0:29:45.680 playing the song and I was and I'm telling my dad, 0:29:45.720 --> 0:29:48.560 I'm like, dude, this song is bad ass. I don't 0:29:48.560 --> 0:29:50.680 know why you put that over here, but you might 0:29:50.800 --> 0:29:53.200 want to put this back put this in rotation in 0:29:53.240 --> 0:29:55.720 your you know, and because New Orleans was a weird 0:29:55.760 --> 0:29:58.680 place at the time, New Orleans, you rejected a lot 0:29:58.720 --> 0:30:00.000 of stuff like we had. 0:29:59.880 --> 0:30:03.360 A moment in New Orleans where we only played New Orleans. 0:30:03.360 --> 0:30:05.960 And we've had those moments a lot of times over 0:30:06.040 --> 0:30:08.120 you know, over time, where we're just like now, we 0:30:08.160 --> 0:30:10.160 don't want to hear nothing else but what we playing. 0:30:10.720 --> 0:30:13.120 And there was a few songs that you know that 0:30:13.200 --> 0:30:15.800 came through, but most of all it would be songs 0:30:15.800 --> 0:30:17.960 that kind of they sounded right to New Orleans. 0:30:18.120 --> 0:30:22.600 I was gonna say, what is the ratio between local 0:30:22.680 --> 0:30:27.280 support and local talent versus FuMO, Like, oh, we need 0:30:27.280 --> 0:30:29.120 to catch up with the rest of America. This is 0:30:29.120 --> 0:30:31.840 what the rest of America's playing. We need to get 0:30:31.840 --> 0:30:35.160 with it. But is just depending on you knowing what 0:30:35.200 --> 0:30:35.960 they want. 0:30:36.200 --> 0:30:39.600 I think New Orleans real real talk my era of 0:30:39.640 --> 0:30:43.560 when I started actually djam and started doing house parties 0:30:43.640 --> 0:30:45.880 or whatever, it kind of changed the scope of what 0:30:46.000 --> 0:30:49.640 New Orleans hip hop was because we were open to 0:30:49.760 --> 0:30:52.920 playing West Coast songs. We was open to playing East 0:30:53.000 --> 0:30:55.560 Coast songs. Before that, DJ's didn't do that. 0:30:55.840 --> 0:30:56.840 But this is a shift. 0:30:57.080 --> 0:31:00.840 Here comes hip hop, you know, and now everybody loves it. 0:31:00.840 --> 0:31:03.320 Everybody likes it, you know what I'm saying, and we're like, oh, 0:31:03.400 --> 0:31:05.720 we got easy Ease, we got you know what I'm saying. 0:31:05.760 --> 0:31:08.200 We got the West Coast is popping off and those 0:31:08.240 --> 0:31:12.080 songs are big. And at the time, I remember every 0:31:12.120 --> 0:31:15.560 time somebody came to New Orleans, I opened up, Like, 0:31:15.720 --> 0:31:15.960 you know. 0:31:15.920 --> 0:31:18.480 If it was a tour, but the tour was East 0:31:18.520 --> 0:31:20.360 and West Coast, you would. 0:31:20.160 --> 0:31:22.400 Be the opening DJ for whoever was in jail. 0:31:22.760 --> 0:31:27.400 Yeah, yo, what was your first l coolj easy, anybody 0:31:27.400 --> 0:31:30.040 that can run DMC, anybody that came to New Orleans, 0:31:30.120 --> 0:31:32.480 Like if it was a major concert, I would always 0:31:32.480 --> 0:31:35.640 be the opening DJ. I would always be you know, 0:31:36.120 --> 0:31:38.800 the guy who used to MC with me way back, Denny, 0:31:38.840 --> 0:31:41.080 Him and cut Creator grew up together. He was from 0:31:41.120 --> 0:31:43.720 New York, so I was in the group New York Incorporated, 0:31:43.720 --> 0:31:44.960 but it was my friends Denny. 0:31:45.160 --> 0:31:46.280 He started this group. 0:31:46.680 --> 0:31:47.440 Denny was one of. 0:31:47.360 --> 0:31:49.720 The first people who I saw transformed. 0:31:49.760 --> 0:31:52.240 We had no idea what that was, but he came 0:31:52.280 --> 0:31:54.760 from New York with it, and then he showed me 0:31:54.840 --> 0:31:57.200 so many different things that you know, because I thought 0:31:57.200 --> 0:32:00.120 I was God on the turntables, you know, because I'm like, 0:32:00.360 --> 0:32:01.880 I know how to back spin, I know how I 0:32:01.880 --> 0:32:05.520 got a little good but right right, And he just 0:32:05.640 --> 0:32:08.960 came and just read. And the crazy thing was he 0:32:09.080 --> 0:32:12.640 had a Newmark mixer with the turnnob. He didn't have 0:32:12.680 --> 0:32:15.240 a face, oh no, and you know, but he was 0:32:15.280 --> 0:32:18.200 doing all of this crazy transform stuff with the turnnob, 0:32:18.320 --> 0:32:20.680 like you know, and I was just like, wait, hold on. 0:32:22.680 --> 0:32:25.040 But that was my first time ever seeing the Newmark 0:32:25.120 --> 0:32:29.000 mixer and seeing twelve hundred turntables. My dad had a 0:32:29.000 --> 0:32:30.920 big Meter mixer. I think that was the company that 0:32:30.960 --> 0:32:33.000 made it. It was called Meter or whatever, but it was 0:32:33.040 --> 0:32:37.600 a huge, huge mixer and he had Technique turntables, but 0:32:37.640 --> 0:32:41.080 there was belt driven with the belt driven had some 0:32:41.360 --> 0:32:45.680 sheeper turntables without pitching. Nothing on it, belt driven, no pitch, 0:32:46.120 --> 0:32:48.480 no pitch, radio shack mixer, the. 0:32:48.480 --> 0:32:52.640 Realistic mix you had to be good. Yeah, no pitch. 0:32:53.880 --> 0:32:56.240 Wait, there's one particular record. 0:32:56.800 --> 0:33:00.760 I want to shout out my comrade Nordwar for bringing 0:33:00.760 --> 0:33:04.840 this to light because when he interviewed Lil Wayne, I 0:33:04.880 --> 0:33:08.960 was really unaware of just your origins. How did New 0:33:09.040 --> 0:33:15.560 Orleans discover and adopt trigger Man's Showboys? Like for people 0:33:15.640 --> 0:33:19.960 listening right now, the trigger Man break is what I 0:33:20.040 --> 0:33:23.720 typically called the New Orleans break, the Bounce break, which is. 0:33:29.080 --> 0:33:32.760 With the break. I did not know that was a 0:33:32.800 --> 0:33:36.400 New York record, and I never heard it. 0:33:36.920 --> 0:33:39.360 I mean I was pretty much aware of you know, 0:33:39.800 --> 0:33:42.160 hip hop radio as far as like cousins given me 0:33:43.040 --> 0:33:46.200 tapes from WB, like from Mister Magic Show, and of 0:33:46.240 --> 0:33:50.360 course we had Lady B in Philadelphia. But how did 0:33:50.560 --> 0:33:55.080 that record wind up defining a city? 0:33:56.120 --> 0:33:59.080 DJs? Honestly DJs. So this is what happened. 0:33:59.120 --> 0:34:03.800 For for maybe five years, we played the vocal side 0:34:03.840 --> 0:34:05.920 of the record, like, you know, just the regular vocal 0:34:05.960 --> 0:34:08.439 side of the record, and everybody in New Orleans knew 0:34:08.480 --> 0:34:11.760 this record, everybody in New York because that's that's an 0:34:11.800 --> 0:34:15.160 example of DJ's breaking the record. But it was broken 0:34:15.200 --> 0:34:18.200 New Orleans because like it just the storyline of it. 0:34:18.239 --> 0:34:21.160 The storyline of the song is like it's a criminal storyline, 0:34:21.239 --> 0:34:22.000 you know what I'm saying. 0:34:22.120 --> 0:34:24.400 It's two gangsters fighting over whatever. 0:34:24.480 --> 0:34:26.840 So that that fit in that era of you know, 0:34:27.000 --> 0:34:29.359 and plus it had that eight oh eight beat. For 0:34:29.480 --> 0:34:32.720 some reason, we have always been a city that's drawn 0:34:32.800 --> 0:34:35.040 to the eight oh eight, you know, I don't know. 0:34:35.200 --> 0:34:38.759 Maybe my earliest stuff was Miami bas and that was 0:34:39.080 --> 0:34:42.200 New Orleans introduction to you know, a hip hop producer. 0:34:42.440 --> 0:34:44.760 So all my earliest stuff was eight oh eight bass. 0:34:44.800 --> 0:34:47.200 So everybody thought like, okay, that's what this is kind 0:34:47.200 --> 0:34:49.759 of like what you gotta follow, like, you know, this 0:34:49.840 --> 0:34:51.640 is this is how you produce a song like and 0:34:51.760 --> 0:34:53.759 this is what we used to hearing. So the eight 0:34:53.840 --> 0:34:58.320 of eight always resonated with us. And then we start 0:34:58.560 --> 0:35:01.680 like the essence of hip We started doing calling response 0:35:01.719 --> 0:35:05.040 and what's nuts is this kind of started with my dad. 0:35:05.760 --> 0:35:09.600 My dad would let juven them rock the mic off 0:35:09.640 --> 0:35:13.080 of the trigger Man beat. And this was before a 0:35:13.160 --> 0:35:15.880 bounce was even called bounced. This was just in the 0:35:15.960 --> 0:35:18.719 projects where you would give an MC a mic and 0:35:18.800 --> 0:35:21.879 be like, hey, let's see who you know. But when 0:35:21.880 --> 0:35:24.520 the eight oh eight part dropped, that's when the crowd 0:35:24.600 --> 0:35:27.759 went crazy. It had like heart Linde drum sounds or whatever, 0:35:27.800 --> 0:35:32.520 and then it went and then it went then it 0:35:32.600 --> 0:35:34.200 went to that eight o weight drop. But when the 0:35:34.280 --> 0:35:36.919 eight o eight drop happened, that's when the crowd went. 0:35:36.960 --> 0:35:39.279 You know, you're just like, oh that part right there, 0:35:39.560 --> 0:35:42.439 and so you had MC's going well, can you make 0:35:42.520 --> 0:35:45.800 that part go back and forth? So that part became 0:35:46.160 --> 0:35:48.600 a part of the show, going like, hey, so just 0:35:48.680 --> 0:35:51.279 back spend just that part like on some grand Master 0:35:51.320 --> 0:35:53.520 flash it where you find a break in the song 0:35:53.560 --> 0:35:56.680 and you just like just this these four bars right here, 0:35:56.960 --> 0:36:01.799 this guy repeat and it became just calling response and 0:36:01.880 --> 0:36:05.719 mostly projects and block parties, and it would be like 0:36:07.160 --> 0:36:11.200 back and forth, Uptown did this Downtown, y'all gotta come harder, 0:36:11.480 --> 0:36:13.680 But it was always over that beat, like you know 0:36:13.680 --> 0:36:15.960 what I'm saying. And then if it was something where 0:36:16.160 --> 0:36:17.960 say like if it was a school dance and I 0:36:18.080 --> 0:36:21.040 was DJing or something, everybody met up at that school 0:36:21.160 --> 0:36:23.160 dance and then the best people would be like, hey, 0:36:23.400 --> 0:36:26.160 let's see who rocked this song the best. And before 0:36:26.239 --> 0:36:28.880 you know it, it evolved into Bounce and even the 0:36:28.920 --> 0:36:31.200 reason why we even call it bounced because everybody used 0:36:31.200 --> 0:36:33.120 to just kind of like do this off of every 0:36:33.120 --> 0:36:36.960 time it came on, you know, and we always shortened 0:36:36.960 --> 0:36:40.319 everything up. In New Orleans, the original song is called 0:36:40.440 --> 0:36:43.120 drag Rap. We called it trigger Man because there's a 0:36:43.200 --> 0:36:45.560 delay part in the song that go trigger man, trigger 0:36:45.719 --> 0:36:49.760 and everybody was like, so of course. 0:36:49.680 --> 0:36:50.640 It's called drag rap. 0:36:50.960 --> 0:36:55.000 It's called drag rap. But there's a. 0:36:55.040 --> 0:36:57.840 Part, the the lay part that says trigger man. Everybody 0:36:57.880 --> 0:37:00.560 always liked that little part, so this the calling the 0:37:00.640 --> 0:37:01.520 song trigger Man. 0:37:01.800 --> 0:37:03.960 It was like, hey, play trigger Man. I'll give you 0:37:04.000 --> 0:37:04.640 some history. 0:37:05.000 --> 0:37:07.600 So even that beat, like when we say that beat 0:37:07.680 --> 0:37:09.840 is more of like a bounce beat, It started with 0:37:10.360 --> 0:37:14.240 people beating on the DJ, like beating on the plexa glass. 0:37:14.280 --> 0:37:15.120 Go and play that beat. 0:37:15.440 --> 0:37:18.000 Play that beat, you know, play that beat, and then 0:37:18.080 --> 0:37:20.600 you know, people start calling it that beat. They're like, 0:37:20.640 --> 0:37:22.200 you know, you know what that beat is, and that 0:37:22.239 --> 0:37:23.879 beat is always a bounce like. 0:37:25.320 --> 0:37:26.080 I never knew that. 0:37:26.360 --> 0:37:29.480 Yeah, the earlier days, the essence of it, like the 0:37:29.520 --> 0:37:31.920 hand claps and all of that. I created that in 0:37:31.960 --> 0:37:34.480 the club that I was DJing at me and KLC, 0:37:34.760 --> 0:37:38.160 I used to bring my SP twelve because I was 0:37:38.239 --> 0:37:41.160 up against some dope DJs. It was KLC and it 0:37:41.280 --> 0:37:43.279 was this dude DJ Duck, and I was like, to 0:37:43.360 --> 0:37:45.560 make it a little bit better, I'm gonna start bringing 0:37:45.600 --> 0:37:48.440 my drum machines just on. So when the SB twelve 0:37:48.520 --> 0:37:50.520 came out, of course it ain't have nothing but probably 0:37:50.520 --> 0:37:54.080 four or five seconds, but it was genius because I 0:37:54.080 --> 0:37:56.759 could take this trigger Man loop, sample it and put 0:37:56.800 --> 0:37:59.120 some hand collaps on it. And whenever I did that 0:37:59.200 --> 0:38:01.880 in the club, and you know, it went crazy because 0:38:01.880 --> 0:38:03.799 everybody would be like, who has this song? 0:38:03.840 --> 0:38:04.600 What is this song? 0:38:04.800 --> 0:38:06.520 And I'm like, no, this is a sequence. This is 0:38:06.560 --> 0:38:10.440 something that and that became a big deal. And and 0:38:10.480 --> 0:38:13.719 every time you hear that that was something that I 0:38:13.760 --> 0:38:16.279 created in the club, and you know, and more and 0:38:16.320 --> 0:38:17.759 more people was asking for it. 0:38:18.000 --> 0:38:19.959 You know, Jubilee is getting ready, getting ready. 0:38:20.040 --> 0:38:23.080 That's people are like, wait, you did that song. 0:38:23.120 --> 0:38:24.879 I was like, you did that song? Yes, I did 0:38:24.920 --> 0:38:25.359 that song. 0:38:30.320 --> 0:38:32.600 Yeah, yeah, And folks is like, I didn't know y'all 0:38:32.680 --> 0:38:34.160 was like, yeah, that's one of my beats. 0:38:34.200 --> 0:38:35.560 Like you know what I'm saying. And that's kind of 0:38:35.560 --> 0:38:37.200 like the essence of hip hop. 0:38:37.280 --> 0:38:39.520 Hip hop, you know how it starts with a beat 0:38:39.520 --> 0:38:42.920 of breaking just some just a crazy idea. But Bounce 0:38:43.040 --> 0:38:47.759 is really Cameron Paul that the Brown Beat song and 0:38:47.920 --> 0:38:51.319 trigger Man. Now before Brown Beat, there was this dude, 0:38:51.440 --> 0:38:57.440 Derek Beat, who made rock the Beat a profile. Rock 0:38:57.480 --> 0:38:59.759 the Beat is actually the same song. We used to 0:38:59.800 --> 0:39:02.200 play Rocked the Beat all the time in New Orleans, 0:39:02.239 --> 0:39:03.319 just the instrumental woman. 0:39:03.800 --> 0:39:06.279 Is that boom boom ke boom boom? 0:39:07.000 --> 0:39:09.879 Yes, yeah, So we would always play rock to Beat, 0:39:09.880 --> 0:39:11.880 but nobody in New Orleans knew the name of it, 0:39:11.920 --> 0:39:13.560 so they just start calling it that beat. 0:39:15.920 --> 0:39:19.000 Wow. Okay, Okay, that's what's up. 0:39:20.280 --> 0:39:23.640 This is everything I ever wanted to know about New 0:39:23.760 --> 0:39:26.399 Orleans culture that I never got to ask. 0:39:26.719 --> 0:39:28.720 Yeah, because you got to think both of these songs 0:39:29.040 --> 0:39:33.120 by label status, I mean, by labels it was failures. 0:39:32.360 --> 0:39:33.480 Derrek Beat, Rock the Beat. 0:39:33.480 --> 0:39:36.320 You just like, nobody ever jammed that song or whatever, 0:39:36.360 --> 0:39:40.239 but New Orleans, yeah, trigger Man, nobody jammed that song 0:39:40.320 --> 0:39:43.239 New Orleans, like and Ali, both of them. Still they 0:39:43.239 --> 0:39:45.239 are legends in New Orleans. They could pretty much do 0:39:45.239 --> 0:39:47.920 whatever they want. And I remember the first time the 0:39:48.040 --> 0:39:52.719 group came to New Orleans, right and they performed, and 0:39:52.800 --> 0:39:54.960 this drug dealer dude got them, you know, and got 0:39:55.040 --> 0:39:56.720 them to come to New Orleans and they were singing 0:39:56.760 --> 0:39:58.839 like I think they had a song called Cartoon something 0:39:58.880 --> 0:40:01.160 or whatever at the time, and they did that and 0:40:01.200 --> 0:40:03.440 we was like, bro, y'all got to sing, just do 0:40:03.520 --> 0:40:05.279 the song, yeah, just do the song. And it was 0:40:05.320 --> 0:40:09.040 just like it was like, just do the song. And 0:40:09.120 --> 0:40:11.600 when the song came on, the crowd went crazy and 0:40:11.640 --> 0:40:14.319 it was just like dude, and we were just like, yeah, 0:40:14.320 --> 0:40:15.239 that's the anthem die. 0:40:15.719 --> 0:40:16.880 So they had no clue. 0:40:17.040 --> 0:40:20.719 Yeah, they had no clue none whatsoever. And they had 0:40:20.719 --> 0:40:22.719 to do that song three times back to back. 0:40:35.560 --> 0:40:37.840 All right, So you said run DMC was kind of 0:40:37.920 --> 0:40:39.759 your calling the hip hop Yeah? 0:40:40.000 --> 0:40:40.480 Yeah. 0:40:40.560 --> 0:40:43.400 What was the first live show that you saw with 0:40:43.840 --> 0:40:44.480 hip hop in it? 0:40:44.600 --> 0:40:48.200 Or releast, what was the moment where you decided, Okay, 0:40:48.239 --> 0:40:50.320 this is my calling, I'm in this culture. 0:40:50.760 --> 0:40:56.160 The first live show I think I saw was a 0:40:56.200 --> 0:40:58.560 young ll COOLJ when he was on Death Jam. And 0:40:58.840 --> 0:41:02.080 I want to say he's he was on that show, okay, 0:41:02.440 --> 0:41:07.440 and who else was on there? Nikki B what daddy? 0:41:07.480 --> 0:41:08.640 Don't no one heard him? 0:41:10.120 --> 0:41:10.920 You know what I'm saying. 0:41:11.120 --> 0:41:14.200 But to see when ll cool J came out in 0:41:14.239 --> 0:41:16.680 the crowd response and you know, this is your backgroard, 0:41:16.680 --> 0:41:18.719 this is your backyard, you in New Orleans. But to 0:41:18.760 --> 0:41:22.960 see everybody just damn like this is phenomenal, Like he 0:41:23.040 --> 0:41:26.000 got their attention for everything he does, everything he do, 0:41:26.360 --> 0:41:28.600 that was life changing. That was you know, and I 0:41:28.640 --> 0:41:30.400 was like, this is definitely what I need to do. 0:41:31.360 --> 0:41:35.160 When do you feel is though New Orleans really got 0:41:35.239 --> 0:41:40.000 its identity because I know that for first generational hip hop, 0:41:40.040 --> 0:41:42.480 it was like, all right, let's do what New York 0:41:42.520 --> 0:41:45.480 is sort of doing and try to sort of acclimate 0:41:45.520 --> 0:41:48.319 ourselves to what New York is doing or what you know, 0:41:48.440 --> 0:41:51.439 what's popular. But when's the period that you feel is like, yo, 0:41:52.000 --> 0:41:54.520 this is our shit and this is our culture and 0:41:54.560 --> 0:41:55.600 this is what we're gonna do. 0:41:56.320 --> 0:41:57.200 Believe it or not. 0:41:57.360 --> 0:42:00.319 It still has a lot to do with outcasts, like 0:42:00.400 --> 0:42:04.400 you know, the whole South's identity. Like, you know, I 0:42:04.440 --> 0:42:08.000 don't think production wise, we was there yet, you know, 0:42:08.239 --> 0:42:10.800 because the first generation of cash money a lot of 0:42:10.800 --> 0:42:13.360 people don't notice. They think like you know, from Juvie, 0:42:13.400 --> 0:42:15.759 and that wasn't the first generation. The first generation of 0:42:15.800 --> 0:42:18.120 cash money was bounce artists, you know, and we was 0:42:18.160 --> 0:42:19.920 trying to figure out what we was gonna do, if 0:42:19.920 --> 0:42:22.600 we was gonna stay there or whatever. And then you know, 0:42:22.760 --> 0:42:25.879 you got outcasts and they come out with songs that 0:42:26.440 --> 0:42:28.319 we can do this, but we were scared to do 0:42:28.360 --> 0:42:32.359 it where we actually you were scared. Yeah, we heard 0:42:32.480 --> 0:42:34.760 musicianship or whatever and all of that. We just didn't 0:42:34.760 --> 0:42:37.239 think that it was gonna be received well, you know, 0:42:37.480 --> 0:42:39.799 to say, like, you know what, this is not what 0:42:39.880 --> 0:42:42.239 hip hop sounds like to us, because a lot of 0:42:42.280 --> 0:42:44.359 stuff we was masked from, like you know, even though 0:42:44.360 --> 0:42:47.279 we was getting songs, but the favorite was the West Coast, 0:42:47.360 --> 0:42:49.800 over the East Coast and down South, I mean down south, 0:42:49.920 --> 0:42:53.360 but West Coast sounds songs sounded like kind of like 0:42:53.400 --> 0:42:55.959 Miami bass sounds just slowed down. 0:42:56.160 --> 0:42:57.920 They were all eight to eight driven. 0:42:58.000 --> 0:42:59.960 Like you know what I'm saying, So it kind of 0:43:00.040 --> 0:43:03.080 resonated easy to us. But then you had Dre that 0:43:03.200 --> 0:43:07.000 picked incredible songs the sample that we kind of knew 0:43:07.040 --> 0:43:09.840 them because my dad knew all of these songs, you know, 0:43:09.880 --> 0:43:10.720 he would call them. 0:43:10.560 --> 0:43:11.719 Out whenever dah da da dah. 0:43:11.920 --> 0:43:14.720 But it was just so genius, and I was just like, well, 0:43:15.200 --> 0:43:16.839 I want to do that, but I don't think they 0:43:16.960 --> 0:43:20.560 ready to let me do that, you know, because I've 0:43:20.600 --> 0:43:24.280 been known I'm still a DJ. I'm starting to get producer, 0:43:24.560 --> 0:43:26.919 you know, these credits and accolades or whatever, but I'm 0:43:27.040 --> 0:43:29.960 still a street DJ, and my job is to keep 0:43:30.000 --> 0:43:32.640 the party going. And what I was good at was 0:43:32.640 --> 0:43:35.799 finding these incredible eight to eight breaks from songs that 0:43:35.880 --> 0:43:39.200 you know and making that something my own. I was 0:43:39.280 --> 0:43:43.600 fearful of musicianship for a certain you know, and then I. 0:43:43.520 --> 0:43:45.960 Hear the way the way that I would dig for 0:43:46.200 --> 0:43:49.640 break beats from the seventies record you're digging hip hop 0:43:50.480 --> 0:43:52.520 to dig for eight oweight breaks? 0:43:52.600 --> 0:43:53.480 Yeah? Yeah. 0:43:53.719 --> 0:43:55.000 Do you like Original Concept? 0:43:55.200 --> 0:43:57.960 Yeah? Yeah. Pumped that bass and all of that. All 0:43:57.960 --> 0:43:59.960 of that was big in New Orleans. All of that. 0:44:00.400 --> 0:44:04.000 Yeah, that acknowledged me. All of that was big. What 0:44:04.600 --> 0:44:06.560 all of that was big in New Orleans? 0:44:06.680 --> 0:44:11.120 That's so crazy because like Original Concept, I'm not saying 0:44:11.360 --> 0:44:15.359 couldn't get arrested. But again, it's one of those if 0:44:15.360 --> 0:44:18.200 you knew, you knew, and because they have the deaf 0:44:18.280 --> 0:44:21.799 jam shield behind them, I always wanted them to be 0:44:21.960 --> 0:44:25.680 bigger than what they were, but only certain few knew 0:44:25.719 --> 0:44:27.680 about Original Concept. 0:44:27.880 --> 0:44:30.399 But you're taking this all in and. 0:44:30.760 --> 0:44:34.120 You ask any DJ from my era, anybody that grew up, 0:44:34.160 --> 0:44:36.319 not just DJs that grew up in my era of 0:44:36.320 --> 0:44:37.240 the House of Blues. 0:44:37.600 --> 0:44:40.680 When Pump that base came on, it got crazy. There 0:44:40.800 --> 0:44:42.319 them that. 0:44:42.400 --> 0:44:45.160 Get a little stupid, get a little stupid and pumped 0:44:45.160 --> 0:44:48.160 that and that's all it was, was an instrumental eight 0:44:48.239 --> 0:44:49.840 to eight instrumental. 0:44:50.280 --> 0:44:52.520 And you just rocked that the whole time and rocked 0:44:52.520 --> 0:44:53.879 that the whole time. 0:44:54.520 --> 0:44:58.720 Once I dug into your history and I'm talking about 0:44:58.719 --> 0:45:02.279 like like buck Jump Time, Yeah, the fact that you 0:45:02.719 --> 0:45:07.279 and Gregory and yeah mc gregory did a Freddy Krueger rap. 0:45:07.880 --> 0:45:10.640 Yeah before Jazzy Jeff in the. 0:45:10.600 --> 0:45:13.760 Fresh Jeff the Fresh Prince did it and the Fat Boys. 0:45:13.800 --> 0:45:18.960 So the musical underline was it was almost like it 0:45:19.000 --> 0:45:22.000 was at oh but with I assume that was a 0:45:22.040 --> 0:45:25.879 live brass bend inside the at least on buck Jump Time? 0:45:26.120 --> 0:45:28.440 Was that a buck Jump time? That was? So what 0:45:28.520 --> 0:45:30.960 happened even with that, it's a crazy story. I was 0:45:31.000 --> 0:45:33.239 doing a song for somebody else and they didn't show up, 0:45:33.239 --> 0:45:36.200 and it was an Alan Tucson studio and he was like, hey, 0:45:36.560 --> 0:45:38.879 you can have the studio since they didn't show up. 0:45:39.440 --> 0:45:41.759 Whatever you come up with, you can have it. So 0:45:41.840 --> 0:45:43.960 I called a couple of people. Greg was the only 0:45:44.000 --> 0:45:46.000 one that came. I was like, hey, I got a 0:45:46.000 --> 0:45:48.600 studio for a day, let's make a record. Like we 0:45:48.600 --> 0:45:51.160 could literally make a record. And that's what came out 0:45:51.200 --> 0:45:55.160 of it. Buck Jump, Who's on the phone? That was 0:45:55.239 --> 0:45:58.400 a sample that I got from actually his son, Reggie. 0:45:58.800 --> 0:46:00.400 He played me some stuff and I was like, and 0:46:00.719 --> 0:46:02.600 at the time, I had an SP twelve, so I 0:46:02.640 --> 0:46:04.960 only had a few seconds, and I was just like, hey, 0:46:05.160 --> 0:46:07.920 let me jack that that little sound right there or whatever, 0:46:08.160 --> 0:46:10.319 you know, And you knew on SP twelve you had 0:46:10.320 --> 0:46:12.759 the slide to make the baseline to make the notes 0:46:12.840 --> 0:46:14.920 or whatever. So I just made the notes on the 0:46:14.920 --> 0:46:17.200 slide or whatever out of just like a little bass 0:46:17.239 --> 0:46:19.799 clip or something that I fought, and you know, and 0:46:19.840 --> 0:46:22.120 me and Greg made that song and that was like 0:46:22.160 --> 0:46:25.480 that ran New Orleans for like ten eleven years. 0:46:25.800 --> 0:46:29.000 Okay. So in my mind again when I told you 0:46:29.040 --> 0:46:30.240 the story of like us. 0:46:30.080 --> 0:46:33.200 Wanting to move down there, yeah, there was a brass 0:46:33.239 --> 0:46:35.080 band that we took a liking to that we were 0:46:35.120 --> 0:46:37.239 going to adopt and have them on the album like 0:46:37.320 --> 0:46:38.439 incorporated with us. 0:46:38.880 --> 0:46:41.560 They were called the two b Continued Brass Band, Okay. 0:46:41.760 --> 0:46:44.640 And the thing was, I'd never heard buck jump time, 0:46:44.719 --> 0:46:48.480 So in my head, I'm like, yo, like, okay, I 0:46:48.520 --> 0:46:51.520 know with bounce music they're using eight o eight's and keyboards, 0:46:51.880 --> 0:46:54.120 but then we have like brass bands over here, like 0:46:54.200 --> 0:46:56.440 how come they never murge? 0:46:56.520 --> 0:46:57.960 Both magamated it. 0:46:57.920 --> 0:47:02.040 And then when I heard that, like, to me, that's 0:47:02.080 --> 0:47:04.880 what I wanted to achieve, to see if that could happen. 0:47:05.360 --> 0:47:06.920 How can that hasn't happened more? 0:47:07.719 --> 0:47:10.839 I think the thing was after me and him did it, 0:47:10.960 --> 0:47:14.520 because that song ran so long. By then hip hop 0:47:14.560 --> 0:47:16.719 had them changed, Like you had people that were scared to, 0:47:17.080 --> 0:47:20.319 you know, do brass music that you know, because hip hop, 0:47:20.880 --> 0:47:23.359 you know, everybody start to be, oh, I'm cool now 0:47:23.560 --> 0:47:26.880 I can't be associated with what this sounds like, you know, 0:47:26.960 --> 0:47:29.680 like with second line music sounds like or whatever I 0:47:29.680 --> 0:47:32.719 wanted to be. Yeah, because they felt it was old, 0:47:32.800 --> 0:47:34.320 like they felt like, you know, it's a lot of 0:47:34.360 --> 0:47:36.840 people that felt like, you know, it was old, you know, 0:47:36.920 --> 0:47:38.440 and it was just like and that was that was 0:47:38.520 --> 0:47:42.279 part of okay, something changing because this still this is 0:47:42.320 --> 0:47:45.640 still jamming music, you know. And even I was having 0:47:45.640 --> 0:47:48.120 a conversation with Kanye one day and he was telling 0:47:48.120 --> 0:47:50.400 me about huh and he was like, I don't understand, 0:47:50.440 --> 0:47:52.880 like how you did the drums like the snare rows 0:47:52.880 --> 0:47:54.279 and the dah da da da, And I was like, 0:47:54.320 --> 0:47:56.120 it comes from second line. I'm like a lot of 0:47:56.160 --> 0:47:58.520 it is second line because that's what I heard drummers 0:47:58.600 --> 0:48:02.520 do the little you know what I'm saying, And he 0:48:02.640 --> 0:48:04.080 was like, well, I was like I kind of just 0:48:04.480 --> 0:48:07.640 that was self examing, like before we had Sazam. You know, 0:48:07.680 --> 0:48:10.120 you heard somebody do something. He was just like, oh, yeah, 0:48:10.360 --> 0:48:13.960 I'm gonna keep that. What you said about on teen Spirit, 0:48:14.000 --> 0:48:15.360 the guy said, you know he got it from the 0:48:15.400 --> 0:48:18.080 Gap bandit the way it starts, right. 0:48:20.280 --> 0:48:23.000 Were you at all shocked at the way that How 0:48:23.560 --> 0:48:28.560 was embraced Because I tend to notice when big moments 0:48:28.600 --> 0:48:32.440 happened in hip hop history and how it affects people. 0:48:32.640 --> 0:48:36.840 Usually the first time when something stops you and you 0:48:36.880 --> 0:48:40.000 look at the speaker and you're like, is that allowed 0:48:40.000 --> 0:48:43.200 to happen? And the thing is is that I'm hearing 0:48:43.239 --> 0:48:44.680 it on Hot ninety seven. 0:48:45.239 --> 0:48:45.759 Yeah. 0:48:46.040 --> 0:48:47.960 I wish I could describe to you. 0:48:49.840 --> 0:48:52.480 The week that this came out, like it was almost 0:48:52.560 --> 0:48:57.640 like giving a baby a t bone steak. Yeah, I mean, 0:48:57.719 --> 0:48:59.839 something good but just absolutely foreign to you. 0:49:00.719 --> 0:49:03.000 It's like we looked at it and just didn't know 0:49:03.600 --> 0:49:04.560 what to make of it. 0:49:04.880 --> 0:49:09.440 But it was catchy as hell, and I feel like 0:49:09.560 --> 0:49:12.840 How was one of the songs that I wish I 0:49:12.920 --> 0:49:15.400 knew a better term than to make new York vulnerable 0:49:15.440 --> 0:49:18.920 because you know, like how stubborn New York was, like 0:49:19.520 --> 0:49:22.719 we're the Kings were and we're ruling shit and none 0:49:22.719 --> 0:49:25.040 of y'all saying we're number one, We're number one, like 0:49:25.480 --> 0:49:29.040 whatever New York's hip hop's version is of America first, 0:49:29.560 --> 0:49:30.120 you know what I mean? 0:49:30.960 --> 0:49:32.640 And in one. 0:49:32.480 --> 0:49:36.200 Fell swoop, people thought it was going to be Notorious 0:49:36.239 --> 0:49:40.920 Thugs with Biggie and I'm certain had had he survived 0:49:41.239 --> 0:49:45.040 and it probably would have had a video and would 0:49:45.040 --> 0:49:48.759 have probably did it. But how I managed to do 0:49:49.000 --> 0:49:54.719 something that I thought was impenetrable, like absolutely impossible, which 0:49:54.880 --> 0:49:57.280 was it broke New York down? 0:49:57.480 --> 0:49:59.200 And then jay Z turns around? 0:49:59.400 --> 0:50:02.120 Can you tell me even how jay Z wound up 0:50:02.200 --> 0:50:03.680 on the remix to it? 0:50:03.880 --> 0:50:07.720 Honestly, just knowing Jay you know, he's a fan of music, 0:50:07.840 --> 0:50:10.080 like you know, to just say, hey, this is my 0:50:10.200 --> 0:50:13.120 introduction to y'all culture, and this is y'all introduction to 0:50:13.239 --> 0:50:16.600 our culture, and it's all so crazy. At the time, 0:50:17.200 --> 0:50:19.759 baby them had no clue of what jay Z was 0:50:19.800 --> 0:50:21.719 and hip hop you know where you know what his 0:50:21.800 --> 0:50:25.160 stamp was. Then they knew nothing. Me and Julie was 0:50:25.280 --> 0:50:28.600 just like, hey, bro, this got a state like you know, 0:50:28.640 --> 0:50:30.120 and it was just like, well he wont he won. 0:50:30.120 --> 0:50:31.960 Our sound, he just won our dah da da dad. 0:50:31.960 --> 0:50:34.280 And we was like, hey, bro, we're trying to break 0:50:34.320 --> 0:50:36.880 this market like this is we need this to happen. 0:50:37.080 --> 0:50:38.359 And it was like, well, we don't even know who 0:50:38.440 --> 0:50:39.760 this dude is. Who is dadda? 0:50:39.880 --> 0:50:42.320 You know, because one of the things in cash Money 0:50:42.360 --> 0:50:45.760 that was big to Baby and Slim was cash money. 0:50:45.880 --> 0:50:48.960 That's it. We ain't doing nothing else. We ain't doing 0:50:49.000 --> 0:50:51.680 nothing outside of it. Outside of that, we ain't listening 0:50:51.680 --> 0:50:53.759 to nothing outside of that. You know. What made me 0:50:53.800 --> 0:50:55.640 a little different was I was a DJ, you know, 0:50:55.719 --> 0:50:58.319 I had to listen to everything, and they had no 0:50:58.360 --> 0:51:01.520 clue like some of these songs were influenced by other things, 0:51:01.840 --> 0:51:05.040 you know, huh. To me, it's kind of like a 0:51:05.120 --> 0:51:07.440 modern Man Tronics you know what I'm saying, Like it 0:51:07.520 --> 0:51:12.520 has you know, like it's it's more it's kind of 0:51:12.520 --> 0:51:14.440 like a Man Tronics song, you know, And I'm a 0:51:14.480 --> 0:51:17.399 big fan of Man Tronics. Like I'm a huge fan 0:51:17.440 --> 0:51:21.839 of Man Yeah, like you know, so to me, like 0:51:21.880 --> 0:51:24.759 there's elements of that in that song, like you know, 0:51:24.920 --> 0:51:29.000 from the drum switch to yes yeah, yeah, you know, 0:51:29.920 --> 0:51:32.120 you're right, it's a lot of that, you know, but 0:51:32.280 --> 0:51:34.200 talking to a slimming baby, you know, they kind of 0:51:34.280 --> 0:51:36.400 was like, no, this is and I'm like no, we 0:51:36.520 --> 0:51:38.799 all kind of influenced from different things. And then when 0:51:38.880 --> 0:51:41.640 Jay did it, me and Juvie of course, we was like, 0:51:41.680 --> 0:51:44.239 oh my god, this is it. Jay Z jumped on it. 0:51:44.560 --> 0:51:45.000 They you know. 0:51:45.080 --> 0:51:47.399 Baby then was like, na, bro, we don't. We don't, 0:51:47.520 --> 0:51:49.400 and I'm like, we do need this. I'm like, we 0:51:49.400 --> 0:51:51.799 need this co sign, you know, as well as what 0:51:51.920 --> 0:51:54.560 he's doing too. He wants the South, we want that, 0:51:54.840 --> 0:51:58.200 you know. And we did the Tunnel and it was 0:51:58.320 --> 0:52:01.759 terrifying because people told us just like you know, like 0:52:01.760 --> 0:52:03.640 like you you got folks whispering to you and your 0:52:03.640 --> 0:52:05.879 ear going, Bro, they're gonna kill y'all in there, They're 0:52:05.880 --> 0:52:08.959 gonna you know, and we just like damn, like even 0:52:09.719 --> 0:52:13.320 you know what I'm saying, We doubting each other before 0:52:13.360 --> 0:52:15.520 the performance, like you know what I'm saying, because we 0:52:15.560 --> 0:52:18.720 don't know the song has really took an off, you know. Okay, 0:52:18.719 --> 0:52:20.560 we get booked to do the Tunnel, but we don't 0:52:20.600 --> 0:52:22.719 know that New York is jamming this song. 0:52:22.920 --> 0:52:27.000 Y Yeah, hell. Yeah. We were scared. Forget nervous. 0:52:27.040 --> 0:52:30.320 We were scared, scared shitless, like you know, because it 0:52:30.440 --> 0:52:32.920 was so many, like you said, that New York attitude 0:52:33.080 --> 0:52:35.200 where they was like, bro, y'all gonna bomb y'all, you know, 0:52:35.440 --> 0:52:37.719 just right off through. Nobody telling you it's gonna be 0:52:37.760 --> 0:52:40.640 all right. It was just constantly y'all ain't gonna make it. 0:52:40.680 --> 0:52:42.120 This is it right here at the tunnel about the 0:52:42.239 --> 0:52:45.240 tell y'all up, they gonna tell y'all. And if you notice, 0:52:45.719 --> 0:52:48.720 when we did it, the crowd, you know, went crazy. 0:52:48.760 --> 0:52:52.240 But the after, the after it was like Julie winning 0:52:52.239 --> 0:52:53.240 the Olympics or whatever. 0:52:53.360 --> 0:52:55.040 He was talking so much shit. 0:52:55.480 --> 0:52:58.080 After after we performed, Like you know what I'm saying, 0:52:58.080 --> 0:52:59.400 he stuck his chest out and was. 0:52:59.440 --> 0:53:01.520 Like, yeah, we did it, and da da da dah, 0:53:01.640 --> 0:53:02.000 New York. 0:53:02.040 --> 0:53:03.160 You can't tell me nothing. 0:53:03.360 --> 0:53:06.080 It was just because it was so much pressure. 0:53:06.760 --> 0:53:09.160 It was so much pressure put on us where people 0:53:09.239 --> 0:53:11.640 was like, this is New York. You're not coming here 0:53:11.640 --> 0:53:14.200 with this shit. Y'all not gonna do this. And when 0:53:14.239 --> 0:53:17.359 the song dropped and the crowd went crazy, Bro, it 0:53:17.400 --> 0:53:19.919 was it was such a relief for us because I'm 0:53:19.960 --> 0:53:22.560 telling you to the time the song came on. We 0:53:22.560 --> 0:53:24.840 were scared as shit because it was that many people 0:53:24.920 --> 0:53:27.480 told us that this was not going to work. 0:53:28.160 --> 0:53:32.400 Dude, Like I would have thought the complete opposite, if anything. 0:53:33.160 --> 0:53:35.520 I thought the annihilation was y'all coming to New York 0:53:35.560 --> 0:53:38.640 and annihilating us, like not knowing that you guys were 0:53:39.320 --> 0:53:40.960 nervous about that at all, Like. 0:53:41.000 --> 0:53:43.120 Yeah, because it was told to us like, you know, 0:53:43.239 --> 0:53:45.799 like this this is no social media because we had 0:53:45.880 --> 0:53:48.120 no we had no idea what was going on on 0:53:48.239 --> 0:53:50.319 Hot ninety seven or what was going on in New York. 0:53:50.520 --> 0:53:53.200 We just heard that the song had momentum, you know 0:53:53.280 --> 0:53:55.719 what I'm saying. So we going, okay, did they did 0:53:55.760 --> 0:53:58.239 they book us here to you know, make fun of 0:53:58.320 --> 0:53:59.920 us and poke at us, or did they book us, 0:54:00.560 --> 0:54:02.480 you know, to have a good time. So it was 0:54:02.520 --> 0:54:04.760 it was, you know, and everything that we were getting 0:54:05.040 --> 0:54:08.040 from people that we really didn't know, but just that 0:54:08.160 --> 0:54:10.920 New York attitude was we was just getting y'all not 0:54:10.920 --> 0:54:13.000 coming in the tunnel with this ship, y'all not going 0:54:13.080 --> 0:54:15.719 you know what I'm saying, And every every artist in 0:54:15.760 --> 0:54:20.040 that era knew the tunnel was. It was brutal, dude. 0:54:20.160 --> 0:54:22.120 This is also the Penn and Pixel era of hip 0:54:22.160 --> 0:54:25.560 hop album covers. Yeah, so I was under the impression 0:54:25.600 --> 0:54:29.319 that every Penn and Pixel album cover was just under 0:54:29.360 --> 0:54:32.480 the same umbrella. So at one point I did think 0:54:32.920 --> 0:54:37.160 that No Limit and Cash Money were part of the 0:54:37.200 --> 0:54:41.200 same family until someone that's explained to me otherwise, No, 0:54:41.320 --> 0:54:42.719 these are two different camps. 0:54:43.080 --> 0:54:45.840 We all grew up together. Everybody just picked the side. 0:54:45.880 --> 0:54:48.280 That's the weird thing. But but but you know, that's 0:54:48.320 --> 0:54:50.240 that's kind of like how the East Coast and West 0:54:50.239 --> 0:54:54.240 Coast battle even started, like with people kind of putting 0:54:54.239 --> 0:54:55.319 their own spin on it. 0:54:55.600 --> 0:54:57.360 We never really had beef. 0:54:57.440 --> 0:55:00.400 The world assumed that we had beef because we was 0:55:00.400 --> 0:55:03.680 from different projects, different areas. But me and KLC, the 0:55:03.760 --> 0:55:05.920 dude from Beach by the Pound who did most of 0:55:05.960 --> 0:55:08.560 their stuff, we dj together as kids. You know, we 0:55:08.840 --> 0:55:11.680 grew up toget. We're still good friends. Mia X was 0:55:11.680 --> 0:55:14.600 in a group with me, you know, in New York 0:55:14.640 --> 0:55:17.360 Incorporated and she you know, and Mac who was on 0:55:17.440 --> 0:55:20.560 their Max's first song. I think he was nine years old. 0:55:20.560 --> 0:55:22.640 I did his song like you know what I'm saying. 0:55:22.880 --> 0:55:25.440 Wait what, Yeah, he was nine years old. He had 0:55:25.480 --> 0:55:27.840 a song called I Need Wills. It was a parody 0:55:27.840 --> 0:55:29.760 of I Need Love, Like you know what I'm. 0:55:29.640 --> 0:55:32.200 Saying, Well, was he won a bicycle. 0:55:33.200 --> 0:55:33.719 He was on a. 0:55:33.719 --> 0:55:36.600 Street car like saying the song to you know, to 0:55:36.680 --> 0:55:37.560 some girl, and it's. 0:55:37.480 --> 0:55:38.799 A video for it. 0:55:38.400 --> 0:55:42.080 It's literally a but but we all knew each. 0:55:41.960 --> 0:55:43.560 Other at the height of the madness. 0:55:43.640 --> 0:55:46.680 Not once was there a summit meeting that said, like, hey, 0:55:47.160 --> 0:55:49.080 let's do an all star record. 0:55:49.560 --> 0:55:53.560 It was friendly competition and people kind of made you 0:55:53.560 --> 0:55:56.319 know when you got those outside influences, like you know, 0:55:56.320 --> 0:55:59.440 when you start letting street dudes in and you know, 0:56:00.040 --> 0:56:02.239 and in that era that was big and hip hop, 0:56:02.320 --> 0:56:03.960 like you got your street friends with you and you 0:56:03.960 --> 0:56:06.200 got all but you didn't know like your street friends 0:56:06.440 --> 0:56:09.680 were the ones who was the authors of destruction, you know, 0:56:09.880 --> 0:56:12.359 like you like, this dude is the problem. He's telling 0:56:12.360 --> 0:56:15.160 you that these dudes is saying this, and they got 0:56:15.200 --> 0:56:17.759 some dudes over there saying, well, these dudes are saying that. 0:56:18.200 --> 0:56:21.200 So it kind of created a riff. But whenever we 0:56:21.239 --> 0:56:23.000 saw each other, like let's just say, we went to 0:56:23.040 --> 0:56:25.400 a club on a Friday night, the House of Blues, 0:56:25.440 --> 0:56:27.279 and we saw folks from No Limit. We saw we 0:56:27.320 --> 0:56:29.200 all got together and we kicked it and we hung 0:56:29.520 --> 0:56:32.359 but when we went our separate ways, it seemed like, oh, 0:56:32.360 --> 0:56:34.080 they hate each other, you know what I'm saying. 0:56:34.120 --> 0:56:35.920 But that never really occurred. 0:56:36.600 --> 0:56:41.160 As far as D Jay's concern and support, is there 0:56:41.400 --> 0:56:47.920 local mainstream radio support of the culture or did you 0:56:48.280 --> 0:56:50.600 have to figure out other ways to get the word out. 0:56:51.000 --> 0:56:53.040 We definitely had to figure out other ways. 0:56:53.080 --> 0:56:55.280 You know. It was a little different from us because 0:56:55.320 --> 0:56:58.680 we was kissing baby, shaking hands, making deals out the trunk, 0:56:58.960 --> 0:57:02.080 you know, doing things the old school way of making 0:57:02.120 --> 0:57:05.200 it work, you know, going from city to city, sharing 0:57:05.239 --> 0:57:07.080 the car, whatever we had to do, like, you know, 0:57:07.200 --> 0:57:09.200 and we would we would stay in the city till 0:57:09.239 --> 0:57:11.680 they got tired of seeing us, till they start playing records, 0:57:11.920 --> 0:57:13.360 you know what. We just like, well, we're gonna be 0:57:13.400 --> 0:57:15.560 here and we gonna find all of the good DJs, 0:57:15.880 --> 0:57:18.600 you know, and service them with these records and bother 0:57:18.720 --> 0:57:21.400 them or either pay them whatever it took, like, hey man, 0:57:21.400 --> 0:57:23.120 give that guy a little money and let him play 0:57:23.160 --> 0:57:25.600 this song, you know. And a lot of times the 0:57:25.680 --> 0:57:28.360 greatness was the song played two or three times and 0:57:28.400 --> 0:57:30.720 then it was instant, you know, people liked it, and 0:57:31.280 --> 0:57:33.120 then that that right there showed you if you do 0:57:33.160 --> 0:57:35.520 a good record, you make it easy for DJ like 0:57:35.560 --> 0:57:38.600 but it was if it's a hard record where you're like, ah, 0:57:38.680 --> 0:57:41.280 and we've all been in that position where somebody like 0:57:41.360 --> 0:57:43.840 break this record and you're just like, I don't know 0:57:43.880 --> 0:57:47.520 about one. But when you give them something to work with, 0:57:47.720 --> 0:57:50.760 they like, okay that this could possibly work. So and 0:57:51.160 --> 0:57:55.760 a shift what happens in Cash Money was Beiji chop 0:57:55.760 --> 0:57:56.160 of City. 0:57:56.600 --> 0:57:58.959 The format changed from bounce. 0:57:58.720 --> 0:58:01.480 To rap and and I was like, if we're gonna 0:58:01.480 --> 0:58:06.240 do this, it's gotta be something that's so incredible that 0:58:06.720 --> 0:58:09.600 you know it can't be you know, like denied. And 0:58:09.640 --> 0:58:12.520 when we did the Chopper City album and it was 0:58:12.640 --> 0:58:14.960 rapping and it had musicianship and it had you know, 0:58:15.080 --> 0:58:17.200 different like you know, and everybody was like, this is 0:58:17.320 --> 0:58:19.280 many fresh. We not used to hear them, you know, 0:58:19.360 --> 0:58:22.000 we know the bounce mann afresh. We don't know him 0:58:22.040 --> 0:58:25.240 to do like full production on you know, a whole album. 0:58:25.360 --> 0:58:29.160 And these songs got guitars and they got you know, keyboards. 0:58:29.160 --> 0:58:32.040 And when we did that, the radio and everybody jumped 0:58:32.040 --> 0:58:34.280 behind it because the streets were so hot on it. 0:58:34.280 --> 0:58:36.840 It was one of them albums where every car was 0:58:36.840 --> 0:58:40.560 planned so radio had to start playing it just by 0:58:40.800 --> 0:58:43.360 it was being forced on them by what the streets 0:58:43.440 --> 0:58:46.240 was doing. And when that happened, you know, we saw 0:58:46.280 --> 0:58:46.720 a shift. 0:58:58.720 --> 0:59:01.080 I've never seen an M depth interview with you. So 0:59:01.120 --> 0:59:04.040 the reason why I'm kind of nerd out on you, 0:59:04.040 --> 0:59:07.680 you know, peer to peers, because like I'm asking questions, 0:59:08.440 --> 0:59:09.600 I never got. 0:59:09.400 --> 0:59:13.200 To hear you answer because yeah. 0:59:12.720 --> 0:59:15.960 As far as so, I mean now that decades of 0:59:16.040 --> 0:59:19.080 going by and you've seen the effect of it, like 0:59:19.280 --> 0:59:21.280 is this the way that you imagine that it would 0:59:21.400 --> 0:59:23.959 happen when you first started out, or. 0:59:24.600 --> 0:59:25.640 Yeah, let me tell you. 0:59:25.680 --> 0:59:28.160 One of the things that even you know Juvie will 0:59:28.200 --> 0:59:31.600 say right now interviews, he says, I got on their 0:59:31.640 --> 0:59:35.400 nerves with my talks of how I knew this was 0:59:35.440 --> 0:59:39.000 going to play out because I always was like, dude, 0:59:39.320 --> 0:59:41.439 that's going to yeah. I was like, this is going 0:59:41.480 --> 0:59:43.880 to be big. I don't know about y'all, and if 0:59:43.960 --> 0:59:45.800 y'all don't like it, go home, like you know, I 0:59:45.800 --> 0:59:48.200 would literally you know, and it was just like, well, 0:59:48.440 --> 0:59:50.520 how did you I'm like, bro, I know, I know, 0:59:50.720 --> 0:59:52.880 I know, I know, Like you know, even when we 0:59:52.880 --> 0:59:54.919 was doing back that ass up. I changed the song 0:59:55.040 --> 0:59:57.080 three times and he was like, why are you doing 0:59:57.160 --> 0:59:58.760 this and what are you and I'm like, because this 0:59:58.880 --> 1:00:03.400 song is huge, you know, and at the time when yeah, 1:00:03.440 --> 1:00:05.080 I knew it at the time when we did it. 1:00:05.120 --> 1:00:07.680 The whole reason why I put the intro on it. 1:00:07.680 --> 1:00:10.640 It was kind of like like from old songs, from 1:00:10.680 --> 1:00:12.920 seeing my dad do things. When it came back to me, 1:00:13.120 --> 1:00:14.880 they was like, well, why do the intro when it 1:00:14.880 --> 1:00:15.560 was already done. 1:00:15.600 --> 1:00:17.080 I was like, well, the intro is the setup. 1:00:17.080 --> 1:00:21.360 I'm like, it's giving you a second to get ready. 1:00:21.760 --> 1:00:23.480 I'm like, this is going to give you a second 1:00:23.480 --> 1:00:26.600 to get ready when it drops down. It's on from there. 1:00:27.040 --> 1:00:27.240 You know. 1:00:27.360 --> 1:00:29.120 We had already done the song and I went back 1:00:29.160 --> 1:00:31.360 and did the intro to it, and it was like, well, why. 1:00:31.280 --> 1:00:33.520 Were you wanted the intro in mastering or. 1:00:33.920 --> 1:00:36.560 Yeah, yeah, And I was like, I want the intro 1:00:36.680 --> 1:00:38.240 on it and they was like, well why, I'm like, 1:00:38.280 --> 1:00:40.680 because this is the setup. I'm like, this song is 1:00:40.720 --> 1:00:43.200 going to play for forever and you know, and it 1:00:43.240 --> 1:00:45.520 was just like see when you start talking like that 1:00:45.520 --> 1:00:47.800 that shit you and I'm like I know this. I'm like, 1:00:47.960 --> 1:00:50.280 I know this song is the one this is going 1:00:50.360 --> 1:00:53.680 to play. You know, Julie will say, I didn't see it. 1:00:53.680 --> 1:00:55.280 He was like many saw it. Man. 1:00:55.280 --> 1:00:57.520 He was like, this is, you know, one of them. 1:00:57.720 --> 1:00:59.920 If you're gonna give yourself credit, and you know, you like, 1:01:00.080 --> 1:01:03.280 you know, I'm not braggadocious, but I will say I've 1:01:03.320 --> 1:01:06.120 foreseen that song being here that long. 1:01:06.440 --> 1:01:10.560 Of your creations, like what are your top three Manny 1:01:10.600 --> 1:01:11.560 Fresh creations? 1:01:12.080 --> 1:01:12.600 Still Fly? 1:01:13.040 --> 1:01:16.600 Because still Fly it's not really it's not a super 1:01:16.640 --> 1:01:19.040 produced song. What I'm saying like, it wasn't hard to create, 1:01:19.360 --> 1:01:23.120 but it was hard to do because I wrote. 1:01:22.840 --> 1:01:23.960 It from a real place. 1:01:24.320 --> 1:01:26.960 And when you would have a labeled at the whole 1:01:27.000 --> 1:01:30.000 premise of what the label thinks is we get money, 1:01:30.280 --> 1:01:32.400 you know. That's all we do is we get money. 1:01:32.520 --> 1:01:34.800 And they like and you talking about being broken, you 1:01:34.920 --> 1:01:37.280 talking about a quarter tank of gas and you eat, 1:01:37.320 --> 1:01:39.560 you know, and it was just like bro. And I 1:01:39.600 --> 1:01:42.000 was like, honestly, I'm like, this is on real life. 1:01:42.000 --> 1:01:46.720 I'm like, yeah, it's relatable. I'm like, this is everybody's 1:01:46.840 --> 1:01:49.360 real life, you know. And that was one of the 1:01:49.440 --> 1:01:52.440 songs it was hated on by everybody. Then it was 1:01:52.520 --> 1:01:54.120 just like, I don't know what he doing in there 1:01:54.200 --> 1:01:56.959 right now, but he about to destroy this with this song. 1:01:57.200 --> 1:02:01.760 And I'm like, this song is everybody's life in the world, like, 1:02:01.800 --> 1:02:04.360 and I'm like, you've been here one of these lyrics, 1:02:04.440 --> 1:02:06.280 you've been here, one of them, or all of them 1:02:06.320 --> 1:02:08.480 in the hook, you've been there. So when I was 1:02:08.520 --> 1:02:10.560 doing it, you know, it was it came from a 1:02:10.600 --> 1:02:13.240 real life place. I need to say this, and they 1:02:13.320 --> 1:02:15.640 was just like no, you know, like our whole thing 1:02:15.720 --> 1:02:18.480 is our asana is get money, get money, get money, 1:02:18.640 --> 1:02:21.480 and you know, and I remember saying this is the 1:02:21.560 --> 1:02:23.880 gift and the curse. And I had an argument with 1:02:24.040 --> 1:02:27.000 Baby about this cause I was like, I don't want 1:02:27.000 --> 1:02:29.640 to turn hip hop into get money, get money. I'm like, 1:02:29.720 --> 1:02:33.080 this is our thing. But I'm like I'm seeing all 1:02:33.080 --> 1:02:35.240 of these labels and all of these kids under a 1:02:35.360 --> 1:02:35.960 switch to. 1:02:36.240 --> 1:02:37.760 That's all hip hop is now. 1:02:38.560 --> 1:02:40.480 And I'm like I had to explain it to him 1:02:40.520 --> 1:02:42.840 and break it down like just a little bit, like 1:02:43.000 --> 1:02:44.800 you know what I have to and he was like, well, 1:02:44.880 --> 1:02:46.200 I don't understand what you're saying. 1:02:46.360 --> 1:02:49.880 I was like, there's genres in hip hop. We figured 1:02:49.880 --> 1:02:50.840 out that. 1:02:50.720 --> 1:02:53.480 We would be, I mean, the boldest, the biggest, and 1:02:53.720 --> 1:02:55.920 whatever that was that was cash money thing. I'm like, 1:02:55.960 --> 1:02:59.439 that's not everybody's thing, but it's turning into everybody's thing. 1:02:59.760 --> 1:03:02.280 That's this is what hip hop is turning into. So 1:03:02.360 --> 1:03:04.680 I'm like, you gotta be careful on how you doing 1:03:04.760 --> 1:03:09.000 this because what we're doing is we're making people believe 1:03:09.080 --> 1:03:11.800 that hip hop is money, girls and bitches. 1:03:11.800 --> 1:03:12.000 You know. 1:03:12.000 --> 1:03:14.840 What I'm saying instead is a culture is a love 1:03:14.920 --> 1:03:17.600 for this. And you saw a shift where it just 1:03:17.640 --> 1:03:20.160 turned to the bling and we're still in the bling 1:03:20.200 --> 1:03:24.440 era of hip hop where everything is get money, get money, 1:03:24.480 --> 1:03:27.520 get money. So when I did that, it was all 1:03:27.600 --> 1:03:30.280 kind of feelings of you know, like I said, what's 1:03:30.320 --> 1:03:33.880 big about that song to me is not how you know, 1:03:33.960 --> 1:03:36.240 like the production or none of that. It was the 1:03:36.280 --> 1:03:40.000 backstory of it. The backstory was I had to fight 1:03:40.080 --> 1:03:41.720 for all of that. Like what I'm telling you where 1:03:41.720 --> 1:03:44.120 I'm going, Like, hey, bro, I don't want to just 1:03:44.200 --> 1:03:48.040 do songs that are just that's all we do is, 1:03:48.080 --> 1:03:51.800 you know, we glamorize this. Like I'm like every album 1:03:51.800 --> 1:03:53.800 that we do that should be at least one two 1:03:53.840 --> 1:03:56.400 songs that got a message that comes from. 1:03:56.200 --> 1:03:57.280 How you really feel. 1:03:57.720 --> 1:04:01.600 Yeah, that's relatable and that was one of even some 1:04:01.640 --> 1:04:03.439 of the parts of you know, people are like, well, 1:04:03.440 --> 1:04:05.640 when you stepped off, what happened? Was it financially? Some 1:04:05.720 --> 1:04:08.200 of it was financially, but some of it was it 1:04:08.240 --> 1:04:11.040 was growth, you know, as a musician, as a producer, 1:04:11.280 --> 1:04:13.120 it was growth when I'm like, hey, I want to 1:04:13.120 --> 1:04:15.640 do this, I want to try this, and you're like, nah, 1:04:15.720 --> 1:04:17.960 but this works, and I'm like, it don't work for me, 1:04:18.040 --> 1:04:18.439 no more? 1:04:19.080 --> 1:04:19.880 Gotcha? 1:04:19.960 --> 1:04:23.560 All right, I'm looking behind you and over your right shoulder. 1:04:24.120 --> 1:04:26.840 Uh huh do you still use and that's be twelve hundred? 1:04:26.960 --> 1:04:29.880 Yes, sir, I got the SB right here, and I 1:04:29.920 --> 1:04:31.840 got the eight aweight right here at old MPC. 1:04:32.400 --> 1:04:36.120 Yes, this is my baby, bro, my sp twelve hundred to. 1:04:35.960 --> 1:04:37.920 This day, Like that's your weapon of choice. 1:04:38.000 --> 1:04:40.520 Yes, yes, yes, all right, let's go. 1:04:40.480 --> 1:04:43.880 To the opposite of still fly, which I would say 1:04:43.960 --> 1:04:46.400 is probably blink bling. 1:04:47.160 --> 1:04:47.480 Yeah. 1:04:47.520 --> 1:04:50.880 Now, it's so weird how a perception of a song 1:04:51.240 --> 1:04:58.000 can alter your perception of even patches, because everything that 1:04:58.040 --> 1:05:03.480 you used and bling bling, it's such a shiny sound, 1:05:03.640 --> 1:05:05.880 like the did the idea come first? Like, Yo, I'm 1:05:05.880 --> 1:05:09.040 gonna make a song about diamonds and you made it 1:05:09.200 --> 1:05:11.160 or was it just I know just how it came. 1:05:11.280 --> 1:05:14.680 I know how it. I was listening to Johnson Crew 1:05:14.920 --> 1:05:19.000 Space is the Place boom boom bum bum bum bum 1:05:19.280 --> 1:05:22.200 blah blah blah bum boom boom bum and I was like, God, damn, 1:05:22.240 --> 1:05:23.160 that's jamming. 1:05:23.000 --> 1:05:25.960 Like shit, look Arthur Baker right now here in this 1:05:26.120 --> 1:05:26.560 all right. 1:05:26.600 --> 1:05:29.120 You know what I'm saying. So I was playing like 1:05:29.160 --> 1:05:32.560 the Johnson Crew album the whole day, like Space Cowboy 1:05:32.960 --> 1:05:35.959 all of that, and went to sleep and the hook 1:05:36.200 --> 1:05:38.680 of bling bling came to me, like you know what 1:05:38.720 --> 1:05:40.320 I'm saying, Like I just and I was like, I 1:05:40.360 --> 1:05:42.360 better get up and recard this before. 1:05:42.120 --> 1:05:42.880 I forget it. 1:05:43.640 --> 1:05:47.040 I recorded it over what you call I recorded because 1:05:47.080 --> 1:05:49.120 I was listening to the Johnson Crew all day. I 1:05:49.200 --> 1:05:52.480 just recorded the hook over Space is the Place, you 1:05:52.520 --> 1:05:54.080 know what I'm saying, because I was like, you know what, 1:05:54.280 --> 1:05:56.200 just because I had my little recorder, you know what 1:05:56.240 --> 1:05:58.040 I'm saying, I'm like, the only thing I got was this, 1:05:58.240 --> 1:05:59.960 So I played it and I just did the hook over. 1:06:00.520 --> 1:06:02.080 So I was like I kind of wanted to have 1:06:02.160 --> 1:06:04.200 that feel, like you know what I'm saying. I was like, 1:06:04.240 --> 1:06:06.520 I wanted to have that, and I recalled and the 1:06:06.560 --> 1:06:08.640 next day I went in the studio and put it down, 1:06:08.800 --> 1:06:10.880 but I recorded it late at night because it kept 1:06:10.880 --> 1:06:11.440 coming to me. 1:06:12.400 --> 1:06:16.200 This is so crazy to me that like records that 1:06:16.280 --> 1:06:19.320 I think don't have an impact. You know, it's you 1:06:19.360 --> 1:06:22.600 mentioned the Johnson Crew. I just had Arthur Baker on 1:06:22.640 --> 1:06:26.560 the show, yeah, a little while back. And of course, 1:06:26.640 --> 1:06:30.200 you know after the deluge, the after effect of Planet Rock, 1:06:31.320 --> 1:06:33.200 you know, coming with play at your Own Risk and 1:06:33.240 --> 1:06:36.320 all this stuff, and then you know, pack Jam comes 1:06:36.320 --> 1:06:40.800 from the Johnson Crew. And I remember that summer of 1:06:40.840 --> 1:06:44.960 eighty three buying. I brought Nuclears and I brought the 1:06:45.040 --> 1:06:49.480 Johnson Crew, Space Cowboy, all that stuff. And I was 1:06:49.520 --> 1:06:52.600 just under impression that because no one, none of my 1:06:52.640 --> 1:06:56.520 friends knew that song except me, and so my mind, 1:06:56.560 --> 1:06:58.600 I'm just like, oh, this is probably like a flop 1:06:58.640 --> 1:07:01.800 record that's. 1:07:00.560 --> 1:07:02.600 Going to make sense to nobody but me. 1:07:02.920 --> 1:07:09.920 I Wow, Okay, that's amazing to hear that. One question 1:07:10.000 --> 1:07:13.600 I always wanted to know actually has to do with 1:07:14.800 --> 1:07:20.000 probably the most surprising cash money signee, How did Tina 1:07:20.040 --> 1:07:23.320 Marie wind up in you guys's stratosphere? 1:07:24.200 --> 1:07:27.240 All of us are fans, all of us. Okay. 1:07:28.120 --> 1:07:32.600 So, so Tina Marie was huge in New Orleans. I 1:07:32.680 --> 1:07:36.640 mean like like you know, she she would be equivalent 1:07:36.720 --> 1:07:40.040 to like Supernova in New Orleans. 1:07:40.360 --> 1:07:40.560 You know. 1:07:40.720 --> 1:07:44.880 So I think somebody told Slim that I think it 1:07:44.920 --> 1:07:47.480 was one of her attorneys that Tina was looking for 1:07:47.520 --> 1:07:50.760 a deal, and he was like, we'll sign her. 1:07:51.560 --> 1:07:53.560 We you know, we we we'll sign her. We'll do 1:07:53.600 --> 1:07:54.520 whatever it takes, you know. 1:07:54.600 --> 1:07:58.080 And he said, I know many loves Tina Marie, like, 1:07:58.120 --> 1:08:00.280 you know, because I had these times where I'm gonna 1:08:00.360 --> 1:08:00.720 educate you. 1:08:00.720 --> 1:08:01.880 We about to play some R and. 1:08:01.800 --> 1:08:04.040 B music if this is the last ten minutes of 1:08:04.080 --> 1:08:06.120 my set, and it was always square Biars, like I 1:08:06.120 --> 1:08:08.840 would you know I start off with Slim was like 1:08:08.880 --> 1:08:10.840 that he go with that every time. You know what 1:08:10.960 --> 1:08:13.920 I'm saying, right, I'm like, but Square Bars was always 1:08:13.960 --> 1:08:16.680 in the set, and I think it was it was 1:08:16.760 --> 1:08:19.599 just pure coincidence that this guy reached out to her 1:08:19.600 --> 1:08:21.439 and she was like, okay, I'm willing to do it. 1:08:21.840 --> 1:08:25.240 And when I met her, I told her like, I'm like, 1:08:25.280 --> 1:08:27.880 I'm a huge fan. You know, I love everything that 1:08:27.880 --> 1:08:30.120 you've ever done, you know, And we could have went 1:08:30.160 --> 1:08:32.040 on and on it because I definitely do know all 1:08:32.040 --> 1:08:35.040 Tina Marie songs, like just like anybody else in New Orleans. 1:08:35.120 --> 1:08:37.200 And I called my dad and I said, hey, you'll 1:08:37.240 --> 1:08:39.680 never believe who. And my dad was like, now you're 1:08:39.720 --> 1:08:43.560 doing something. All that other shit is all right, yeah, 1:08:43.760 --> 1:08:46.519 but that like you got Teina Marie. 1:08:46.680 --> 1:08:48.800 Don't you fail team to Marie? 1:08:49.280 --> 1:08:51.920 That is crazy. That's why I asked you the Meeters question. 1:08:52.000 --> 1:08:54.320 There's some artists that are so big in your life 1:08:54.880 --> 1:08:58.080 that you just assume, yeah, the world knows about it. 1:08:58.600 --> 1:09:01.240 Like when I was in ninth grade, love a girl 1:09:01.479 --> 1:09:05.200 just went top ten. Yeah, she had one pop hit 1:09:05.640 --> 1:09:09.519 that like the rest of America got introduced to her, 1:09:09.720 --> 1:09:12.400 you know, like they thought that was her first song, 1:09:12.439 --> 1:09:16.280 you know what I'm saying. But that's what I learned, like, oh, 1:09:16.439 --> 1:09:18.679 the world doesn't know about Tina Marie, Like she only 1:09:18.720 --> 1:09:19.320 means something. 1:09:19.160 --> 1:09:22.519 To us that is up in my own When you say, 1:09:22.520 --> 1:09:25.080 like your top accomplishments, that is one of them that 1:09:25.120 --> 1:09:26.080 means the world. 1:09:25.840 --> 1:09:30.960 To me, Well congratulations man. Yeah for me, it's I'm 1:09:31.000 --> 1:09:34.080 sad that that was her swan song. Yeah, but I 1:09:34.160 --> 1:09:37.679 too also got to meet her, like in the late 1:09:37.800 --> 1:09:41.760 nineties and whatnot. And you know, I knew of her 1:09:41.840 --> 1:09:43.880 struggles to try to get back in the game and 1:09:44.439 --> 1:09:48.000 get the lawsuits with her previous labels and whatnot. Yeah, 1:09:48.000 --> 1:09:51.640 I'm just so happy that not only like does she 1:09:51.760 --> 1:09:54.720 land the plane, but she got reintroduced to like a 1:09:54.720 --> 1:09:59.759 whole nother generation because oftentimes, like our greats, can easily 1:09:59.840 --> 1:10:03.800 get it just discarded and got about like yesterday's news. 1:10:03.960 --> 1:10:05.840 One of the things she asked when we was doing 1:10:05.880 --> 1:10:09.519 the song she wanted to she wanted something like still fly, 1:10:10.280 --> 1:10:12.160 she was like, and I was like, no, miss Marie, 1:10:12.200 --> 1:10:13.719 we're not you know. And she was like, you stopped 1:10:13.720 --> 1:10:16.760 calling me. And I was like, miss Marie. 1:10:16.560 --> 1:10:19.200 I was like, she want that bounce? 1:10:19.360 --> 1:10:20.639 Yeah, And I was like, I. 1:10:20.560 --> 1:10:22.600 Love your music and we gonna make music for you. 1:10:23.120 --> 1:10:25.439 So when we wrote the I'm Still in Love song, 1:10:25.520 --> 1:10:27.960 you know, she was open to it. She let me 1:10:27.960 --> 1:10:29.680 write some of it, she let me you know, and 1:10:29.800 --> 1:10:32.400 and I was like, we could do like this al greenflip, 1:10:32.439 --> 1:10:34.360 tell me what you like, and she like the dome 1:10:34.479 --> 1:10:36.559 throw to the do throw, and I was like, yeah, 1:10:36.840 --> 1:10:38.800 I'm like that's easy. I'm like, We'll come up with 1:10:38.880 --> 1:10:41.320 something real simple. And I'm like and we'll keep it 1:10:41.600 --> 1:10:43.600 with your crowd. I'm like, I think if we do 1:10:43.720 --> 1:10:46.919 something outside of that, you're going to lose your core audience. 1:10:47.120 --> 1:10:49.559 And you know, and she trusted me and and that 1:10:49.760 --> 1:10:52.719 right there, and that's like sometimes that's the difference between 1:10:52.800 --> 1:10:56.120 beat making and producing. You know, we got a lot 1:10:56.120 --> 1:10:58.800 of beat makers. We got a ton of that. We 1:10:58.840 --> 1:11:00.559 don't have a lot of people who in invest in 1:11:00.960 --> 1:11:03.160 who you're working with and and vice versa and who 1:11:03.160 --> 1:11:03.840 they working with. 1:11:04.120 --> 1:11:06.400 There is a period where I forget what year it was, 1:11:06.479 --> 1:11:09.599 but most told us like, yeah, like dog, I'm gonna 1:11:09.600 --> 1:11:12.320 mess with Manny Fresh and do some joints together. What's 1:11:12.360 --> 1:11:14.439 the personal work that you got to put in to 1:11:14.560 --> 1:11:16.920 know what fits an artists or not? Because I'm certain 1:11:16.960 --> 1:11:21.280 everyone's coming to you expected, yeah. 1:11:20.160 --> 1:11:22.160 Talk to you. I personally want to talk to you. 1:11:22.280 --> 1:11:25.240 And and one of the things I'm going to start 1:11:25.280 --> 1:11:28.160 off with and I've always been this way, I don't 1:11:28.200 --> 1:11:31.000 make hits, like you know, I'm like, songs can evolve 1:11:31.040 --> 1:11:31.559 into hits. 1:11:31.600 --> 1:11:33.040 I don't know how to make a hit record. 1:11:33.280 --> 1:11:34.640 There's you know, because a lot of people are like 1:11:34.680 --> 1:11:36.600 I need a hit, and I'm like, I don't know 1:11:36.640 --> 1:11:39.080 how to do that I know how we can be 1:11:39.400 --> 1:11:42.120 in hear and do some good songs and because and 1:11:42.680 --> 1:11:45.960 God's on is truth. If the song get handed off 1:11:46.120 --> 1:11:48.320 to the wrong people and they don't work it, then 1:11:48.840 --> 1:11:50.760 it's not a hit record. You know, it takes a 1:11:50.840 --> 1:11:52.240 village to make a song a hit. 1:11:52.880 --> 1:11:57.600 Okay, let's say this is five hours after you finalize 1:11:58.520 --> 1:12:01.160 the final mix of what we know as back that 1:12:01.240 --> 1:12:05.280 ass up. Where's the first place you're taking it to 1:12:05.280 --> 1:12:06.360 to know if it works or not? 1:12:07.200 --> 1:12:10.120 Oh, I'm definitely gonna The way I worked it was 1:12:10.160 --> 1:12:12.639 always a party. It was always the way I recorded, 1:12:12.880 --> 1:12:15.800 it was always a party. So our studio sessions, a 1:12:15.800 --> 1:12:18.960 lot of times I would gel off with people like 1:12:19.040 --> 1:12:21.040 you know what I'm saying. So if we had people 1:12:21.080 --> 1:12:24.040 around and and I and I saw that reaction of 1:12:24.360 --> 1:12:27.640 this is the one you know that that was it. 1:12:27.720 --> 1:12:29.960 That was the homework for you mean, the actual studio 1:12:30.200 --> 1:12:31.240 and the actual studio. 1:12:31.439 --> 1:12:34.120 Ah, but it aren't you afraid of a yes man? 1:12:34.600 --> 1:12:34.840 Yeah? 1:12:34.840 --> 1:12:37.960 But this would always be outsiders like where I'm just like, hey, 1:12:38.200 --> 1:12:40.639 what are y'all doing? Like, like, let's let's say, for instance, 1:12:41.040 --> 1:12:44.000 somebody else is in the other room. Well, we'll even 1:12:44.040 --> 1:12:47.000 say something completely different from me. They like, hey, you 1:12:47.040 --> 1:12:50.920 know John Legend is creating blah blah blah. And I'm like, okay, 1:12:50.960 --> 1:12:53.160 how many people that there's ten people? Come over here, man, 1:12:53.200 --> 1:12:55.760 y'all just check this out. Might not even say it 1:12:55.800 --> 1:12:58.000 was something that I produced or whatever. Just played three 1:12:58.080 --> 1:13:00.679 songs then let that one come on, just to see 1:13:00.800 --> 1:13:03.400 what the temperature was like. As a DJ like, I'm like, 1:13:03.400 --> 1:13:05.080 you know what, I'm gonna play like three songs and 1:13:05.080 --> 1:13:07.840 then I'm gonna sneak this one in somewhere and let's 1:13:07.840 --> 1:13:09.040 see what happens. You know. 1:13:10.160 --> 1:13:15.000 Okay, So for me, if the person stands completely still, 1:13:16.160 --> 1:13:17.000 I trust it. 1:13:17.600 --> 1:13:18.160 Yeah. 1:13:18.439 --> 1:13:21.360 If they bounce their head in the first six seconds, 1:13:22.160 --> 1:13:23.120 that to me is the death. 1:13:23.200 --> 1:13:23.400 Now. 1:13:23.600 --> 1:13:27.799 I don't know why, but I feel like if someone 1:13:28.160 --> 1:13:29.960 is afraid to be honest with me and tell me 1:13:30.000 --> 1:13:33.360 they don't feel it, yeah, they forced themselves to look 1:13:33.400 --> 1:13:37.280 at the ground and then they bounced their heads. How 1:13:37.320 --> 1:13:40.479 do you know if the response is genuine or not. 1:13:41.000 --> 1:13:43.639 But with us, a lot of times my DJ radar, 1:13:44.240 --> 1:13:46.800 you know, because I always picked the singles like for 1:13:46.840 --> 1:13:49.200 everybody on every album. You know what I'm saying. But 1:13:49.240 --> 1:13:51.800 it was always my DJ radar that was like this 1:13:51.880 --> 1:13:54.080 is the song, this is the one, so you know, 1:13:54.439 --> 1:13:58.880 and there was a weird period where, you know, where 1:13:59.240 --> 1:14:02.200 my Jedi powers were incredible and what I mean like, 1:14:02.240 --> 1:14:05.040 I would you literally say we're doing the single today, 1:14:05.360 --> 1:14:07.680 you and everybody would be like, oh shit, how you 1:14:07.720 --> 1:14:10.000 know that. I'm like, today is the single day? Like 1:14:10.080 --> 1:14:11.800 you know what I'm saying. And we might have did 1:14:12.040 --> 1:14:14.599 twelve songs and I'm like, but today we're doing the single. 1:14:14.640 --> 1:14:19.280 And that always worked, like you know, so my process 1:14:19.439 --> 1:14:21.840 was always like, Okay, this is cool, but none of 1:14:21.840 --> 1:14:24.080 these aren't the single, and today is going to be 1:14:24.200 --> 1:14:25.160 you know, what. 1:14:25.040 --> 1:14:27.600 Other talent do you have that we don't know about? 1:14:27.840 --> 1:14:31.439 Oh? Cars, definitely, you know. I rebuild motors, I restore 1:14:31.520 --> 1:14:32.599 my cars, all of that. 1:14:32.720 --> 1:14:35.360 I want to ask you so bad about car culture. 1:14:35.439 --> 1:14:38.599 But I'm not a car person, but I know that 1:14:38.680 --> 1:14:41.920 you are infamous for your car. 1:14:42.040 --> 1:14:43.160 How many cars do you own? 1:14:43.760 --> 1:14:44.200 Oh? 1:14:44.280 --> 1:14:47.040 Right now? Shit, bro, probably like about thirty. 1:14:47.880 --> 1:14:51.400 What is it about car culture that attracted you? It 1:14:51.479 --> 1:14:53.479 was always something with me and my dad. We always 1:14:53.479 --> 1:14:55.720 worked on and you know, and even if you was 1:14:55.800 --> 1:14:58.920 young and you had horrible cars, you learned how to 1:14:58.960 --> 1:15:01.040 work on them to make them, and that was the connection, 1:15:01.400 --> 1:15:04.760 my connection growing up. My dad had horrible cars. Then 1:15:04.800 --> 1:15:05.280 I had a. 1:15:05.200 --> 1:15:07.400 Horrible car, you know, and we always worked on them together. 1:15:08.920 --> 1:15:12.479 My first car was a Cavalier like a you know, 1:15:12.600 --> 1:15:14.680 a Chevy Cavil that was horrible, like you know what 1:15:14.720 --> 1:15:15.080 I'm saying. 1:15:15.120 --> 1:15:16.240 Everything was wrong with. 1:15:16.160 --> 1:15:18.400 It, you know. And then I got a mighty Colo 1:15:18.520 --> 1:15:21.519 later on. But you know, back then, you worked on 1:15:21.600 --> 1:15:23.240 your car. You couldn't send it to the shop. You 1:15:23.240 --> 1:15:23.920 figured it out. 1:15:24.240 --> 1:15:24.960 So you know, my. 1:15:26.520 --> 1:15:27.240 Actually work on it. 1:15:27.320 --> 1:15:28.679 Yeah, I had to work on my car. 1:15:28.920 --> 1:15:31.200 You know. My dad would you know, give me tips 1:15:31.200 --> 1:15:33.719 and pointers on how to do it because I worked 1:15:33.760 --> 1:15:36.320 on his van or his car with him. So that 1:15:36.360 --> 1:15:39.280 was that was the connection to doing it. And I 1:15:39.320 --> 1:15:43.599 think having crappy cars and just playing that's my car 1:15:43.640 --> 1:15:45.680 when you were young, when a nice car passed, it 1:15:45.720 --> 1:15:47.160 was like one day, I'm gonna be able to get 1:15:47.400 --> 1:15:50.120 some of these things, and I didn't believe it or not. 1:15:50.600 --> 1:15:53.160 That's my cool off period to me, that's my reset. 1:15:53.240 --> 1:15:55.800 If I'm working on my car or whatever, I'm calm, 1:15:55.880 --> 1:15:59.879 I'm good and the world passes slow, you know, because 1:16:00.640 --> 1:16:03.560 sometimes music gets crazy to me, like you know, and 1:16:03.840 --> 1:16:07.000 sometimes what people expect from you on what you just said. 1:16:07.080 --> 1:16:09.439 Folks always say, make me a back that ass up, 1:16:09.439 --> 1:16:11.800 and I'm like, I can't. That's that one is already done. 1:16:11.800 --> 1:16:14.200 It's in the camp. They'll never be another one of them. 1:16:14.479 --> 1:16:17.720 We might come close to it, but there there's you know, 1:16:17.800 --> 1:16:20.599 and we're not gonna try to redo that song over 1:16:20.760 --> 1:16:23.360 you know where it sounds, you know, like it's that song. 1:16:23.439 --> 1:16:25.200 And somebody like, I know what you tried to do, 1:16:25.720 --> 1:16:27.560 you know, got you. 1:16:28.200 --> 1:16:30.639 I considered working in the studio, going to the gym. 1:16:31.560 --> 1:16:35.519 Yeah, what's the longest you can go without creating a song, 1:16:36.240 --> 1:16:38.360 Like if you have an idea in your head that like, goddamn, 1:16:38.439 --> 1:16:39.040 this would work. 1:16:39.120 --> 1:16:40.600 But and I'll let it go. 1:16:41.120 --> 1:16:43.439 It's been a couple of months, you know why, Because 1:16:43.720 --> 1:16:46.520 I'm finding that the older I am, I can concentrate 1:16:46.560 --> 1:16:49.640 on one thing, I can't do both. So if I'm djaying, 1:16:50.080 --> 1:16:53.160 I really don't have no interest in doing beats, I 1:16:53.240 --> 1:16:55.759 really don't have no interest at all in doing beats. 1:16:56.000 --> 1:16:59.000 Last night, I did like some soul songs like the 1:16:59.120 --> 1:17:02.719 King George Got My Whiskey and and but and and and. 1:17:02.640 --> 1:17:04.240 Everything clicked so well. 1:17:04.320 --> 1:17:06.439 I did like five of them, like cause cause I 1:17:06.439 --> 1:17:08.880 got a guy that I work with that's asking me 1:17:09.080 --> 1:17:10.640 to like he was like, man, and I'm like, I 1:17:10.680 --> 1:17:13.320 love them songs. I love that circuit of like you 1:17:13.360 --> 1:17:17.040 know them them classic bluesy top like soul songs like 1:17:17.080 --> 1:17:19.280 you know one Monk, you don't stop, no show like, 1:17:20.240 --> 1:17:22.120 and I'm like, yeah, I'm like, bro, let's do them. 1:17:22.200 --> 1:17:24.680 And and last night, just last night, we did like 1:17:24.720 --> 1:17:26.479 four of them and dude was like, Man, you in 1:17:26.520 --> 1:17:28.479 the pocket right now? You really And I was like 1:17:28.560 --> 1:17:31.280 maybe because I haven't been around this that long and 1:17:31.600 --> 1:17:34.360 this is a different genre for me, you know, to 1:17:34.479 --> 1:17:38.479 to do this. But I also know for me to 1:17:38.520 --> 1:17:41.160 be good, I have to challenge myself. And and I 1:17:41.200 --> 1:17:44.280 know sometimes people don't want you to grow up. They 1:17:44.320 --> 1:17:46.639 want you to stay in this one little box or whatever. 1:17:46.680 --> 1:17:49.320 And you're just like, I'm like, that's hard for me. 1:17:49.880 --> 1:17:52.360 But I can express myself in DJing and and I 1:17:52.360 --> 1:17:56.040 love that because I can play Nirvana, I can play 1:17:56.120 --> 1:17:58.800 you know what I'm saying. I can play a hip 1:17:58.840 --> 1:18:01.120 hop from from from that to easy eat whatever I 1:18:01.120 --> 1:18:03.040 want to play or whatever, And that feels good to me. 1:18:03.080 --> 1:18:04.760 And that's the space that I'm in right now. 1:18:16.800 --> 1:18:19.760 If given an opportunity to just pick one artist to 1:18:19.840 --> 1:18:24.160 do an entire album with, who would it be? 1:18:24.840 --> 1:18:27.160 That's easy? It would be Marvin Gay. I mean, he 1:18:27.280 --> 1:18:30.320 is gone, but that's by far my favorite artist, Like 1:18:30.360 --> 1:18:33.719 you know, his truthfulness and in a lot of his songs, 1:18:33.720 --> 1:18:36.120 and you know, I'm like, damn, this took some guts. 1:18:36.160 --> 1:18:38.920 I mean, now it's easy to do that, but back then, 1:18:39.000 --> 1:18:39.280 you know. 1:18:42.040 --> 1:18:44.120 Exactly here, my dear is man. 1:18:45.640 --> 1:18:48.760 You know, if you listening to that with your significant other, 1:18:48.880 --> 1:18:50.639 you're just like, are you hearing what he's saying? 1:18:57.160 --> 1:19:01.240 My second and last question to you is, and I 1:19:01.320 --> 1:19:03.040 know that you know there have been. 1:19:03.600 --> 1:19:05.639 Fractured reunions, whatever one. 1:19:06.000 --> 1:19:08.360 I know you're tired of getting asked this question, So 1:19:08.680 --> 1:19:12.519 I'm framing it in another way. Is the cash money 1:19:12.520 --> 1:19:15.120 era or at least I don't know what it is 1:19:15.240 --> 1:19:18.680 as as a cash money fan that I'm hoping for, 1:19:19.240 --> 1:19:23.720 like a true reunion. Whatever is that in your rear 1:19:23.800 --> 1:19:27.320 view mirror now? Or is it still something? 1:19:28.120 --> 1:19:32.160 This is the problem we have like members that I 1:19:32.160 --> 1:19:34.960 would say, like incarceration came out, you know, went to 1:19:35.080 --> 1:19:37.880 jail came out in the world, changed the world changed 1:19:37.880 --> 1:19:41.479 around them, so I still think they playing catch up, 1:19:42.400 --> 1:19:44.599 you know. And it's the truest answer I could give you. 1:19:44.640 --> 1:19:47.400 And social media and the internet is not your friend. 1:19:47.439 --> 1:19:50.160 It's a tool that you use to sell something, you know, 1:19:50.280 --> 1:19:53.880 And we have this thing where it's like, hey, bro, 1:19:54.560 --> 1:19:56.800 you gotta stop with whatever you know, airing out your 1:19:57.120 --> 1:19:59.519 your goods, your bads and your uglies, you know what 1:19:59.560 --> 1:20:02.400 I'm saying. And when it comes to this, I just 1:20:02.439 --> 1:20:03.960 want you to come to work, like you know what 1:20:04.000 --> 1:20:08.200 I'm saying. And there's a disconnect to that. As a 1:20:08.200 --> 1:20:12.479 cash money fan, they want to hear cash money, you know. 1:20:12.560 --> 1:20:15.559 And what I mean is I get that we're all 1:20:15.840 --> 1:20:18.559 different individuals and you might have your record company thing 1:20:18.680 --> 1:20:21.320 going on right now and whatever you're doing, but you 1:20:21.360 --> 1:20:24.479 can't make it on this on this stage. And a 1:20:24.479 --> 1:20:26.360 lot of it is creative. That's that's that's what the 1:20:26.479 --> 1:20:28.559 argument to be. Like somebody going, well, you know, I 1:20:28.600 --> 1:20:30.400 got my own label and I got my own artists, 1:20:30.400 --> 1:20:32.160 and I want ten minutes to do that, and I'm like, 1:20:32.200 --> 1:20:34.000 we can't do that. That's not what our fans came 1:20:34.040 --> 1:20:36.559 to see. It's unfair to them. You can't make your 1:20:36.640 --> 1:20:39.240 label and your new artists off of this show. They 1:20:39.520 --> 1:20:42.240 are die hard cash Money fans. They came to see 1:20:42.400 --> 1:20:44.120 cash Money. They want us to sing the hits. 1:20:44.520 --> 1:20:49.400 Who's the diplomatic member of the crew that has the patience? 1:20:50.200 --> 1:20:53.559 Definitely say not everybody always say if anybody could put 1:20:53.560 --> 1:20:54.320 it together. 1:20:54.200 --> 1:20:57.799 Is me Alburnhams. Is that to lay on your shoulders there. 1:20:58.000 --> 1:21:02.200 Very very very very very because the truth hurts a 1:21:02.200 --> 1:21:04.000 lot of times. But I'd rather tell you the truth 1:21:04.040 --> 1:21:05.880 when I'm like, hey man, you're doing too much. You're 1:21:05.880 --> 1:21:08.320 doing this, or you're doing like exactly how I'm speaking 1:21:08.320 --> 1:21:11.280 it to you where I'm going like, hey, dude, I 1:21:11.400 --> 1:21:13.519 get it. You want to make your you know, whatever 1:21:13.560 --> 1:21:15.760 this thing is that you're building, but you got to 1:21:15.840 --> 1:21:18.479 understand that this is not what we're getting together for. 1:21:18.800 --> 1:21:21.200 We're not getting together. You got to do that on 1:21:21.240 --> 1:21:22.960 your own. You got to you gotta make whatever this 1:21:23.080 --> 1:21:26.200 thing is that that you're trying to do. We can't 1:21:26.240 --> 1:21:28.599 give you fifteen minutes for you to say something that 1:21:28.640 --> 1:21:31.360 you know nobody don't want to hear, you know, because 1:21:31.400 --> 1:21:35.120 it's not made yet. You trying to make another identity 1:21:35.200 --> 1:21:37.400 off of something that that's that's not what people came 1:21:37.439 --> 1:21:40.479 to see. Now I could tell you what we're working 1:21:40.520 --> 1:21:43.280 on right now. It's and it's looking up. We're working 1:21:43.280 --> 1:21:46.480 on a no limit and cash money tour. Like whereas 1:21:46.520 --> 1:21:49.720 both of us and I keep saying this, Bro, I 1:21:49.720 --> 1:21:51.400 can say this to you and you're gonna get it. 1:21:51.720 --> 1:21:54.680 I'm like, listen, sir, this is the fourth quarter. I 1:21:54.720 --> 1:21:57.719 keep and I've been saying this to everybody that's involved 1:21:57.800 --> 1:22:00.240 with me. I'm like, this is the fourth quarter. This 1:22:00.280 --> 1:22:03.759 is probably all throughout your career. This is the money 1:22:03.800 --> 1:22:07.080 that you didn't make. You can say it right now, this. 1:22:07.120 --> 1:22:08.719 Is Rolling Stone's money time. 1:22:09.040 --> 1:22:12.000 And I'm not and I don't want to, Okay, I 1:22:12.040 --> 1:22:13.960 don't want anyone who's listening. 1:22:14.160 --> 1:22:14.400 I don't. 1:22:14.400 --> 1:22:18.360 I don't want to prioritize the monetary benefits of it all. 1:22:18.760 --> 1:22:21.560 But it's like everything that you work for and building 1:22:21.600 --> 1:22:25.080 a legacy comes to this moment. This is this is 1:22:25.120 --> 1:22:28.599 where legacy truly starts. Yes, and if you just show 1:22:28.680 --> 1:22:31.599 up and curb your ego, just show up. 1:22:32.000 --> 1:22:34.240 Yes, ah man that. 1:22:35.720 --> 1:22:37.760 You know And dude, I'm not even ready for this, 1:22:37.920 --> 1:22:40.840 Like how big would that combination be? 1:22:41.520 --> 1:22:44.280 What you just said and meet and saying that, listen, bro, 1:22:44.439 --> 1:22:47.679 put all of that aside, you know, and I even 1:22:47.720 --> 1:22:49.920 have to bring up things that but they're very true. 1:22:49.960 --> 1:22:52.200 And I'm like, all throughout your mother's life or your 1:22:52.520 --> 1:22:54.559 father's life, how much money did they make, how did 1:22:54.600 --> 1:22:56.360 they get treated in life, and all of that, Well, 1:22:56.439 --> 1:22:58.840 this is the time right now that all of that 1:22:58.960 --> 1:23:01.320 is paidback, right now, at this very moment. If you 1:23:01.360 --> 1:23:04.240 put all of this foolishness aside, think about what you 1:23:04.360 --> 1:23:06.679 make a night, like, you know, for something that you love. 1:23:07.880 --> 1:23:09.880 This is something that you love to do. It ain't 1:23:09.920 --> 1:23:11.479 hard to do. 1:23:10.960 --> 1:23:15.040 Don't You're being doing everything you can do to destroy that. 1:23:15.040 --> 1:23:16.560 That's crazy, that's insanity. 1:23:17.240 --> 1:23:20.880 Look at new addition, Yeah, and you know, I mean, 1:23:21.640 --> 1:23:24.240 without being too TMI with it, I mean, there's a 1:23:24.280 --> 1:23:30.480 group of six individual members and at one point I 1:23:30.640 --> 1:23:33.400 know some of the ins and outs of certain beefs 1:23:33.439 --> 1:23:37.240 or whatever. But at the end of the day, when 1:23:37.280 --> 1:23:42.040 that introduction happens, the sixth of them are on stage 1:23:42.080 --> 1:23:45.160 thy and I know mentally, you know, there's a lot 1:23:45.200 --> 1:23:47.080 of Jedi mind tricking you have to do and juggling 1:23:47.160 --> 1:23:52.919 personalities that stuff. But man, if people could just especially 1:23:52.920 --> 1:23:56.920 for hip hop, man, I mean, one is surviving just 1:23:56.920 --> 1:23:58.080 just making. 1:23:57.760 --> 1:24:00.160 It to fifty, making it to sixty, make it at 1:24:00.160 --> 1:24:00.719 the seventies. 1:24:00.800 --> 1:24:04.800 Yeah, Bro, we're unicorns that don't happen in hip hop. 1:24:05.439 --> 1:24:08.360 It does not happen, you know when you're telling somebody 1:24:08.400 --> 1:24:10.360 that listen, bro, this is this. 1:24:10.320 --> 1:24:11.439 Is you are here. 1:24:11.960 --> 1:24:15.559 Yeah. Yeah, also you are on Earth. Yeah. 1:24:15.800 --> 1:24:20.120 And thirty years later they still want these songs that 1:24:20.479 --> 1:24:23.519 will that ever happen again in hip hop? You know 1:24:23.600 --> 1:24:24.200 what I'm saying. 1:24:25.600 --> 1:24:26.120 Here's the thing. 1:24:26.120 --> 1:24:30.240 I'm not even gonna front like I am the quirt 1:24:30.360 --> 1:24:33.640 carrying flag waving member. I meant what matters is I 1:24:33.680 --> 1:24:35.560 came to the altar. I was slow to come to 1:24:35.600 --> 1:24:40.600 the altar, but I can to the altar, and dude, like, 1:24:41.040 --> 1:24:46.160 I hope, I really hope it happens just just so 1:24:46.240 --> 1:24:49.320 that hip I mean, hip hop needs it, not even 1:24:49.360 --> 1:24:50.479 you need it or your kids. 1:24:50.960 --> 1:24:54.040 Absolutely right, there's a great thing in our culture that's 1:24:54.080 --> 1:24:58.400 happening right now. We are so brotherly love and sisterly 1:24:58.439 --> 1:25:02.559 love right now to its us our generation, you know 1:25:02.640 --> 1:25:06.360 what I'm saying, And that just that example can save 1:25:06.840 --> 1:25:09.600 hip hop and save this younger generation, like you know, 1:25:09.680 --> 1:25:12.960 by by giving examples, we are so like you know, 1:25:13.320 --> 1:25:15.960 like we man when we do shows, like you know, 1:25:16.000 --> 1:25:17.720 me and Juvie did a tour and that's kind of 1:25:17.720 --> 1:25:19.920 what started the whole talks of us. 1:25:19.800 --> 1:25:21.640 Doing it when Me and Juvie did and it was 1:25:21.680 --> 1:25:22.920 a very successful tour. 1:25:23.000 --> 1:25:26.960 But we also paid attention to what the fans were 1:25:27.000 --> 1:25:30.400 saying to us, you know, and we realized, like, y'all 1:25:30.400 --> 1:25:32.880 not just fans, y'all family, y'all been with us for 1:25:32.920 --> 1:25:35.519 so long, like you know what I'm saying, you know, 1:25:35.640 --> 1:25:38.559 and they just like, hey, dude, you know when somebody 1:25:38.640 --> 1:25:41.360 tells you like, man, Bro, I was in a dark 1:25:41.400 --> 1:25:44.519 place and this everything that y'all did, you know got 1:25:44.520 --> 1:25:46.760 me out of that. Bro, Your music, you know, just 1:25:47.360 --> 1:25:50.200 sometimes watching an interview and you say something positive you 1:25:50.200 --> 1:25:52.040 know that got me, And I'm like, this is a 1:25:52.080 --> 1:25:54.320 connection to a lot of people, and you know, and 1:25:54.360 --> 1:25:58.200 telling somebody why be selfish? Why are you something that's 1:25:58.200 --> 1:26:00.639 a gift, that's a blessing, like and this is something 1:26:00.640 --> 1:26:03.519 that you know your family wants, not just your fans, 1:26:03.600 --> 1:26:06.640 your family, because I consider anybody that way. You know, 1:26:06.680 --> 1:26:09.360 when you go somewhere and you got everywhere you've been 1:26:09.680 --> 1:26:11.719 like as the roots or whatever, when you was doing 1:26:11.720 --> 1:26:13.760 stuff everywhere that you've been. I'm more in a show. 1:26:13.800 --> 1:26:16.800 You have picked up some people that they friends, they 1:26:16.960 --> 1:26:19.479 genuine friends. Well, you know when when you're coming through 1:26:19.479 --> 1:26:22.120 somewhere and somebody's like, oh, that's that's my man. You know, 1:26:22.720 --> 1:26:25.000 I've known him for fifteen years coming to this and 1:26:25.040 --> 1:26:28.000 we have people like that in cities where I'm like, bro, 1:26:28.479 --> 1:26:31.519 there's no we are connected to these people. Come on, man, 1:26:31.600 --> 1:26:33.040 let's get out here and give them what they what 1:26:33.080 --> 1:26:34.400 they need and what they want. 1:26:34.640 --> 1:26:36.120 From your mouth to God's ears. 1:26:36.160 --> 1:26:39.920 Man, whatever you have planned in the twenty twenty six 1:26:40.080 --> 1:26:45.520 and beyond, I support it, and I thank you so likewise, 1:26:46.040 --> 1:26:48.440 and I'm glad we finally had our first conversation. 1:26:48.560 --> 1:26:48.760 Man. 1:26:48.800 --> 1:26:51.519 I thank you for coming on the Quest Left show. Brother, 1:26:52.320 --> 1:26:55.280 thank you man, Freaky Fresh. I appreciate it. 1:26:55.439 --> 1:26:57.439 Well, you already know I'm gonna see you somewhere, bro, 1:26:57.520 --> 1:27:00.519 because you know, I'm all over this, all over the place, 1:27:00.680 --> 1:27:04.320 you know, with this DJ thing, and that's healing to me. 1:27:04.800 --> 1:27:06.640 So I don't like to say, you know how some 1:27:06.680 --> 1:27:08.920 people say I could, I'll be all right, you know, 1:27:09.320 --> 1:27:11.360 I don't like that. I'm like, I would love to 1:27:11.600 --> 1:27:14.360 have my group, you know, and let's go down in 1:27:14.439 --> 1:27:17.320 history and make some incredible songs like the other people do, 1:27:17.439 --> 1:27:20.120 like the other races do, and other faces do, Like, hey, 1:27:20.200 --> 1:27:23.760 we need to do that, and you know improve you 1:27:23.800 --> 1:27:25.799 know the negativity and all of that wrong and everybody 1:27:25.840 --> 1:27:27.800 that said we couldn't do this as black men and 1:27:27.880 --> 1:27:30.880 we can't put this these beefs aside, you know. But 1:27:31.680 --> 1:27:35.040 until then, yeah, I will continue to DJ and you know, 1:27:35.080 --> 1:27:37.519 and heal people with music and bring my a game 1:27:37.560 --> 1:27:41.240 everywhere I go. But I would love, love, love love, 1:27:41.240 --> 1:27:43.360 and I hope all of them see this to have 1:27:43.439 --> 1:27:45.760 them all together on the stage and let's do. 1:27:45.760 --> 1:27:50.599 It, manifested, It's gonna happen, Yes, sir, it'll happen, all right, Well, 1:27:51.000 --> 1:27:54.800 thank you very much, and for all of you listening, Yo, 1:27:55.360 --> 1:27:58.720 this is a great grant, incredible Manny freaky fresh on 1:27:58.760 --> 1:27:59.559 The Quest Love Show. 1:28:00.000 --> 1:28:00.960 See y'all next week, you sir. 1:28:05.439 --> 1:28:07.960 The Quest Love Show is hosted by me a Mere 1:28:08.040 --> 1:28:12.400 Quest Love Thompson. The executive producers are Sean g Brian 1:28:12.479 --> 1:28:18.479 Calhoun and Me. Produced by Brittany Benjamin and Jacob Payne. 1:28:19.520 --> 1:28:25.040 Produced for iHeart by Noel Brown, Edited by Alex conn 1:28:25.560 --> 1:28:31.040 iHeart Video support by Mark Canton Logos, graphics and animation 1:28:31.160 --> 1:28:32.320 by Nick Blowe. 1:28:33.920 --> 1:28:35.759 Additional support by Lance Coleman. 1:28:37.280 --> 1:28:42.040 Special thanks to Kathy Brown, Special thanks to Sugar Steve Mandel. 1:28:43.479 --> 1:28:46.559 Please subscribe, Brain review, and share The Quest Love Show 1:28:46.840 --> 1:28:50.040 wherever you stream your podcast. Make sure you follow us 1:28:50.040 --> 1:28:53.920 on socials that's at q LS. 1:28:55.600 --> 1:28:58.760 Check out hundreds and hundreds of QLs episodes, including The 1:28:58.840 --> 1:29:04.360 Quest Love Supreme Show, in our podcast archives. The Quest 1:29:04.360 --> 1:29:21.280 Loup Show is a production of iHeart redem