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Speaker 1: Yo, Chuck, do you right here?

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Speaker 2: You could check me out of Public Enemy on the

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Speaker 2: Bootleg CAV podcast.

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Speaker 3: Hey, before we start the episode, we're gonna remind everybody, man,

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Speaker 3: we got one of the biggest radio shows in the country,

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Speaker 3: syndicated in almost one hundred cities all over. Shout out

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Speaker 3: to iHeartRadio. All right, some of the latest cities that

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Speaker 3: we've been able to add. Man, I want to give

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Speaker 3: a shout out to ninety three point nine to beat

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Speaker 3: in Honolulu. That's right, Hawaii, We over there going crazy.

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Speaker 3: I also want to give a shout out Hot ninety

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Speaker 3: eight three and Tucson. Shout out to Tucson going crazy.

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Speaker 3: Also want to give a shout out to Wild ninety

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Speaker 3: four one in Tampa going crazy. We just got Richmond.

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Speaker 3: We also just got the good folks in Bakersfield at

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Speaker 3: Hot one O four seven. So we're going crazy on

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Speaker 3: the radio with my partner James Andre Jefferson Junior for

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Speaker 3: the BOOTLEGKEV Show. So make sure you tune in and

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Speaker 3: you can listen anywhere on that iHeart Radio app. That's right,

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Speaker 3: let's get into the interview. Bootleg CAB Podcasts special guest

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Speaker 3: one of the greats. This guy. I mean listen, when

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Speaker 3: I say he's a living legend, I mean that is

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Speaker 3: we got Chuck d Man, one of the most important

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Speaker 3: figures in music history.

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Speaker 1: Welcome.

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Speaker 2: Well, I'm grateful to be invited in your palace.

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Speaker 1: Look at this man.

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Speaker 3: Yes, I don't know if it's it's a palace. It's

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Speaker 3: just you know, it's just a hang you know. No, it'sace.

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Speaker 2: I'm you know, and these are thrones, man, So I'm

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Speaker 2: glad to be invited on it.

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Speaker 3: You know, we met in the lobby outside. I was like,

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Speaker 3: I actually met you when I was a kid.

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Speaker 1: You know.

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Speaker 3: I grew up with Raka Iris Science is a little

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Speaker 3: brother from Dilated. So every time Dilated would come to Arizona,

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Speaker 3: I would go hang out with Rock and Evidence and

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Speaker 3: Baboo and those guys. And they opened up for you

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Speaker 3: on tour Lack Delicious.

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Speaker 2: Man, it was a nice tour. And really and you

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Speaker 2: said you met me at fourteen.

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Speaker 3: Yeah, I don't know if I was fourteen.

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Speaker 1: I was.

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Speaker 3: It was in that somewhere arranged and I remember Raka

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Speaker 3: introduced me to you, and I was just like, yo,

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Speaker 3: this is because I read your book probably the year

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Speaker 3: prior to that, you know, you used to get dropped

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Speaker 3: off at the library as a kid, and then you

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Speaker 3: just find ship and then it was like yo, Chuck

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Speaker 3: D's got a book.

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Speaker 2: Yeah yeah, I've had ten cents. So it's been this

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Speaker 2: incredible full circle. Got a project with Death Jam and

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Speaker 2: here I Am and you know keV spot Man.

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Speaker 3: Yeah, the new album is it's dope because it's like

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Speaker 3: it's got a real theme and uh, you know, you

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Speaker 3: got people kind of like I like I was listening,

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Speaker 3: I ran through it last night. You got some legends

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Speaker 3: checking in, like King T's got a quick like what

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Speaker 3: up on there?

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Speaker 2: And then and jag Fu Front and uh, you know

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Speaker 2: Damage and you got Daddy Oh and we got Miranda

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Speaker 2: Rights and also people like phielmost Chill and drops from

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Speaker 2: King like you said, King T and school e D

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Speaker 2: and school d Man. So you know, you know what

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Speaker 2: it is radio radio I'm again. It is almost like

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Speaker 2: it's like a radio station full of Paul's Boutigue meets

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Speaker 2: DJ Shadow with Woo Tang hanging outside getting ready to

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Speaker 2: fight security, dypt in acid. It ain't even meant to be,

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Speaker 2: like bro, It's like it's not meant to even be

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Speaker 2: like you know, it's crazy.

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Speaker 3: It is like there is like a now that you

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Speaker 3: say the DiPT in acid part, like if I was

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Speaker 3: tripping a little, I feel like the album would have

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Speaker 3: been a lot, like really intense.

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Speaker 2: Yeah, it's it's like it had no beginning, no end

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Speaker 2: to it, like if you took it and got to

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Speaker 2: a stream of ice.

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Speaker 1: I'm saying it's the last interview I did.

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Speaker 2: If you took it and put it in a shuffle,

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Speaker 2: it would make no difference, right, It's like it could

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Speaker 2: pick up and lead it has. Yeah, it has no

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Speaker 2: beginning to end and you know, like you know, like

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Speaker 2: when they had the Lamb and they shave it off

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Speaker 2: for Jiro's Yes, that's why these are not singles that

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Speaker 2: come off with they like like like slices, right, So

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Speaker 2: you know, I mean the whole thing about Radio arm Again.

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Speaker 2: I got to give props number one too, my guy,

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Speaker 2: my partner, my record label. We were all super independent

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Speaker 2: throughout the years. So the props go out to Sea Doc,

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Speaker 2: and Sea Doc is like the Brian Eno of hip

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Speaker 2: hop because he understood. He comes under the tutelage of

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Speaker 2: learning the bomb squad beat changes in sudden left turns,

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Speaker 2: and I think his toolbox in twenty twenty five, is

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Speaker 2: now usable and gets through all the legalities, which is

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Speaker 2: the hardest thing to make any of these type of

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Speaker 2: records in a major company is the legalities. And he's

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Speaker 2: figured out that way with today's toolbox. To figure that

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Speaker 2: way of that particular style, you don't really hear a

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Speaker 2: lot of beat changes underneath its.

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Speaker 1: M sees no more because you have clearance issues, yes,

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Speaker 1: the clearance so your.

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Speaker 2: Creations and your whole way you pull it from what

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Speaker 2: you create, and all that has to be a different

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Speaker 2: and he's figured I'm telling you in twenty twenty five,

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Speaker 2: he's a Brian eno a hip hop and rap music

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Speaker 2: right now because his toolbox is something I think other

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Speaker 2: people are gonna mimic.

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Speaker 3: Can you Because I've been saying this, I've said this

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Speaker 3: in a bunch of interviews, but I feel like, first

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Speaker 3: of all, the timing for an album right now, just

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Speaker 3: where the world is from Chuck d I feel like

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Speaker 3: the timing is amazing. I feel like we But what

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Speaker 3: I always say is, I don't know. You know, when

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Speaker 3: I was growing up, we had you know, the Mortal technique,

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Speaker 3: and the generation before was public Enemy and and you

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Speaker 3: know there was such thing as conscious hip hop, you knows,

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Speaker 3: and revolutionary hip hop is. And I feel like, you know,

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Speaker 3: there's still some guys doing it, but they're still like

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Speaker 3: I think a Killer Mike, you know, guys like that.

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Speaker 3: But Killer Mike's a OG now, you know. But I

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Speaker 3: always say, like, man, it sometimes its a little disheartening

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Speaker 3: because there's not uh, there's not. I don't know where

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Speaker 3: that energy is for the kids these days who are

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Speaker 3: hip hop fans.

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Speaker 2: Well, they listen with their eyes. They listened with their

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Speaker 2: eyes first. You know, you're probably the last part of

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Speaker 2: the generation that listen with your ears. And that's why

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Speaker 2: Enemy Radio which is the which is the particular act

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Speaker 2: that has done radio armageddon. It's like the mc DJ

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Speaker 2: component of Public Enemy. So my my MC style on

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Speaker 2: it is not really conventional. It's almost like the MC

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Speaker 2: that introduces the rapper. Yeah yeah, so I might come

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Speaker 2: off with an orthodox wild you know, Warpe style, but

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Speaker 2: that style is so different in different parts. It's not

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Speaker 2: even meant to be judged because it's going to introduce.

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Speaker 3: It's kind of like your interpolation, would you say of like.

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Speaker 1: Don cornelis on acid.

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Speaker 3: Right, like doing the like the radio DJ in the

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Speaker 3: Chuck D Way, I mean.

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Speaker 2: Yeah yeah, and in public Enemy, if that something comes

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Speaker 2: up out of it, it's going to be Chuck d

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Speaker 2: Plavor flame like it.

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Speaker 1: You know. Like that is so you know, to come

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Speaker 1: on Enemy Radio.

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Speaker 2: The first and foremost is the mcs, the rappers, and

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Speaker 2: also the DJs, because there's a few DJs on it,

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Speaker 2: like m Rock Our Chicago. He's just like just nasty

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Speaker 2: DJs and sometimes you know, and I'm in right here,

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Speaker 2: you know, in Los Angeles, Los Angeles, and like Bootleg

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Speaker 2: cavn on you guys are more DJ centric anyway. Yeah,

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Speaker 2: we are a big DJ town.

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Speaker 3: The beat junkies, mixed Master Mike and you know, the

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Speaker 3: scratch Pickles. I feel like West Coast in general, California.

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Speaker 3: We love, we love, we love our turntable lists.

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Speaker 1: Yes, yes, and and this is like a homage to that.

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Speaker 2: And also you know, like we've always had great turntable

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Speaker 2: lists and DJs always in our sight.

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Speaker 1: But we come from radio, you know.

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Speaker 2: So people that that peeled off of us from Terminator X, well,

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Speaker 2: I was able to be with def Jam and do

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Speaker 2: the first compilation albums with the Terminate I produced the

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Speaker 2: first two Terminator X albums and then we had DJ

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Speaker 2: Lord with us for twenty years.

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Speaker 3: Was now the DJ Cypress Hill the greatest group in

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Speaker 3: the world. Shout out to Cypress Hill. Yeah you be

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Speaker 3: real and Tom. You guys had a cool that's a

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Speaker 3: good four year run.

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Speaker 2: He be real, Tom Morello, you know, Brad Wilt, Timmy

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Speaker 2: c and also DJ Lord.

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Speaker 3: So yeah, I mean that was that had to be

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Speaker 3: profits of rage, man, that was that was something that

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Speaker 3: was a ball. Yeah, No, that that was sick. I

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Speaker 3: just remember like hearing about it and when it first

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Speaker 3: got announced, I was like, wait a minute. So it's

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Speaker 3: like Rage against the Machine, but with Chuck d and

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Speaker 3: b Real.

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Speaker 2: Like and DJ Lord too, it's like the Lord is

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Speaker 2: the one that really capped up because those musicians did

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Speaker 2: not know how to put a turntables into their conversation.

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Speaker 2: You know, Brad on drums, Tom on guitar making DJ

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Speaker 2: sounds and also Timmy on bass, the funkiest bass player

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Speaker 2: ever in rock. But DJ Lord is a monster and

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Speaker 2: he can make a turntable sound like a guitar as

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Speaker 2: Tom was making a guitar sound a turntable. So Lord

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Speaker 2: Lord with them was really a four piece unit as

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Speaker 2: opposed to you know his three guys in a band

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Speaker 2: and three band members and a turntable.

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Speaker 3: Can you take me back to when you guys first

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Speaker 3: get with def Jam. You guys are are doing something

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Speaker 3: that nobody had really done before on that level in

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Speaker 3: terms of the subject matter and the and the content

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Speaker 3: that was.

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Speaker 1: We was Kevin's just because we were older, that's all.

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Speaker 3: But I'm saying like was there because these days it

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Speaker 3: feels like if you talk about certain shit, there's an

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Speaker 3: uphill challenge in terms of whether or not, like maybe

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Speaker 3: the label will be like, hey, maybe shit tone this down.

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Speaker 1: Maybe.

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Speaker 3: Did you guys deal with any of that?

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Speaker 1: No, not at all.

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Speaker 2: We never dealt with racism coming at us. We never

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Speaker 2: dealt with somebody telling us what to do. Rick Rubin

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Speaker 2: begged me kind of and asked me to do records

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Speaker 2: for two years. So once I agreed, it's a different understanding, right,

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Speaker 2: you know what I'm saying. I mean I would turn

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Speaker 2: down calls from Rick Rubin to my house, like I

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Speaker 2: don't want to do records. We wanted to do radio.

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Speaker 2: So I'm automatically My first day is not a jubilation.

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Speaker 2: It was surrender.

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Speaker 3: Right.

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Speaker 1: We couldn't do the radio dreams.

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Speaker 2: But you know, fast forward, I have rap Station, which

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Speaker 2: is twelve station app and it apps are hard to make.

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Speaker 1: They are.

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Speaker 2: That cheap thing and now and not easy to make

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Speaker 2: because you had the world of glitches and you got

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Speaker 2: the realm of security. So we built rap Station, which

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Speaker 2: is twelve station channels all with rap. These of hip

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Speaker 2: hop dedicated for sixteen years now, but the app has

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Speaker 2: been built for five and then to bring the Noise app,

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Speaker 2: which is really the really the trend set of there.

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Speaker 3: Dude. I always wonder like when you have, like like

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Speaker 3: you have a couple of the greatest hip hop albums

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Speaker 3: of all time and under your belt, like when you

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Speaker 3: guys are getting ready to release it takes a nation

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Speaker 3: of millions to.

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Speaker 1: Hold this back.

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Speaker 3: Do you guys understand like how fucking good it is

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Speaker 3: and like how it might change everything?

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Speaker 2: Yeah, I have interviews that said I'm making the what's

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Speaker 2: going on in rap music months before we put it right,

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Speaker 2: so you got you know, but you know what it is, Kevin,

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Speaker 2: you know it was already a leaning tree. I'm ten

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Speaker 2: years older. I didn't studied everything in it. I knew

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Speaker 2: what was coming out. We were really the beginning of

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Speaker 2: the album oriented, you know, rap artists, where it was

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Speaker 2: still a singles media.

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Speaker 3: Yeah, there were still singles vinyls getting released.

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Speaker 2: Yeah, and you know, and we knew everything from Iron

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Speaker 2: Maiden to Marvin Gangs, so we knew how to make

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Speaker 2: an album. So when I trust me, I'm coming off

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Speaker 2: my first tour year in eighty seven, So by the

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Speaker 2: time we get back in the lamp, I know exactly

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Speaker 2: what to make. Number one, make it faster because on stage,

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Speaker 2: you know when you're going to no matter what you're doing,

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Speaker 2: you're gonna be amped up to do a song faster

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Speaker 2: than what that recording would be. Right, So I knew,

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Speaker 2: I say, all right, let's make the recordings faster. So

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Speaker 2: we was at least ten beats fast, ten beats per

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Speaker 2: minuted faster than anybody else. Why I say beats permitted

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Speaker 2: with important because that's DJ cult, that's djhit for sure. Yeah.

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Speaker 1: Yeah.

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Speaker 2: The average person doesn't go by like, oh, this needs

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Speaker 2: to be five beasts for a minute faster and amp.

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Speaker 1: Up like this.

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Speaker 3: You guys were conscient, just like, hey, we're gonna speed

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Speaker 3: our shit up like everybody else is here.

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Speaker 2: We're here, yeah, because the difference is is like, how

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Speaker 2: do you, how do you make your stuff different from

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Speaker 2: the next person, faster, louder. Well, if everybody could reach

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Speaker 2: up and be louder at the same time, you know,

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Speaker 2: more than one vocalist, you know. So our whole thing

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Speaker 2: was to stand out because you ain't had radio, you

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Speaker 2: ain't have a lot of people like yah, yeah, we're

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Speaker 2: going to make sure we financed this thing forward.

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Speaker 1: No, it had to stand on its own two feet.

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Speaker 3: You guys also were very instrumental in lending an olive

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Speaker 3: branch to Cube once he left NWA.

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Speaker 2: Yeah, nineteen ninety America's most wanted. We toured together eighty

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Speaker 2: eighty seven, eighty eight, and eighty nine, and you know,

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Speaker 2: so that's where the friendship started.

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Speaker 3: Yeah, and then obviously he comes, I mean, the Bomb

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Speaker 3: Squad takes the realm of his first solo album, which

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Speaker 3: was a five mic album.

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Speaker 2: Yeah, he wanted, he wanted to actually get dre and

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Speaker 2: easy to do it, but the situation with priority at

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Speaker 2: the same time had he had to wait for a

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Speaker 2: year and a half or back in them days, you

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Speaker 2: wait for a year and a half and it's another world,

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Speaker 2: a whole other world. So you know, he came to

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Speaker 2: me and wanted to do, you know, us to do it,

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Speaker 2: but no, really he came to me to see what

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Speaker 2: can happen when if he came to East and I

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Speaker 2: try to unite him with Sam Severn and other people.

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Speaker 3: Like that, what's burn Burn? Hollywood Burn? Was that like

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Speaker 3: made in that same Yeah, yeah, same ere but you're like, yo,

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Speaker 3: we're gonna take this one for.

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Speaker 2: Us, And that was no, no, no Burn Hollywood Burn

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Speaker 2: was me and Kane already was going to do it,

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Speaker 2: and Cuba had just come out this try to look

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Speaker 2: for a studio, try to look for producers or whatever

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Speaker 2: on this project, and he was in the studio at

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Speaker 2: the same time.

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Speaker 1: So when me and kin was talking about Cube was

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Speaker 1: like on the count said ya, I want to be

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Speaker 1: on that. Yeah. We both looked at him like yeah,

297
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Speaker 1: not right, And that's how it started.

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Speaker 2: The most difficult thing keV at that time is could

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Speaker 2: you get three different record labels to agree on it?

300
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Speaker 2: Oh yeah, back there you have segregation, right and you know, no,

301
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Speaker 2: we don't want them on that label or we don't

302
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Speaker 2: want that song over there. So I had to do

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Speaker 2: a lot of you know, I had to do a

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Speaker 2: lot of godfathering at that time.

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Speaker 1: To make that happen.

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Speaker 3: That's crazy.

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Speaker 1: Yeah.

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Speaker 3: And it's so crazy too because if you think about

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Speaker 3: like how the Bomb Squad was able to somehow like

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Speaker 3: revolutionize West Coast hip hop in like a way that

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Speaker 3: like they I don't know if they get the credit for.

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Speaker 2: We got our credit for. The whole thing is like

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Speaker 2: this is like do the thing and let everybody fly

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Speaker 2: with their own wings. You know, this Bomb Squad never

315
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Speaker 2: did the same thing twice, right, and we never did

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Speaker 2: two albums in a row on anybody. Once we do,

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Speaker 2: you you get it, Boom, you fly like Cube, my

318
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Speaker 2: favorite Cube albums, Kill that World.

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Speaker 3: The next thing he did after so Good Yeah, so

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Speaker 3: one of my favorite covers of all time too, that

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Speaker 3: covers so.

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Speaker 2: Far, Yeah, because he got it. You know, once we

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Speaker 2: were there had to be like an incubation lab and

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Speaker 2: once you get.

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Speaker 3: It killer well didn't have Jack and for Beats on it.

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Speaker 1: M m oh yeah of course so good yeah, beat

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Speaker 1: changes and all that under it.

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Speaker 3: You know what's crazy. I always think when I like,

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Speaker 3: will listen to Jack and for Beats what you said

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Speaker 3: about the labels, I always think back then, like how

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Speaker 3: did clear all these beats? Like you know what I

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Speaker 3: mean like it wasn't like it was a mixtape. Like

333
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Speaker 3: there wasn't the internet where could just drop a freestyle

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Speaker 3: on YouTube, like he had to put that out.

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Speaker 2: Well, if anybody could clear anything from independent and labels

336
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Speaker 2: at that particular time, it would be Brian Turner because

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Speaker 2: Brian Turner also released all the rap Masters compilation tapes.

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Speaker 3: Yeah, I remember those, and.

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Speaker 1: That took a little bit of clearance to try to

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Speaker 1: get because.

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Speaker 3: There was that was back then. There was a lot

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Speaker 3: of compilations that you might go to a gas station

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Speaker 3: and to be like a racket tapes and you'd be

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Speaker 3: like be like, yeah, let me grab this.

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Speaker 2: The Swap Meet the Lah you know, Dre was making

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Speaker 2: those those Swap Meet tapes in uh eighty seven, eighty six,

347
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Speaker 2: and eighty eight is the only place where you could

348
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Speaker 2: find songs because they wasn't on cassette yet. It was

349
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Speaker 2: you know back then, you know, hip hop was a

350
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Speaker 2: singles market. They did not you know what I'm saying

351
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Speaker 2: with singles albums, but you know, if they released the

352
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Speaker 2: twelve inch, right, the average person, you know be like,

353
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Speaker 2: I ain't got no record player, you know, I got

354
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Speaker 2: a box, I won't play cassettes. The record labels didn't

355
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Speaker 2: figure that out. So the swap meet DJ's was the

356
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Speaker 2: first one I remember coming out were playing San Diego.

357
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Speaker 2: They got a swap meet, you know, outside in the

358
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Speaker 2: parking lot, and sure enough got racks of you know tapes.

359
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Speaker 2: I still got those tapes to this day, man, and

360
00:16:36,520 --> 00:16:38,640
Speaker 2: they would have all the hits on it, and that

361
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Speaker 2: was it. Yo.

362
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Speaker 3: One of my favorite remixes of all time is to

363
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Speaker 3: shut Him Down remix. I think Pete Rock Rock. I

364
00:16:46,120 --> 00:16:48,600
Speaker 3: think that's one of the greatest beats ever. Yeah, I

365
00:16:48,760 --> 00:16:51,400
Speaker 3: love that song. So much of the original is incredible.

366
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Speaker 3: Do you remember hearing that for the first time? Like,

367
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Speaker 3: because you guys already had a big record, but it

368
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Speaker 3: took a like I feel like the Pete Rock version.

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Speaker 1: Took a little further. Well, you know, this is a

370
00:17:05,200 --> 00:17:06,400
Speaker 1: difference in Kevin.

371
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Speaker 2: You know, La and New York are two different places,

372
00:17:09,480 --> 00:17:13,040
Speaker 2: and everything in between was different. They wanted that original

373
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Speaker 2: doom because we performed that when we had the the

374
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Speaker 2: Pete Rock version. How that started? That started real easy.

375
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Speaker 2: The person that Columbia Sony Angela Thomas, was working with

376
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Speaker 2: Pete and she said, Hey, I got a young guy

377
00:17:32,400 --> 00:17:34,920
Speaker 2: named Peter Phillips and he wants to be able to

378
00:17:35,000 --> 00:17:37,720
Speaker 2: do a remix, and you know, and I was like, cool,

379
00:17:37,800 --> 00:17:39,480
Speaker 2: let's go. Let's we ain't got nothing to look. It

380
00:17:39,640 --> 00:17:42,800
Speaker 2: was the first remix that then we got done that

381
00:17:43,000 --> 00:17:47,320
Speaker 2: Hank allowed, and it was for like the third single

382
00:17:47,359 --> 00:17:50,320
Speaker 2: and Apocalypse or whatever, So where we could go wrong?

383
00:17:50,440 --> 00:17:51,600
Speaker 1: I mean, where could we go wrong?

384
00:17:51,720 --> 00:17:57,320
Speaker 2: It's like down the line it's third single, and and Pete,

385
00:17:57,440 --> 00:17:59,600
Speaker 2: you know, not only did you do shut him down,

386
00:17:59,600 --> 00:18:04,000
Speaker 2: he also did our night Train and he did Night

387
00:18:04,040 --> 00:18:10,320
Speaker 2: Train with the with the James Brown get up, get

388
00:18:10,400 --> 00:18:14,320
Speaker 2: into it and get involved backtracking. So he delivered too.

389
00:18:14,440 --> 00:18:17,560
Speaker 2: And then it was like should he rap on it?

390
00:18:17,640 --> 00:18:19,040
Speaker 2: I was like yeah, I had them wrap him in

391
00:18:19,200 --> 00:18:22,439
Speaker 2: cl And that's to me, that's a joyful moment because

392
00:18:22,440 --> 00:18:25,399
Speaker 2: I felt that it also helped them in their career

393
00:18:25,480 --> 00:18:27,800
Speaker 2: too for a little bit. You know, they already had

394
00:18:27,840 --> 00:18:30,920
Speaker 2: their Pete Rock and Clsmove then jumping off, but the

395
00:18:31,040 --> 00:18:33,120
Speaker 2: fact that it was on a pe remix, I think

396
00:18:33,960 --> 00:18:37,760
Speaker 2: it did stuff for It did justice for cl Smooth

397
00:18:37,800 --> 00:18:40,560
Speaker 2: as much as it did for Pete Rock, and that

398
00:18:40,720 --> 00:18:42,320
Speaker 2: did great justice for us as well.

399
00:18:43,200 --> 00:18:47,159
Speaker 3: You kind of kick off this new project kind of

400
00:18:47,160 --> 00:18:51,280
Speaker 3: saying what rock is, right, Yeah, you and Pe have

401
00:18:51,480 --> 00:18:55,720
Speaker 3: always had such a synergy with different bands and just

402
00:18:55,840 --> 00:18:57,800
Speaker 3: the genre in general, whether it's Anthrax or you know,

403
00:18:57,880 --> 00:18:59,560
Speaker 3: we talked earlier about Rage and all that, Like what

404
00:18:59,640 --> 00:19:02,560
Speaker 3: do you think it is about the energy that Public

405
00:19:02,680 --> 00:19:05,680
Speaker 3: Enemy and Chucky is always brought to the table musically

406
00:19:06,560 --> 00:19:11,600
Speaker 3: stylistically that is like always meshed so well with with rock.

407
00:19:11,920 --> 00:19:15,680
Speaker 2: Louder, stronger, faster. We're gonna be faster, We're gonna be

408
00:19:15,760 --> 00:19:18,240
Speaker 2: louder and we're gonna be stronger. I mean it's you know,

409
00:19:18,480 --> 00:19:21,400
Speaker 2: like you do them lyrics at that speed, you're gonna

410
00:19:21,480 --> 00:19:24,359
Speaker 2: kill over the average person, killing over right, and you

411
00:19:24,480 --> 00:19:26,960
Speaker 2: know what, And not to get on my high horse,

412
00:19:27,400 --> 00:19:29,840
Speaker 2: but the men I started the Public Enemy, bring the

413
00:19:29,880 --> 00:19:31,399
Speaker 2: noise pop up on one hundred and nine beasts for

414
00:19:31,400 --> 00:19:32,040
Speaker 2: a minute.

415
00:19:31,920 --> 00:19:34,280
Speaker 1: Hundred you know, and even King doing raw and all that.

416
00:19:35,640 --> 00:19:36,800
Speaker 1: The real yoh man, the.

417
00:19:38,560 --> 00:19:43,359
Speaker 2: Real marathon was Anthrax doing bring the noise right because

418
00:19:44,160 --> 00:19:48,840
Speaker 2: thrash metal at high speeds, yo, man, they take it

419
00:19:48,920 --> 00:19:53,440
Speaker 2: from here to way higher, you know. And the motto is, Kevin,

420
00:19:53,800 --> 00:19:55,760
Speaker 2: you do the songs or the songs do you? So

421
00:19:55,880 --> 00:19:58,119
Speaker 2: it ain't no cop out, so you cut and do

422
00:19:58,200 --> 00:20:00,280
Speaker 2: it on a song, right, it ain't nothing. Oh I

423
00:20:00,320 --> 00:20:03,280
Speaker 2: can't do the third verse. I got to stop. It's

424
00:20:03,760 --> 00:20:06,240
Speaker 2: no parachute man. And that's one thing I always to

425
00:20:06,280 --> 00:20:08,600
Speaker 2: say about MC's I say, you know what, challenge yourself

426
00:20:08,640 --> 00:20:12,000
Speaker 2: with speed. Don't think you're going to find a convenient beat,

427
00:20:13,320 --> 00:20:16,720
Speaker 2: because I mean, if you don't challenge your lungs, man,

428
00:20:16,840 --> 00:20:18,640
Speaker 2: you spitting and what you're doing. I mean, it's easy

429
00:20:18,680 --> 00:20:20,560
Speaker 2: to be in the pocket. I mean my moms could

430
00:20:20,640 --> 00:20:22,320
Speaker 2: rhyme in the pocket right right, right right.

431
00:20:22,720 --> 00:20:25,120
Speaker 1: But something that really tests you physically.

432
00:20:25,560 --> 00:20:27,639
Speaker 2: I think it's a good thing that you know, like

433
00:20:27,920 --> 00:20:30,639
Speaker 2: leaders of the New School when they trained under us,

434
00:20:30,680 --> 00:20:32,680
Speaker 2: we used to have a run around the track backwards

435
00:20:32,720 --> 00:20:33,560
Speaker 2: and spit versus.

436
00:20:34,040 --> 00:20:35,119
Speaker 1: It's very difficult to do.

437
00:20:36,640 --> 00:20:40,479
Speaker 3: Quite literally, I don't know how to do it today.

438
00:20:40,720 --> 00:20:44,040
Speaker 2: But yeah, get to go around the track, spit your

439
00:20:44,119 --> 00:20:47,359
Speaker 2: lyrics running backwards. See where that ends up.

440
00:20:47,760 --> 00:20:51,080
Speaker 3: That's wild. Yeah, that's that would explain you know why

441
00:20:51,280 --> 00:20:53,320
Speaker 3: one of the greatest performers of all time came out

442
00:20:53,320 --> 00:20:56,400
Speaker 3: of that's crazy think about.

443
00:20:56,800 --> 00:20:59,680
Speaker 2: And then the other thing is that you could, you know,

444
00:20:59,760 --> 00:21:03,520
Speaker 2: you would be like you know, chop chop up time. Yeah,

445
00:21:04,160 --> 00:21:08,520
Speaker 2: but chop up time and move it's different. Yeah, it's

446
00:21:08,560 --> 00:21:11,719
Speaker 2: great to see if you're standing is a master at

447
00:21:11,800 --> 00:21:14,600
Speaker 2: chop up time? Right, but you're standing still right right right,

448
00:21:14,800 --> 00:21:19,639
Speaker 2: Diggie stood still right right right? Punk punk and metal,

449
00:21:20,560 --> 00:21:22,840
Speaker 2: they they they're all over the place.

450
00:21:23,119 --> 00:21:23,320
Speaker 1: Yeah.

451
00:21:23,320 --> 00:21:25,239
Speaker 3: I think the only guy who I could think off

452
00:21:25,240 --> 00:21:28,479
Speaker 3: the top of my head that's newer new guys. Well,

453
00:21:28,640 --> 00:21:31,680
Speaker 3: I guess newers. I was going to say he's not newer,

454
00:21:31,760 --> 00:21:33,679
Speaker 3: but Tech nine, Tech nine is.

455
00:21:34,240 --> 00:21:40,320
Speaker 2: Yeah, yeah, he sees in shape, he's crazy, he's he's taken.

456
00:21:41,200 --> 00:21:45,119
Speaker 2: I know it's a crazy comparison, but Tech nine is

457
00:21:45,200 --> 00:21:48,760
Speaker 2: taking hardcore. And also what Hammer did have to dancing?

458
00:21:49,000 --> 00:21:49,119
Speaker 1: Right?

459
00:21:49,280 --> 00:21:51,720
Speaker 3: Well, no, there's a lot of dancing and textuffy, tons

460
00:21:51,720 --> 00:21:54,720
Speaker 3: of back man exactly like tons of choreography. Yeah, but

461
00:21:54,840 --> 00:21:57,600
Speaker 3: it's like, yeah, it's it's crazy text a live show this.

462
00:21:58,240 --> 00:22:00,600
Speaker 1: Yeah, yeah, And so a lot of credit isn't given

463
00:22:00,680 --> 00:22:00,879
Speaker 1: for that.

464
00:22:02,520 --> 00:22:05,479
Speaker 3: Do you feel like there's a lack of quote unquote

465
00:22:05,480 --> 00:22:07,520
Speaker 3: I guess you could say, like protest music in hip

466
00:22:07,560 --> 00:22:09,960
Speaker 3: hop in twenty twenty five, you.

467
00:22:10,040 --> 00:22:12,440
Speaker 1: Only know what you know. A lot of people only

468
00:22:12,480 --> 00:22:13,080
Speaker 1: spit what they know.

469
00:22:13,840 --> 00:22:16,639
Speaker 3: That's fair yeah, you don't know what you know. I

470
00:22:16,680 --> 00:22:18,280
Speaker 3: also feel like I feel like too.

471
00:22:18,359 --> 00:22:18,919
Speaker 1: It's just like.

472
00:22:20,440 --> 00:22:22,359
Speaker 3: I feel like with I feel like there's gonna be

473
00:22:23,320 --> 00:22:26,480
Speaker 3: there has to be more coming well, you know, because

474
00:22:26,520 --> 00:22:28,360
Speaker 3: I feel like the world is becoming more and more

475
00:22:28,400 --> 00:22:31,560
Speaker 3: aware of like certain shit happening all over the planet,

476
00:22:32,000 --> 00:22:34,280
Speaker 3: and I feel like I would hope there are some

477
00:22:34,440 --> 00:22:35,200
Speaker 3: people we've never.

478
00:22:35,160 --> 00:22:38,600
Speaker 2: Heard of inspired right hip know for people spitting what

479
00:22:38,680 --> 00:22:40,680
Speaker 2: they don't like, but on top of the list is

480
00:22:40,800 --> 00:22:43,560
Speaker 2: some personal things they don't like, and that that usually

481
00:22:43,640 --> 00:22:44,680
Speaker 2: clogs up the agenda.

482
00:22:44,920 --> 00:22:47,399
Speaker 3: I think the last great protest hip hop song was

483
00:22:47,480 --> 00:22:51,480
Speaker 3: fuck Donald Trump by YG Yeah classic.

484
00:22:51,200 --> 00:22:54,399
Speaker 1: Yeah, and yeah exactly. I mean.

485
00:22:55,880 --> 00:22:58,680
Speaker 2: Those are guys that stuck you know, that's stuck out man,

486
00:22:59,240 --> 00:23:03,280
Speaker 2: And look to me, I feel man, every song got

487
00:23:03,400 --> 00:23:04,040
Speaker 2: to have a topic.

488
00:23:04,520 --> 00:23:04,720
Speaker 1: Yeah.

489
00:23:06,160 --> 00:23:08,800
Speaker 2: The key things that even back in the day that

490
00:23:08,880 --> 00:23:11,200
Speaker 2: if I said anything the cube I said, just don't

491
00:23:11,200 --> 00:23:14,240
Speaker 2: repeat yourself twice and don't feel like you got to

492
00:23:14,280 --> 00:23:16,320
Speaker 2: have a jump up from this person to that person

493
00:23:16,400 --> 00:23:20,120
Speaker 2: all overnight, gradual build up, so so your fan base

494
00:23:20,160 --> 00:23:20,760
Speaker 2: can follow you.

495
00:23:21,760 --> 00:23:24,080
Speaker 3: Yo, when did you guys? Because when I think of

496
00:23:24,200 --> 00:23:26,800
Speaker 3: you guys, you are so synonymous with some of my

497
00:23:26,880 --> 00:23:30,840
Speaker 3: favorite movies of all time. Do the right things up there. Obviously,

498
00:23:30,920 --> 00:23:33,240
Speaker 3: you guys did the he Guy game soundtrack, which I

499
00:23:33,280 --> 00:23:37,439
Speaker 3: remember buying used from the warehouse. Great album. When did

500
00:23:37,480 --> 00:23:37,760
Speaker 3: you guys?

501
00:23:37,800 --> 00:23:40,440
Speaker 2: That's an underrated album, Oh for sure, because I got

502
00:23:40,640 --> 00:23:43,320
Speaker 2: I got ball bars in there, that that Cat.

503
00:23:43,280 --> 00:23:44,919
Speaker 3: Stois Ray Allen Man.

504
00:23:46,320 --> 00:23:46,760
Speaker 1: Exactly.

505
00:23:47,440 --> 00:23:48,159
Speaker 2: But what what what?

506
00:23:48,560 --> 00:23:53,600
Speaker 3: What was your guys' initial I guess, uh, the genesis

507
00:23:53,640 --> 00:23:57,399
Speaker 3: of you and Spike Lee's relationship renaissance people at the

508
00:23:57,520 --> 00:23:59,920
Speaker 3: time where he was creating film, we would creating music.

509
00:24:00,560 --> 00:24:03,040
Speaker 3: Other people were creating other different things, and all in

510
00:24:03,119 --> 00:24:05,480
Speaker 3: New York City at the time, So we were kind

511
00:24:05,520 --> 00:24:11,240
Speaker 3: of like brought together by Bill Stephanie and you know

512
00:24:11,400 --> 00:24:15,200
Speaker 3: in nineteen eighty nine, and really at the end of

513
00:24:15,320 --> 00:24:19,600
Speaker 3: nineteen eighty eight then he just finished putting together School

514
00:24:19,680 --> 00:24:21,320
Speaker 3: Days in School Days.

515
00:24:21,920 --> 00:24:25,520
Speaker 2: Yeah, he took Go Go Music with EU and had

516
00:24:25,600 --> 00:24:29,760
Speaker 2: that highlight and Kadeem Hardison, you know, water Public Enemy

517
00:24:29,760 --> 00:24:32,720
Speaker 2: sweatshirt in it, and it was about college and something

518
00:24:32,760 --> 00:24:35,320
Speaker 2: that we and I was familiar with a lot, you know,

519
00:24:35,440 --> 00:24:38,560
Speaker 2: fraternities and stuff like that. I mean, you say fraternities

520
00:24:38,600 --> 00:24:41,320
Speaker 2: and sororities across White America. They don't know what the

521
00:24:41,400 --> 00:24:43,879
Speaker 2: hell we talk about, right, But the black life was

522
00:24:43,920 --> 00:24:47,840
Speaker 2: a whole different universe in there, and we were familiar

523
00:24:47,880 --> 00:24:50,959
Speaker 2: with that. We used to fight, fight sororities, I mean

524
00:24:51,160 --> 00:24:55,040
Speaker 2: fraternities too, as well as playing music for them.

525
00:24:55,119 --> 00:24:57,320
Speaker 1: So that was a whole other universe that he tapped in.

526
00:24:57,760 --> 00:24:59,200
Speaker 2: And he said the next thing he was tapped in

527
00:24:59,480 --> 00:25:02,760
Speaker 2: on the unrest that was going on, inequality that was

528
00:25:02,800 --> 00:25:05,120
Speaker 2: going on in New York City at the time.

529
00:25:05,760 --> 00:25:08,560
Speaker 1: So when we had a meeting in.

530
00:25:08,800 --> 00:25:11,840
Speaker 2: Eighty eight and right before we was going on tour

531
00:25:12,040 --> 00:25:16,440
Speaker 2: in Europe wud Run dmc, Spike said, I'm putting together

532
00:25:16,480 --> 00:25:19,080
Speaker 2: this thing with all the stuff that's going on, this

533
00:25:19,200 --> 00:25:24,280
Speaker 2: inequity going on in New York City. And strangely enough,

534
00:25:25,520 --> 00:25:29,560
Speaker 2: that movie was spearheaded by the continuity and the connection

535
00:25:29,720 --> 00:25:31,800
Speaker 2: that that Black Radio did for the city.

536
00:25:32,320 --> 00:25:33,119
Speaker 1: You see Samuel L.

537
00:25:33,200 --> 00:25:35,480
Speaker 3: Jackson, oh Man, Samuel Jackson is the one that ties

538
00:25:35,520 --> 00:25:37,400
Speaker 3: the whole the whole movie, the whole time.

539
00:25:37,520 --> 00:25:39,480
Speaker 1: Yeah, And so Spike.

540
00:25:39,240 --> 00:25:41,159
Speaker 2: Said he needed an anthem, and the original thing he

541
00:25:41,240 --> 00:25:43,800
Speaker 2: wanted us to do was a hip hop version of

542
00:25:43,880 --> 00:25:47,200
Speaker 2: lift Every Voice and Sing that was quickly rejected, and

543
00:25:47,320 --> 00:25:49,960
Speaker 2: to fight the power became the thing that came out

544
00:25:50,000 --> 00:25:52,159
Speaker 2: of that. But who knew Spike was gonna put that

545
00:25:52,560 --> 00:25:55,520
Speaker 2: song in the movie like fifteen times.

546
00:25:55,520 --> 00:25:58,160
Speaker 3: It was Yeah, I mean it's it's it's it's kind

547
00:25:58,200 --> 00:25:59,280
Speaker 3: of like a character in the.

548
00:25:59,320 --> 00:26:04,480
Speaker 2: Movie Unprecedented and uh, Spike helped make that that what

549
00:26:04,640 --> 00:26:07,760
Speaker 2: it was. And yeah, a lot of things on making

550
00:26:07,800 --> 00:26:11,520
Speaker 2: it and sonically it was a compromising record. It wasn't punk.

551
00:26:12,400 --> 00:26:14,159
Speaker 2: It was like, okay, you know this is this is

552
00:26:14,200 --> 00:26:16,760
Speaker 2: the music that gets you bumping. I mean certain things

553
00:26:16,800 --> 00:26:19,560
Speaker 2: set it off. I mean seeing Rosie, you know Perez

554
00:26:19,560 --> 00:26:21,399
Speaker 2: at the beginning she boxing and dancing.

555
00:26:21,480 --> 00:26:23,760
Speaker 1: I mean, you the first time you see a real.

556
00:26:23,760 --> 00:26:27,600
Speaker 2: Dance element connected the public enemy who who's more about

557
00:26:28,000 --> 00:26:31,280
Speaker 2: fighting knocking the head off your shoulder than dancing. So

558
00:26:31,400 --> 00:26:33,560
Speaker 2: there's a lot of things that that Spike brought to

559
00:26:34,600 --> 00:26:36,160
Speaker 2: fight the power that a lot of people don't give

560
00:26:36,200 --> 00:26:36,720
Speaker 2: him credit for.

561
00:26:37,119 --> 00:26:38,760
Speaker 3: When I every time I watched Do the Right Thing,

562
00:26:38,800 --> 00:26:40,440
Speaker 3: I'm always like, why didn't Spike act more?

563
00:26:40,680 --> 00:26:41,840
Speaker 1: He's so good in this movie.

564
00:26:42,760 --> 00:26:44,040
Speaker 3: I feel like that might be is that the only

565
00:26:44,119 --> 00:26:45,040
Speaker 3: movie like he didn't really.

566
00:26:44,960 --> 00:26:47,320
Speaker 2: Do a lot of acting, Like, I mean, they Spiked

567
00:26:47,320 --> 00:26:49,960
Speaker 2: don't get credit for example, Man Jordan's doesn't take off.

568
00:26:50,000 --> 00:26:51,840
Speaker 1: I mean, Jordan doesn't.

569
00:26:51,560 --> 00:26:55,919
Speaker 2: Have no personality without commercial unless you had no personality

570
00:26:56,240 --> 00:26:56,840
Speaker 2: less Spike.

571
00:26:56,720 --> 00:27:00,560
Speaker 3: Lee, those commercials brought some yeah, some yeah.

572
00:27:00,560 --> 00:27:04,600
Speaker 2: Because all Nike was just like a Nike. Matter of fact,

573
00:27:04,840 --> 00:27:08,040
Speaker 2: Nike was less hippo than Adidas because Adidas.

574
00:27:07,600 --> 00:27:09,840
Speaker 1: Had running in Yeah, yeah, yeah, for sure.

575
00:27:10,000 --> 00:27:12,399
Speaker 2: You know, Nike was like okay, you know, you know,

576
00:27:12,600 --> 00:27:14,800
Speaker 2: you track, running track, you know, a couple of people

577
00:27:14,880 --> 00:27:17,800
Speaker 2: playing ball with it. Spike not only bought you know,

578
00:27:18,040 --> 00:27:19,960
Speaker 2: hip hop into it, he brought Brooklyn into it.

579
00:27:20,560 --> 00:27:24,000
Speaker 3: So I'm from Phoenix, your guys a song by the

580
00:27:24,040 --> 00:27:27,159
Speaker 3: time I get to Arizona, it was a record that

581
00:27:28,240 --> 00:27:31,720
Speaker 3: was it was almost like, damn, we're only known and

582
00:27:31,960 --> 00:27:33,960
Speaker 3: we don't know, we don't have any rappers. We're only

583
00:27:34,119 --> 00:27:38,440
Speaker 3: known because we were the last state to have MLK Day. Yeah,

584
00:27:39,320 --> 00:27:42,440
Speaker 3: fucking public enity Beta song about us essentially.

585
00:27:42,680 --> 00:27:44,600
Speaker 2: Yeah right, that was that was a trip too. And

586
00:27:44,680 --> 00:27:48,240
Speaker 2: when we played with you two in Sun Devil Stadium,

587
00:27:48,800 --> 00:27:51,359
Speaker 2: that went across like oh my goodness. You know, we

588
00:27:51,440 --> 00:27:54,240
Speaker 2: played just that song, right, and then we didn't play

589
00:27:54,240 --> 00:27:56,280
Speaker 2: the rest of our set. We protest the wrestler, so

590
00:27:56,400 --> 00:27:59,000
Speaker 2: that made that. But we wasn't doing things.

591
00:27:59,160 --> 00:28:01,159
Speaker 3: I didn't know that happened to you guys. Yeah, we

592
00:28:01,280 --> 00:28:03,600
Speaker 3: played Sun Devil only did that one song and then

593
00:28:04,720 --> 00:28:05,680
Speaker 3: eighty five.

594
00:28:05,560 --> 00:28:08,240
Speaker 1: Thousand people up in there and do the fists in

595
00:28:08,280 --> 00:28:08,600
Speaker 1: the air?

596
00:28:08,880 --> 00:28:09,760
Speaker 3: Did you get the back end?

597
00:28:09,880 --> 00:28:11,760
Speaker 2: Not only did we the only did we put our

598
00:28:11,800 --> 00:28:13,920
Speaker 2: fists in the air, right, but we hung the Klansmen

599
00:28:13,960 --> 00:28:16,800
Speaker 2: that night. Yeah, we hung the Clansmen that night. Every

600
00:28:16,880 --> 00:28:19,879
Speaker 2: show where we did we hung a Klansman at the

601
00:28:19,960 --> 00:28:20,200
Speaker 2: end of it.

602
00:28:20,320 --> 00:28:22,000
Speaker 1: That's amazing, can we I.

603
00:28:22,000 --> 00:28:24,200
Speaker 3: Mean, see, that's the kind of ship we need. I

604
00:28:24,280 --> 00:28:25,320
Speaker 3: want to see that ship in.

605
00:28:27,600 --> 00:28:33,280
Speaker 1: But listen, you have you have a more homogen.

606
00:28:34,480 --> 00:28:40,360
Speaker 2: I would say homoginized USA, where all the kids are

607
00:28:40,360 --> 00:28:43,320
Speaker 2: in the same melting pot. But that's everybody's afraid to

608
00:28:43,360 --> 00:28:45,280
Speaker 2: say say something because.

609
00:28:45,080 --> 00:28:47,040
Speaker 3: They might pist the homie off the homes's parents or

610
00:28:47,200 --> 00:28:47,400
Speaker 3: you know.

611
00:28:48,040 --> 00:28:52,520
Speaker 2: No, everybody, you know, everybody's a screen ager, so they're

612
00:28:52,520 --> 00:28:54,400
Speaker 2: getting their ethics through the phone anyway.

613
00:28:54,840 --> 00:28:57,840
Speaker 1: But they all like minded through the same screens anyway.

614
00:28:58,000 --> 00:29:01,000
Speaker 2: So you find people that they like minded, and they

615
00:29:01,080 --> 00:29:04,960
Speaker 2: knocked the visual differences off to the side, which is cool.

616
00:29:05,520 --> 00:29:08,240
Speaker 1: What's not cool is that people are learning.

617
00:29:08,080 --> 00:29:10,680
Speaker 2: Less about each other's background because there's a lot of

618
00:29:10,720 --> 00:29:13,240
Speaker 2: dirt in the background on everybody. So they say, we

619
00:29:13,320 --> 00:29:16,320
Speaker 2: don't teach nothing, we'll start over the twenty first century

620
00:29:16,480 --> 00:29:19,160
Speaker 2: and go forward. And that ain't cool either, because everything

621
00:29:19,240 --> 00:29:23,200
Speaker 2: is institutionalized in the history of what made it in

622
00:29:23,240 --> 00:29:26,680
Speaker 2: the first place. So you got to teach history, you

623
00:29:26,760 --> 00:29:30,120
Speaker 2: got to teach geography. And geography is like, Okay, you

624
00:29:30,280 --> 00:29:32,640
Speaker 2: was in Phoenix, you wasn't in Tempe, and I mean

625
00:29:32,920 --> 00:29:35,520
Speaker 2: you wasn't you was You wasn't in Tucson, and some

626
00:29:35,640 --> 00:29:40,240
Speaker 2: people couldn't connect Tucson. But where you're at. You're in Arizona.

627
00:29:40,400 --> 00:29:43,000
Speaker 2: So where's that you know? You're like what you don't know?

628
00:29:43,320 --> 00:29:45,400
Speaker 2: It's still the United States, the lower forty eight. But

629
00:29:46,160 --> 00:29:49,320
Speaker 2: so the United States, I call them USA ors because

630
00:29:49,320 --> 00:29:53,960
Speaker 2: it's North America, Central America, South America, carect Caribbean. They

631
00:29:54,000 --> 00:29:57,840
Speaker 2: don't even know where they live. They only know exactly

632
00:29:57,920 --> 00:30:00,560
Speaker 2: where they might be, but they don't know where they live.

633
00:30:00,880 --> 00:30:03,600
Speaker 2: And the more that we learned about the history of

634
00:30:03,640 --> 00:30:06,320
Speaker 2: the country, the history of how we all got here

635
00:30:06,320 --> 00:30:09,320
Speaker 2: as human beings, the history of who've had it before,

636
00:30:10,160 --> 00:30:13,000
Speaker 2: that they're trying to say, oh yeah, we're going to

637
00:30:13,080 --> 00:30:15,520
Speaker 2: figure out how to call up ice and de port

638
00:30:15,600 --> 00:30:22,240
Speaker 2: you on a region of land where indigenous, indigenously you

639
00:30:22,360 --> 00:30:25,280
Speaker 2: already had some sense of home about the north south

640
00:30:25,320 --> 00:30:28,280
Speaker 2: central America. It's just weird in twenty twenty five when

641
00:30:28,320 --> 00:30:32,400
Speaker 2: it comes down to educating the masses, to educate artists.

642
00:30:32,160 --> 00:30:34,000
Speaker 1: To try to say something like where do you start?

643
00:30:34,280 --> 00:30:35,760
Speaker 3: Well, I feel like too, that was what was so

644
00:30:35,960 --> 00:30:40,040
Speaker 3: great about you, guys, was you were able to learn

645
00:30:41,400 --> 00:30:44,600
Speaker 3: about things that you might You know, you listen to

646
00:30:44,640 --> 00:30:46,760
Speaker 3: public Enemy, you're going to take something. If you're in

647
00:30:46,880 --> 00:30:49,640
Speaker 3: your bubble, you're gonna be forced to step out of

648
00:30:49,680 --> 00:30:50,600
Speaker 3: your bubble and retain some.

649
00:30:50,680 --> 00:30:53,240
Speaker 1: Information that goes along with the songwriter. Too. I do

650
00:30:53,440 --> 00:30:56,200
Speaker 1: more listening than I did it, more listening and reading

651
00:30:56,280 --> 00:30:57,600
Speaker 1: than I did talking, like.

652
00:30:57,640 --> 00:31:01,080
Speaker 3: I remember listening to Immortal Technic as a kid and

653
00:31:01,240 --> 00:31:03,360
Speaker 3: learning about all kind of crazy shit about like the

654
00:31:03,440 --> 00:31:08,520
Speaker 3: CIA and right fuck like crazy like. I mean, I

655
00:31:08,600 --> 00:31:11,840
Speaker 3: think a lot of people like obviously generic, you know,

656
00:31:11,920 --> 00:31:15,160
Speaker 3: people who weren't you know, necessarily like astute. But a

657
00:31:15,200 --> 00:31:16,880
Speaker 3: lot of a lot of people got introduced to the

658
00:31:17,000 --> 00:31:18,040
Speaker 3: nation through you guys too.

659
00:31:19,240 --> 00:31:22,440
Speaker 2: I mean, you know, popular Culture is a great gateway

660
00:31:22,920 --> 00:31:25,840
Speaker 2: right for the good, bad and ugly too. You could

661
00:31:26,080 --> 00:31:29,600
Speaker 2: you could introduce through culture things that make people say, well,

662
00:31:29,640 --> 00:31:32,120
Speaker 2: I love culture, and I guess this is the thing

663
00:31:32,160 --> 00:31:35,120
Speaker 2: that that they say that they love as well. So

664
00:31:35,240 --> 00:31:38,040
Speaker 2: I'm follow that until I hit a brick wall. But

665
00:31:38,600 --> 00:31:41,240
Speaker 2: culture is good. Culture is to bring that is the

666
00:31:41,320 --> 00:31:45,960
Speaker 2: thing that you know, brings us together and knocks the

667
00:31:46,000 --> 00:31:48,520
Speaker 2: differences to the side, right as human beings.

668
00:31:48,760 --> 00:31:50,720
Speaker 3: I feel like too, that's just music. Music is like

669
00:31:50,920 --> 00:31:54,440
Speaker 3: music is the common space. Music is sports could be

670
00:31:54,800 --> 00:31:57,480
Speaker 3: you could be at a fucking basketball game, right right.

671
00:31:57,600 --> 00:32:00,600
Speaker 3: We agree we love the Knicks, I not agree on

672
00:32:00,680 --> 00:32:02,000
Speaker 3: everything else exactly.

673
00:32:02,320 --> 00:32:04,520
Speaker 2: And it also is an age baracud if you know,

674
00:32:04,600 --> 00:32:10,000
Speaker 2: it knocks down the isms you have what racism, sexism,

675
00:32:10,560 --> 00:32:13,960
Speaker 2: now you get agism. All you gotta do is go

676
00:32:14,040 --> 00:32:17,680
Speaker 2: around and see the lifestyles of people sixty and over

677
00:32:18,240 --> 00:32:21,920
Speaker 2: and really seventy and over. And there's not a lot

678
00:32:21,960 --> 00:32:25,080
Speaker 2: of in this country that can you know, save a

679
00:32:25,120 --> 00:32:27,920
Speaker 2: lot of people from from themselves. And they're in the

680
00:32:28,000 --> 00:32:29,840
Speaker 2: back spot. And that's one of the things that radio

681
00:32:30,040 --> 00:32:34,480
Speaker 2: on Agatting addresses too. Somewhere in there, somewhere, Yeah, I've

682
00:32:34,520 --> 00:32:36,840
Speaker 2: been your agent, and you know you ain't never been mine.

683
00:32:37,640 --> 00:32:38,120
Speaker 1: That's a bar.

684
00:32:39,000 --> 00:32:41,680
Speaker 2: Yeah, well you know I've been never been mine. Yes,

685
00:32:42,400 --> 00:32:44,480
Speaker 2: this is that's just factual mathematics.

686
00:32:44,640 --> 00:32:44,840
Speaker 1: Sure.

687
00:32:44,960 --> 00:32:46,560
Speaker 2: And here's the thing is about it. Like a lot

688
00:32:46,600 --> 00:32:49,800
Speaker 2: of times, let's say you take an old head un.

689
00:32:50,920 --> 00:32:52,920
Speaker 3: You know they call me an unk. I think they

690
00:32:53,040 --> 00:32:55,080
Speaker 3: call you an old head. I don't know. I'm an

691
00:32:55,800 --> 00:32:58,280
Speaker 3: o G. I saw the breakdown of the age.

692
00:32:58,440 --> 00:32:59,960
Speaker 1: Yeah, who broke that down?

693
00:33:00,200 --> 00:33:03,200
Speaker 3: Some kid on TikTok on TikTok. As of right now

694
00:33:03,440 --> 00:33:04,840
Speaker 3: at thirty eight, I'm an unk.

695
00:33:05,280 --> 00:33:05,760
Speaker 1: Yeah you are.

696
00:33:06,760 --> 00:33:10,760
Speaker 2: I'm og because I'm an uncle. People in their forties, yeah,

697
00:33:10,760 --> 00:33:12,880
Speaker 2: you'd be like that. So that's what they you know,

698
00:33:13,240 --> 00:33:15,680
Speaker 2: or even like a person that turned fifty. I turned

699
00:33:15,680 --> 00:33:18,800
Speaker 2: fifty fifteen years ago, so I'm like, so they still

700
00:33:18,880 --> 00:33:21,520
Speaker 2: gonna call me unk, and then you gotta revere. You

701
00:33:21,560 --> 00:33:23,680
Speaker 2: got to own that too, because you know. But the

702
00:33:23,760 --> 00:33:27,440
Speaker 2: thing about it, here's a misnomer. If he's sharp, and

703
00:33:27,520 --> 00:33:30,800
Speaker 2: you have your senses and you're not brain fogged by

704
00:33:31,040 --> 00:33:32,760
Speaker 2: by whatever happened during COVID.

705
00:33:34,480 --> 00:33:36,479
Speaker 1: You already seen what happened.

706
00:33:36,680 --> 00:33:41,720
Speaker 2: I've seen mc in since nineteen seventy six, so I'm

707
00:33:41,720 --> 00:33:43,840
Speaker 2: seeing it in twenty twenty five at real time.

708
00:33:45,120 --> 00:33:45,239
Speaker 1: Right.

709
00:33:45,520 --> 00:33:47,080
Speaker 2: So when somebody said, oh, man, you don't know what

710
00:33:47,160 --> 00:33:48,680
Speaker 2: this is, I said, I see it, I hear it,

711
00:33:49,400 --> 00:33:52,480
Speaker 2: I feel it. But I'm comparing it. I'm comparing it

712
00:33:52,560 --> 00:33:54,520
Speaker 2: to the first time I heard him saying, you know

713
00:33:54,560 --> 00:33:57,360
Speaker 2: what fifty years Yeah. Yeah, So my timeline. What you're

714
00:33:57,400 --> 00:33:59,240
Speaker 2: trying to tell me is that I can't make a

715
00:33:59,640 --> 00:34:02,240
Speaker 2: compare the analysis when I've seen both, but you only

716
00:34:02,320 --> 00:34:06,360
Speaker 2: see one, or your timeline of comparison might be Okay,

717
00:34:06,400 --> 00:34:08,480
Speaker 2: I started to check this out in nineteen ninety six,

718
00:34:08,840 --> 00:34:11,920
Speaker 2: So that's your timeline in real time. Anything before that

719
00:34:12,000 --> 00:34:14,440
Speaker 2: you got to go into YouTube and all the other

720
00:34:14,480 --> 00:34:16,960
Speaker 2: stuff that doesn't give you a good you know exactly anything.

721
00:34:17,160 --> 00:34:18,719
Speaker 2: But I'll tell you another thing. Like I said the

722
00:34:18,800 --> 00:34:22,800
Speaker 2: last interview, you grew up in Phoenix. You've seen some

723
00:34:22,960 --> 00:34:25,640
Speaker 2: spots in LA over the years. Do you ever go

724
00:34:25,760 --> 00:34:28,040
Speaker 2: in the area that's rebuilting new buildings or whatever?

725
00:34:29,000 --> 00:34:31,440
Speaker 1: Yeah? Do you ever still see the old buildings while

726
00:34:31,480 --> 00:34:32,600
Speaker 1: you're looking at the new buildings?

727
00:34:33,960 --> 00:34:34,480
Speaker 3: Sometimes?

728
00:34:34,600 --> 00:34:36,840
Speaker 1: But mostly, but when you see the new building.

729
00:34:36,840 --> 00:34:38,480
Speaker 3: Oh oh, you're when I'm looking at the new building.

730
00:34:38,600 --> 00:34:40,279
Speaker 1: Yeah, you see the old buildings the same time.

731
00:34:40,400 --> 00:34:41,080
Speaker 3: That just happened to me.

732
00:34:41,200 --> 00:34:42,520
Speaker 1: That's your third die in your back eye.

733
00:34:42,600 --> 00:34:43,880
Speaker 3: Yeah, that literally just happened to me.

734
00:34:43,960 --> 00:34:46,640
Speaker 1: A young head ain't got that. Matter of fact, sometimes

735
00:34:46,680 --> 00:34:49,120
Speaker 1: you even see people who ain't here no more, right,

736
00:34:49,400 --> 00:34:52,200
Speaker 1: that's fair. Yeah, So you can't really.

737
00:34:52,120 --> 00:34:55,320
Speaker 2: Process this in anything when you come down to evaluations.

738
00:34:55,440 --> 00:34:57,640
Speaker 2: It's not like you're stuck in the day. You see

739
00:34:57,680 --> 00:35:00,160
Speaker 2: both of them at the same time. Oh, yeah, of

740
00:35:00,239 --> 00:35:02,040
Speaker 2: the church that used to be right there, you see

741
00:35:02,120 --> 00:35:05,600
Speaker 2: that church right and you see the new building. Those

742
00:35:05,680 --> 00:35:07,839
Speaker 2: comparative analysis a young head can't make.

743
00:35:09,120 --> 00:35:11,319
Speaker 3: Yeah, I feel like, yeah, there's just certain I feel

744
00:35:11,320 --> 00:35:13,200
Speaker 3: like hip hop's an interesting space where there's a lot

745
00:35:13,239 --> 00:35:15,520
Speaker 3: of people who aren't necessarily fans of hip hop. They

746
00:35:15,600 --> 00:35:17,239
Speaker 3: have a voice in You got.

747
00:35:17,200 --> 00:35:20,120
Speaker 1: Casuals everywhere though, Yeah, but oh you mean the ones in.

748
00:35:20,239 --> 00:35:24,120
Speaker 3: Charge not even necessarily in that too. But also just

749
00:35:24,239 --> 00:35:26,840
Speaker 3: like when it comes to like some of the commentary

750
00:35:27,000 --> 00:35:29,640
Speaker 3: that is bigger, it's from people who aren't even like

751
00:35:29,719 --> 00:35:30,640
Speaker 3: really hip hop fans.

752
00:35:30,680 --> 00:35:33,000
Speaker 1: They're like, but they can't tell you what they are

753
00:35:33,040 --> 00:35:33,840
Speaker 1: fans of anyway.

754
00:35:34,080 --> 00:35:37,440
Speaker 2: I mean, like me, you know, I like who I like, like,

755
00:35:37,680 --> 00:35:41,560
Speaker 2: for example, I grew up with Rolling Stones, Lan Zeppelin,

756
00:35:41,840 --> 00:35:46,600
Speaker 2: who beatles right, But then there's another category R EO Speedwagon,

757
00:35:46,719 --> 00:35:47,880
Speaker 2: Foreigner sticks.

758
00:35:48,320 --> 00:35:50,800
Speaker 3: They take care of that thing too, you know, the eighties,

759
00:35:50,840 --> 00:35:53,359
Speaker 3: And I just barely, like, in the last five six years,

760
00:35:53,400 --> 00:35:56,719
Speaker 3: have gotten very appreciative of hain't that trip some of

761
00:35:56,800 --> 00:35:58,960
Speaker 3: that like seventies eighties rock shit.

762
00:35:59,320 --> 00:36:02,080
Speaker 1: Me too, I mean, and I grew up alongside of it.

763
00:36:02,920 --> 00:36:05,279
Speaker 3: Some mushrooms and I threw on the fucking one of

764
00:36:05,320 --> 00:36:07,160
Speaker 3: these nights by the Eagles, and I was like, right,

765
00:36:07,320 --> 00:36:08,600
Speaker 3: like you was like, YO.

766
00:36:08,800 --> 00:36:13,160
Speaker 1: For real, thorough raise thorough for sure.

767
00:36:13,800 --> 00:36:16,719
Speaker 3: Yeah, man, but within your record kind of saw YO

768
00:36:17,840 --> 00:36:21,759
Speaker 3: as a statesman of hip hop, as one of the

769
00:36:21,840 --> 00:36:27,359
Speaker 3: guys who built this shit. What was your just fan perspective,

770
00:36:28,040 --> 00:36:32,680
Speaker 3: Chuck D perspective on Kendrick Lamar and Drake and just

771
00:36:32,800 --> 00:36:35,640
Speaker 3: Kendrick's last twelve months. It's been pretty crazy and the

772
00:36:35,719 --> 00:36:38,600
Speaker 3: halftime show, your boy Samuel L. Jackson is an amazing guy.

773
00:36:38,840 --> 00:36:41,480
Speaker 2: I thought that was a wonderful introduction to rap, but

774
00:36:41,600 --> 00:36:43,560
Speaker 2: it was you know, a lot of thinking rap music

775
00:36:43,560 --> 00:36:46,080
Speaker 2: and hip hop is top heavy. You know, when I

776
00:36:46,120 --> 00:36:48,560
Speaker 2: look at your walls, I see I see, I see

777
00:36:48,880 --> 00:36:52,240
Speaker 2: top middle and also start up coming in the bottom.

778
00:36:52,680 --> 00:36:54,080
Speaker 2: If you're going to come on, man, if you're going

779
00:36:54,160 --> 00:36:56,239
Speaker 2: to be like a ball fan of NBA, it's not

780
00:36:56,400 --> 00:36:58,320
Speaker 2: all about Kobe and Jordan.

781
00:36:58,440 --> 00:37:00,959
Speaker 1: It's like could be like somebody who's like the sixth

782
00:37:01,080 --> 00:37:03,080
Speaker 1: Landry Shammitt. You know what I'm saying. Like, if you don't,

783
00:37:03,320 --> 00:37:05,800
Speaker 1: you got to appreciate, uh, you know, thoroughness in it.

784
00:37:05,920 --> 00:37:08,640
Speaker 3: And you appreciate Derek Fisher too, exactly so.

785
00:37:09,600 --> 00:37:12,279
Speaker 2: And so the wide body aspect of hip hop and

786
00:37:12,400 --> 00:37:15,440
Speaker 2: rap I'm into when it comes down to like, oh yeah,

787
00:37:15,640 --> 00:37:18,960
Speaker 2: they you know it's Drake and Kendrick. I'm like, that's

788
00:37:19,040 --> 00:37:22,239
Speaker 2: casual talk, right, yeah, the casuals. It's like like I

789
00:37:22,320 --> 00:37:24,120
Speaker 2: talked to people, I'm a Nick fan, man, They're like,

790
00:37:24,400 --> 00:37:28,200
Speaker 2: oh yeah, well I like I like, yeah, I like Brunson.

791
00:37:28,239 --> 00:37:31,359
Speaker 2: Yeah right, And it's not who else is on the Knicks. Well,

792
00:37:31,440 --> 00:37:35,719
Speaker 2: you know the guys that's with Brunson, right, Okay.

793
00:37:35,760 --> 00:37:37,759
Speaker 3: What's the guy? The cat guy Cat?

794
00:37:37,960 --> 00:37:40,160
Speaker 1: All the conversations you have with your mom, Man.

795
00:37:40,719 --> 00:37:42,560
Speaker 3: How did you watch last night's game?

796
00:37:43,239 --> 00:37:45,840
Speaker 1: Come on, man, I got scars all over my body today.

797
00:37:46,160 --> 00:37:48,880
Speaker 3: But you know what listen, I just I have to

798
00:37:48,960 --> 00:37:51,279
Speaker 3: do thirty eight when you saw this, you thirty eight?

799
00:37:51,360 --> 00:37:53,160
Speaker 1: How old are the How old are the players?

800
00:37:53,960 --> 00:37:56,120
Speaker 3: Uh, there're probably ten years more.

801
00:37:57,800 --> 00:38:01,240
Speaker 1: So they experience a level that they they haven't experienced before.

802
00:38:01,719 --> 00:38:03,520
Speaker 3: All those guys on both teams for sure.

803
00:38:03,600 --> 00:38:06,319
Speaker 1: Yeah, for you know, you let young guys do their

804
00:38:06,360 --> 00:38:07,399
Speaker 1: thing until they figure it out.

805
00:38:07,600 --> 00:38:08,400
Speaker 3: Yeah, it was definite.

806
00:38:08,440 --> 00:38:12,120
Speaker 2: They was if they already should have been knowing about

807
00:38:12,160 --> 00:38:14,880
Speaker 2: that level, they'd be forty five years old, but their

808
00:38:14,920 --> 00:38:17,799
Speaker 2: body wouldn't be able to work. Like so, every time

809
00:38:17,880 --> 00:38:20,440
Speaker 2: I watch sports, I said, you know, god, you know,

810
00:38:20,680 --> 00:38:24,040
Speaker 2: don't make that Pass't no better than that. I checked myself.

811
00:38:24,360 --> 00:38:27,760
Speaker 2: I'm like, you know what, this the first Eastern Conference finals.

812
00:38:28,440 --> 00:38:29,839
Speaker 2: He twenty four years old?

813
00:38:30,880 --> 00:38:31,359
Speaker 1: Yo, man?

814
00:38:31,600 --> 00:38:34,880
Speaker 3: Let young be young man. Yeah, it was definitely, it was.

815
00:38:35,000 --> 00:38:37,200
Speaker 3: It just it was some ninety shit for me to

816
00:38:37,280 --> 00:38:40,400
Speaker 3: see those two teams against each other, because you remember

817
00:38:40,480 --> 00:38:42,200
Speaker 3: back in the day, you would when it was like

818
00:38:42,480 --> 00:38:44,360
Speaker 3: it was always the Knicks and Heat or the Knicks

819
00:38:44,400 --> 00:38:45,120
Speaker 3: and Pacers.

820
00:38:44,880 --> 00:38:47,640
Speaker 1: Those our enemies. Man, we beat the Celtics. The Celtics

821
00:38:47,680 --> 00:38:48,959
Speaker 1: ain't never been the Knicks enemy.

822
00:38:49,080 --> 00:38:51,360
Speaker 2: Now it was the Heat, yeah, and the Pacers The

823
00:38:51,400 --> 00:38:55,880
Speaker 2: Celtics have always been big bro Nicks little bro and

824
00:38:56,120 --> 00:38:57,719
Speaker 2: every time the Celtics will win.

825
00:38:57,800 --> 00:39:01,400
Speaker 1: As I'm telling you, back in the fifties, we we

826
00:39:01,800 --> 00:39:04,520
Speaker 1: we we we we were losers. Yeah.

827
00:39:04,520 --> 00:39:06,680
Speaker 3: I feel like in the nineties the Celtics were losers

828
00:39:07,040 --> 00:39:07,560
Speaker 3: and the Knicks.

829
00:39:08,160 --> 00:39:11,280
Speaker 2: So that's been the Knicks, that's been the Celtics, enemies

830
00:39:11,320 --> 00:39:15,520
Speaker 2: of the Lakers and also the Philadelphia seventy sixes. Those

831
00:39:15,600 --> 00:39:17,400
Speaker 2: are you know what I'm saying, That's where that can

832
00:39:17,719 --> 00:39:21,680
Speaker 2: Nick's heat paces. I got to play in Boston two

833
00:39:21,719 --> 00:39:25,680
Speaker 2: days from now, so I was on Twitter X or

834
00:39:25,680 --> 00:39:27,919
Speaker 2: whatever the hell they want to call it, and I'm

835
00:39:28,080 --> 00:39:30,480
Speaker 2: I'm a little I'm a rowdy as a texting fan.

836
00:39:30,719 --> 00:39:33,400
Speaker 2: Of course, I'm like, beat them asses, And people are like,

837
00:39:33,440 --> 00:39:35,399
Speaker 2: oh my god, Chuck D said that, Oh my god,

838
00:39:35,480 --> 00:39:38,000
Speaker 2: you they all vertebrate hurt. And I'm like, no, this

839
00:39:38,160 --> 00:39:41,239
Speaker 2: ain't me. But but during the game this you look,

840
00:39:41,360 --> 00:39:42,160
Speaker 2: he ain't sitting.

841
00:39:42,000 --> 00:39:42,919
Speaker 1: Next to me. Yeah.

842
00:39:42,920 --> 00:39:44,680
Speaker 3: I feel like there's like I always tell people, there's

843
00:39:44,680 --> 00:39:47,080
Speaker 3: like sports hate, which isn't real hate, but it's like

844
00:39:47,160 --> 00:39:48,759
Speaker 3: I could say, like I hate a player, but.

845
00:39:49,320 --> 00:39:52,520
Speaker 2: Yeah, I hate paces and I hate the heat right

846
00:39:52,800 --> 00:39:55,440
Speaker 2: and here's the crazy thing about it, keV. I got

847
00:39:55,600 --> 00:39:57,520
Speaker 2: fans in Miami, and I got fans in the Indian

848
00:39:57,560 --> 00:39:59,719
Speaker 2: African for sure. But I said, this is this Saint

849
00:39:59,760 --> 00:40:02,799
Speaker 2: Chuck d. This is Chuck a fan of the New

850
00:40:02,880 --> 00:40:05,080
Speaker 2: York Knicks, and I hate y'all asses.

851
00:40:05,320 --> 00:40:06,759
Speaker 3: I think if y'all get through this, I think I

852
00:40:06,800 --> 00:40:08,439
Speaker 3: think there's a good chance. I feel like, I feel

853
00:40:08,440 --> 00:40:11,920
Speaker 3: like you guys matchup well against the Thunder. I'm assuming

854
00:40:11,960 --> 00:40:13,040
Speaker 3: the Thunder went already.

855
00:40:12,920 --> 00:40:16,680
Speaker 1: Game by game. I hope we we it was game one.

856
00:40:16,840 --> 00:40:19,719
Speaker 2: Man only young heads is like, oh my god, well

857
00:40:19,719 --> 00:40:22,000
Speaker 2: we you know, like you know, like in New York,

858
00:40:22,080 --> 00:40:25,000
Speaker 2: you know, outside the garden, this is Gooden Central Station.

859
00:40:25,160 --> 00:40:25,919
Speaker 1: Man, for sure.

860
00:40:26,000 --> 00:40:29,000
Speaker 2: You know anybody it's like, oh, they should walk around

861
00:40:29,080 --> 00:40:32,799
Speaker 2: with Indiana paces Jersey outside that guard.

862
00:40:32,880 --> 00:40:33,520
Speaker 1: You shouldn't know.

863
00:40:34,120 --> 00:40:38,400
Speaker 3: One of my uh favorite moments at the iHeart Festival

864
00:40:38,400 --> 00:40:40,480
Speaker 3: over the last few years was you you guys doing

865
00:40:40,520 --> 00:40:44,120
Speaker 3: the iHeart Festival, because iHeart festivals. Like I remember when

866
00:40:44,120 --> 00:40:46,000
Speaker 3: we saw the lineup, I was like, oh, because usually

867
00:40:46,040 --> 00:40:49,640
Speaker 3: I'm backstage running around drinking. I was like, oh no.

868
00:40:50,200 --> 00:40:54,520
Speaker 3: Me and Doc Winner we watched while eating mushrooms, watched

869
00:40:54,560 --> 00:40:56,440
Speaker 3: you guys, fucking kill that show.

870
00:40:56,800 --> 00:41:00,239
Speaker 2: That was running around, but it was real show and yeah,

871
00:41:00,360 --> 00:41:02,440
Speaker 2: yeah it was a good, like shiny experience.

872
00:41:03,000 --> 00:41:06,640
Speaker 3: Yeah, it was definitely. It's always a shiny your experience.

873
00:41:06,719 --> 00:41:08,680
Speaker 3: It's like it's like hanging out at a commercial and

874
00:41:08,800 --> 00:41:11,680
Speaker 3: doing doing a life. Yeah it's a TV show.

875
00:41:11,719 --> 00:41:14,080
Speaker 2: And let me tell you doing public getemy so you

876
00:41:14,160 --> 00:41:16,279
Speaker 2: got you gotta go through training and that was one

877
00:41:16,320 --> 00:41:18,680
Speaker 2: of those shows that like, it ain't training, it's just

878
00:41:18,760 --> 00:41:20,400
Speaker 2: like kind of doing it with a little bit of

879
00:41:20,480 --> 00:41:20,920
Speaker 2: warm up.

880
00:41:21,000 --> 00:41:23,480
Speaker 1: But you know the regular tour thing you got trained

881
00:41:23,560 --> 00:41:25,560
Speaker 1: for sure, you guys.

882
00:41:26,320 --> 00:41:30,040
Speaker 3: And you know you mentioned the public enemy logo, whether

883
00:41:30,080 --> 00:41:32,000
Speaker 3: it's people wearing the shirt, whether I mean I got

884
00:41:32,080 --> 00:41:36,200
Speaker 3: public going to be Vans. The licensing game for public

885
00:41:36,320 --> 00:41:38,800
Speaker 3: enemies got to be crazy, like do you are you?

886
00:41:39,080 --> 00:41:41,560
Speaker 1: Are you? I used to be on top of it,

887
00:41:41,719 --> 00:41:44,080
Speaker 1: and is it turned into its own things?

888
00:41:44,440 --> 00:41:49,000
Speaker 2: Pop used to have merchandise tool, merchandise company. Now it's

889
00:41:49,080 --> 00:41:50,880
Speaker 2: just like out of our hands. So it has its

890
00:41:50,920 --> 00:41:54,440
Speaker 2: own thing that you get checked up on. But my

891
00:41:54,600 --> 00:41:55,920
Speaker 2: whole thing is like I had to get with a

892
00:41:56,000 --> 00:41:59,239
Speaker 2: bigger situation because every time I see someone with it,

893
00:41:59,440 --> 00:42:02,040
Speaker 2: I am a and Navana and they like are twelve

894
00:42:02,120 --> 00:42:03,920
Speaker 2: and eleven years old and for.

895
00:42:04,000 --> 00:42:05,480
Speaker 1: Sure and wearing a Beatles shirt.

896
00:42:06,280 --> 00:42:09,600
Speaker 2: I get competitive, man, I'm like, damn man, Yeah, you know,

897
00:42:09,960 --> 00:42:11,600
Speaker 2: how do we get up in those ranks?

898
00:42:11,640 --> 00:42:12,240
Speaker 1: It's Target.

899
00:42:12,880 --> 00:42:16,200
Speaker 3: It's just Target, Yeah, because Target's got the sick shirts

900
00:42:16,239 --> 00:42:18,279
Speaker 3: for like eleven bucks. Yeah, and you'll be in there

901
00:42:18,320 --> 00:42:20,000
Speaker 3: be like damn Tar got a Woot tank shirt.

902
00:42:20,120 --> 00:42:22,200
Speaker 1: Yeah exactly, I'll take that.

903
00:42:23,440 --> 00:42:29,800
Speaker 3: What keeps you so inspired in just like you you

904
00:42:29,840 --> 00:42:31,640
Speaker 3: feel like you still got the battery in your back

905
00:42:31,719 --> 00:42:34,600
Speaker 3: to compete to work at your age man.

906
00:42:34,680 --> 00:42:37,440
Speaker 2: Like number one, I've been doing the radio show every

907
00:42:37,480 --> 00:42:39,359
Speaker 2: week for sixteen years in a row. So I see,

908
00:42:39,520 --> 00:42:43,480
Speaker 2: I see everything come through it through me. I curate

909
00:42:43,840 --> 00:42:47,240
Speaker 2: at least as many. It's five hundred thousand saungs and artists,

910
00:42:47,880 --> 00:42:51,160
Speaker 2: no matter what else they come from, whether it's the Drakes,

911
00:42:51,520 --> 00:42:54,600
Speaker 2: down to the brother Ali's down to like, you.

912
00:42:54,640 --> 00:42:58,120
Speaker 3: Know, shout to brother Manhred just here.

913
00:42:58,280 --> 00:43:02,560
Speaker 2: My brother brother, and you know, down to anybody. So yeah,

914
00:43:02,600 --> 00:43:05,279
Speaker 2: I'm in the game, you know. And the game is

915
00:43:05,360 --> 00:43:09,120
Speaker 2: sharpened by the radio shows, rap station, the apps.

916
00:43:09,200 --> 00:43:09,920
Speaker 1: I've built.

917
00:43:11,600 --> 00:43:14,560
Speaker 2: The Spit Slam record label with my partner Sea Doc,

918
00:43:14,880 --> 00:43:18,640
Speaker 2: you know, put together the radio Armageddon, and there's always

919
00:43:18,800 --> 00:43:20,839
Speaker 2: you know, hip hop gods or a man flat Line,

920
00:43:21,640 --> 00:43:24,920
Speaker 2: which is basically classic artists and you know, been doing

921
00:43:24,960 --> 00:43:27,320
Speaker 2: it for over twenty years, that's the category we call it,

922
00:43:27,760 --> 00:43:30,040
Speaker 2: and a station and the show that he has, he's

923
00:43:30,080 --> 00:43:32,520
Speaker 2: been doing it. So my whole fight is to make

924
00:43:32,560 --> 00:43:36,279
Speaker 2: sure that they get known for all the work they

925
00:43:36,360 --> 00:43:38,920
Speaker 2: put in all these years. It ain't about me, It's

926
00:43:38,920 --> 00:43:41,759
Speaker 2: about damn. You know. Can I make Sea Doc like

927
00:43:41,960 --> 00:43:45,480
Speaker 2: really beat Damn? At least somebody that could say, yo,

928
00:43:45,600 --> 00:43:48,120
Speaker 2: he's in the top twenty five or flat Line. He's

929
00:43:48,120 --> 00:43:50,680
Speaker 2: been doing his shows from up from Seattle, you know

930
00:43:50,800 --> 00:43:53,560
Speaker 2: for the last thirty years and for the last sixteen

931
00:43:53,640 --> 00:43:54,479
Speaker 2: years on rap station.

932
00:43:54,920 --> 00:43:56,880
Speaker 1: Damn? Could I get him notoriety? Right?

933
00:43:57,160 --> 00:43:57,200
Speaker 2: Or?

934
00:43:57,440 --> 00:43:58,239
Speaker 1: Do you know?

935
00:43:58,320 --> 00:44:00,719
Speaker 2: The only ones that get notoriety is you know, here's

936
00:44:00,719 --> 00:44:02,880
Speaker 2: a big corporation. They're gonna flood it with money and

937
00:44:02,960 --> 00:44:05,719
Speaker 2: promotion and you know, and that's how you get big.

938
00:44:05,960 --> 00:44:09,000
Speaker 2: So if they don't get big, I'm a failure.

939
00:44:09,480 --> 00:44:13,359
Speaker 3: Yo, do you did you see? Because there's so many,

940
00:44:13,520 --> 00:44:16,360
Speaker 3: so many of my homies who got hip to you

941
00:44:16,480 --> 00:44:18,440
Speaker 3: guys because of Tony Hawk's pro skater.

942
00:44:19,000 --> 00:44:20,879
Speaker 1: Yeah, Tony Hawk.

943
00:44:20,920 --> 00:44:23,880
Speaker 3: And before that like Bring the Noise was like I

944
00:44:23,960 --> 00:44:26,680
Speaker 3: felt like like anytime you play Tony Hawk, that song

945
00:44:26,760 --> 00:44:27,640
Speaker 3: is getting played.

946
00:44:27,880 --> 00:44:30,879
Speaker 1: Yeah. Yeah, yeah, Tony Hawk's a big uh, a big.

947
00:44:31,320 --> 00:44:33,400
Speaker 3: It was like that and B Boy document that all

948
00:44:33,440 --> 00:44:35,680
Speaker 3: of a sudden, like little white kids all over the

949
00:44:35,719 --> 00:44:38,359
Speaker 3: country didn't know they were becoming like backpack fans because

950
00:44:38,360 --> 00:44:40,439
Speaker 3: they're like listening to most stef and P and shit.

951
00:44:40,520 --> 00:44:42,919
Speaker 2: You know, A's a trip to it. He's a great

952
00:44:44,400 --> 00:44:47,160
Speaker 2: fan and peer, you know, Tony Hawk and the whole thing.

953
00:44:47,200 --> 00:44:49,719
Speaker 2: And before that was the grand Theft Auto thing. Yeah.

954
00:44:50,080 --> 00:44:51,840
Speaker 2: When I was I think I was a DJ. I

955
00:44:51,880 --> 00:44:54,600
Speaker 2: don't play video games. I couldn't tell you A from

956
00:44:54,680 --> 00:44:57,360
Speaker 2: B from anything, but I get the feedback. You know

957
00:44:57,400 --> 00:45:00,879
Speaker 2: what I'm saying. I'm not a skater because I'm from

958
00:45:00,920 --> 00:45:04,320
Speaker 2: the seventies. I'm a roller skater. So at back in

959
00:45:04,440 --> 00:45:07,480
Speaker 2: the seventies, we danced, right and you want to get

960
00:45:07,520 --> 00:45:09,799
Speaker 2: the girls roller skating or dance on the floor.

961
00:45:10,200 --> 00:45:12,880
Speaker 1: Dancing is no longer an element in today's music.

962
00:45:13,320 --> 00:45:16,080
Speaker 3: It sure isn't. I'll tell you that. Look, you know

963
00:45:16,160 --> 00:45:19,520
Speaker 3: friends that get married, Yeah, there's dancing at weddings still.

964
00:45:20,120 --> 00:45:22,239
Speaker 2: But not between the dudes. A lot of the times

965
00:45:22,280 --> 00:45:26,279
Speaker 2: you see the ladies dancing together. Yeah, I feel like

966
00:45:26,400 --> 00:45:27,680
Speaker 2: even the dudes is on the wall.

967
00:45:27,800 --> 00:45:30,680
Speaker 3: You know, do drink on and sure you dudes don't

968
00:45:30,719 --> 00:45:31,719
Speaker 3: dance anymore. They're too cool.

969
00:45:32,239 --> 00:45:35,319
Speaker 2: The mean back in the day, they was cool too.

970
00:45:35,880 --> 00:45:37,920
Speaker 2: But my job as the DJ is to yell at

971
00:45:37,960 --> 00:45:40,200
Speaker 2: them and get them off the wall, right right. You

972
00:45:40,520 --> 00:45:42,799
Speaker 2: also la culture to us all how to dance too,

973
00:45:42,840 --> 00:45:46,279
Speaker 2: because you had soul trained. Soul Train taught all of

974
00:45:46,440 --> 00:45:49,560
Speaker 2: us like get off the wall and get down and

975
00:45:49,960 --> 00:45:52,879
Speaker 2: big up to Don Cornelis because that was right here

976
00:45:52,920 --> 00:45:57,399
Speaker 2: in town. And for years you wasn't a big black

977
00:45:57,480 --> 00:45:59,040
Speaker 2: act until you went to Soul Train.

978
00:46:00,239 --> 00:46:02,520
Speaker 3: If you had to pick one of your babies, it

979
00:46:02,640 --> 00:46:04,960
Speaker 3: takes a nation or fear of a black planet.

980
00:46:05,360 --> 00:46:09,880
Speaker 1: Which album you followed? Baseball, Yes, loosely.

981
00:46:10,080 --> 00:46:15,400
Speaker 2: That's like Roger Morris's season and then the next year

982
00:46:15,480 --> 00:46:18,359
Speaker 2: he had fifty four, So it's like one's an upper

983
00:46:18,440 --> 00:46:21,640
Speaker 2: deck shot. The other one is like a line drive shot.

984
00:46:22,200 --> 00:46:26,000
Speaker 2: So those are two home runs that I don't think.

985
00:46:26,640 --> 00:46:29,000
Speaker 2: I don't think I could cook all betyet and pitches.

986
00:46:29,400 --> 00:46:31,520
Speaker 2: One is a fastball one hundred and twenty miles an hour,

987
00:46:31,640 --> 00:46:33,840
Speaker 2: others all Break a split Finger.

988
00:46:33,600 --> 00:46:35,439
Speaker 1: That to Oh my God, you need them both, Yeah,

989
00:46:35,480 --> 00:46:36,080
Speaker 1: you need them both.

990
00:46:36,160 --> 00:46:40,560
Speaker 2: So my favorite, crazy enough, my favorite record that I

991
00:46:40,960 --> 00:46:44,800
Speaker 2: liked over the last in this century was what Gary

992
00:46:44,880 --> 00:46:47,880
Speaker 2: g Wiz produced called Man Plans God Lasts. Okay, the

993
00:46:47,920 --> 00:46:51,560
Speaker 2: whole album is twenty nine minutes, and the whole goal

994
00:46:51,880 --> 00:46:55,200
Speaker 2: to do the album was if we could do eight

995
00:46:55,280 --> 00:46:59,560
Speaker 2: to nine cut or ten cuts under two minutes, that's

996
00:46:59,680 --> 00:47:02,719
Speaker 2: just to do bro. But but the way he put

997
00:47:02,800 --> 00:47:05,080
Speaker 2: his foot into it to That record came out twenty

998
00:47:05,160 --> 00:47:07,680
Speaker 2: fifteen and we performed quite a bit on it.

999
00:47:08,280 --> 00:47:10,240
Speaker 1: You know, it was awesome.

1000
00:47:11,840 --> 00:47:16,000
Speaker 3: You are in one of the greatest groups of all time.

1001
00:47:16,640 --> 00:47:19,279
Speaker 3: If you had to put your guys's yourself in the

1002
00:47:19,400 --> 00:47:21,840
Speaker 3: Mount Rushmore, who's on the Mount Rushmore of rap groups

1003
00:47:21,920 --> 00:47:24,160
Speaker 3: with you? There's three more spots if you had to

1004
00:47:24,200 --> 00:47:28,320
Speaker 3: pick three, maybe your personal taste groups of just rap Roop.

1005
00:47:28,520 --> 00:47:37,120
Speaker 2: Yeah, Cypress Hill, Okay, Run, dmc WU, Tang Clan. And

1006
00:47:37,239 --> 00:47:39,600
Speaker 2: I'm not going to count duos because you know, you

1007
00:47:39,719 --> 00:47:40,719
Speaker 2: get in the outcasts.

1008
00:47:40,920 --> 00:47:44,000
Speaker 3: Yeah, because you get into the duo Space Mob, Deep Run,

1009
00:47:44,080 --> 00:47:44,960
Speaker 3: the Jewels of the Duo.

1010
00:47:45,160 --> 00:47:47,920
Speaker 2: Yeah, Yeah, yeah, duo, so their groups, but in that

1011
00:47:48,120 --> 00:47:51,279
Speaker 2: you know, right, and you got to put e gm

1012
00:47:51,360 --> 00:47:53,560
Speaker 2: D like at the top of those duos, the duos

1013
00:47:53,600 --> 00:47:57,719
Speaker 2: American paris just amazing. But I'll say, like when you

1014
00:47:57,840 --> 00:48:02,359
Speaker 2: got the full dimension d D, j MC's other things

1015
00:48:02,440 --> 00:48:07,080
Speaker 2: like Cypress Hill, rou Tang Run DMC.

1016
00:48:08,280 --> 00:48:09,800
Speaker 1: Personally, Houdini.

1017
00:48:11,160 --> 00:48:14,080
Speaker 3: Doesn't get there. They're underappreciated when we talk about that.

1018
00:48:14,200 --> 00:48:14,560
Speaker 3: For sure.

1019
00:48:15,800 --> 00:48:20,760
Speaker 2: Houdini obliterated the eighties and performance and records and crossed

1020
00:48:20,800 --> 00:48:26,040
Speaker 2: over in the areas you know. So yeah, and to me,

1021
00:48:26,600 --> 00:48:30,960
Speaker 2: I'm a person that's missed groups, you know, I missed groups,

1022
00:48:31,239 --> 00:48:34,800
Speaker 2: uh dilated people's as a group and then somebody you

1023
00:48:34,960 --> 00:48:37,440
Speaker 2: travel with although it was two people, but it was

1024
00:48:37,480 --> 00:48:38,320
Speaker 2: also DJ.

1025
00:48:39,560 --> 00:48:41,839
Speaker 3: Was very instrumental in their live show and it cuts.

1026
00:48:42,840 --> 00:48:44,120
Speaker 1: Yeah, that's a group, you know what I'm saying.

1027
00:48:45,600 --> 00:48:48,240
Speaker 2: And yeah, not to say epm D didn't have scratched also,

1028
00:48:48,480 --> 00:48:51,640
Speaker 2: so you get in the vague areas like that, but.

1029
00:48:52,200 --> 00:48:55,560
Speaker 3: Was like an official. He had his own records on

1030
00:48:55,680 --> 00:48:56,680
Speaker 3: the on the album.

1031
00:48:57,160 --> 00:49:00,120
Speaker 2: Yeah, I thought that the West Coast held on the

1032
00:49:00,160 --> 00:49:04,279
Speaker 2: groups a little bit more before they went into corporation,

1033
00:49:04,520 --> 00:49:06,520
Speaker 2: saying well, we're only going to sign the solo act.

1034
00:49:06,640 --> 00:49:06,799
Speaker 1: Yeah.

1035
00:49:06,880 --> 00:49:08,400
Speaker 3: J five was dope, drastic.

1036
00:49:08,800 --> 00:49:12,279
Speaker 1: Oh my god, J five, I mean big up to

1037
00:49:13,640 --> 00:49:15,120
Speaker 1: I do hiro Oh.

1038
00:49:15,920 --> 00:49:22,960
Speaker 2: So I do graphic illustrations, So I've released seven illustrated books.

1039
00:49:23,840 --> 00:49:26,800
Speaker 2: But so I know people who are artists in the

1040
00:49:27,320 --> 00:49:32,080
Speaker 2: hip hop fields. So people like Charlie Charlie Tuna and one.

1041
00:49:32,000 --> 00:49:34,719
Speaker 3: Of the best voices, oh my god, in tones in

1042
00:49:34,760 --> 00:49:37,440
Speaker 3: hip hop history is Charlie Tuneman. Yeah, and then went

1043
00:49:37,480 --> 00:49:39,240
Speaker 3: on to have it. He's in another great group.

1044
00:49:39,600 --> 00:49:41,760
Speaker 1: Which is fucking exactly crazy.

1045
00:49:41,880 --> 00:49:44,960
Speaker 3: Yeah, crazy, Charlie Tuna slept on that. And that dude

1046
00:49:45,040 --> 00:49:46,600
Speaker 3: is huge. I remember I met him as a kid.

1047
00:49:46,719 --> 00:49:49,040
Speaker 1: I was like, he's a tall dude.

1048
00:49:49,080 --> 00:49:50,840
Speaker 3: Man, his voice matchress.

1049
00:49:52,480 --> 00:49:53,600
Speaker 1: My voice doesn't match me.

1050
00:49:54,160 --> 00:49:56,400
Speaker 2: People used to say, Man, I thought somebody's gonna come

1051
00:49:56,440 --> 00:50:00,160
Speaker 2: in here, like six foot five, three hundred pounds is like, uh,

1052
00:50:00,800 --> 00:50:05,759
Speaker 2: kars one, who's the most devastating greatest of all time

1053
00:50:05,960 --> 00:50:10,600
Speaker 2: rappers goat with plus and some it's a dude that

1054
00:50:10,840 --> 00:50:13,800
Speaker 2: you know, just like he's the only MC I know

1055
00:50:14,160 --> 00:50:17,560
Speaker 2: that come in the room and change the MC complexion

1056
00:50:17,640 --> 00:50:20,400
Speaker 2: of the room because he could come in and he

1057
00:50:21,480 --> 00:50:24,759
Speaker 2: does this too, Yo, who MC's here and nobody wants

1058
00:50:24,800 --> 00:50:25,680
Speaker 2: to say to the MC.

1059
00:50:26,560 --> 00:50:28,239
Speaker 3: Yeah, dude, I mean I remember when he was doing

1060
00:50:28,280 --> 00:50:29,719
Speaker 3: the Temple of Hip Hop shit when I was a

1061
00:50:29,800 --> 00:50:31,200
Speaker 3: kid and I got to go see him live, like

1062
00:50:31,920 --> 00:50:34,760
Speaker 3: it was like watching Like, yeah, it was crazy seeing

1063
00:50:34,800 --> 00:50:35,759
Speaker 3: kiris one for the first time.

1064
00:50:35,880 --> 00:50:39,360
Speaker 1: I was like another one stamina wires, which is important

1065
00:50:39,400 --> 00:50:39,600
Speaker 1: as that.

1066
00:50:41,080 --> 00:50:44,479
Speaker 3: You guys toured together too in quite a few times.

1067
00:50:44,560 --> 00:50:44,719
Speaker 1: Yeah.

1068
00:50:44,840 --> 00:50:47,279
Speaker 2: Yeah, as a as a young guy and as an

1069
00:50:47,320 --> 00:50:50,200
Speaker 2: older person. You know, then you got n w A

1070
00:50:51,000 --> 00:50:53,680
Speaker 2: I mean, which is a super group before wu Jang.

1071
00:50:53,760 --> 00:50:54,640
Speaker 2: Then he got the roots.

1072
00:50:55,040 --> 00:50:57,480
Speaker 3: Oh, the roots. He had the roots. Yeah, and then

1073
00:50:57,520 --> 00:51:01,360
Speaker 3: the roots too, like over time was more than just

1074
00:51:01,480 --> 00:51:03,640
Speaker 3: black thought. As an MC, dice were always in there

1075
00:51:03,719 --> 00:51:06,879
Speaker 3: and the group like yeah, the roots, honestly, the roots.

1076
00:51:06,960 --> 00:51:08,520
Speaker 3: The roots is in that conversation man.

1077
00:51:08,800 --> 00:51:11,360
Speaker 2: Well you know, then the roots come out of what

1078
00:51:11,520 --> 00:51:13,240
Speaker 2: the first hip hop bands, that's the Sonic.

1079
00:51:13,800 --> 00:51:16,760
Speaker 1: Then you did your underground, Yeah, Tupac comes.

1080
00:51:16,640 --> 00:51:18,920
Speaker 3: Out of that, Yeah, sex packet, and then you know,

1081
00:51:19,040 --> 00:51:20,239
Speaker 3: and you got the.

1082
00:51:20,320 --> 00:51:22,960
Speaker 1: Roots was the third man manifestation out of that.

1083
00:51:23,000 --> 00:51:25,160
Speaker 2: And then you had groups that came up that didn't

1084
00:51:25,160 --> 00:51:28,120
Speaker 2: get to support, like the Goats got dope.

1085
00:51:29,000 --> 00:51:31,759
Speaker 3: Yeah, I feel like, uh, there was a lot of

1086
00:51:32,000 --> 00:51:35,000
Speaker 3: like nineties rap groups that, like you said, like didn't

1087
00:51:35,040 --> 00:51:38,759
Speaker 3: necessarily that like if you knew you knew type like

1088
00:51:38,840 --> 00:51:39,800
Speaker 3: even like D I T. C.

1089
00:51:40,000 --> 00:51:43,480
Speaker 2: Like yeah, yeah, yeah, because they had they had a

1090
00:51:43,560 --> 00:51:46,160
Speaker 2: whole c of mcs that was able to get on

1091
00:51:46,280 --> 00:51:49,360
Speaker 2: Diamond's work and just I mean like people like O.

1092
00:51:49,600 --> 00:51:50,400
Speaker 3: C O.

1093
00:51:51,120 --> 00:51:52,000
Speaker 1: Giant Man.

1094
00:51:52,120 --> 00:51:53,719
Speaker 3: You know, it's crazy. Why do you think the group

1095
00:51:53,920 --> 00:51:55,959
Speaker 3: died in hip hop and N R and B Because

1096
00:51:55,960 --> 00:51:57,400
Speaker 3: I always had this conversation with R and B two

1097
00:51:57,400 --> 00:51:57,960
Speaker 3: because it's.

1098
00:51:57,840 --> 00:52:02,520
Speaker 1: Like easier when I was easier for to negotiate with

1099
00:52:02,640 --> 00:52:04,200
Speaker 1: one person. See.

1100
00:52:04,239 --> 00:52:06,839
Speaker 2: The problem is also when it came to Black Acts,

1101
00:52:07,280 --> 00:52:10,520
Speaker 2: destroy the group, take the solo member and you know

1102
00:52:10,719 --> 00:52:14,880
Speaker 2: so so so we're afraid of not only this renegotiation,

1103
00:52:15,160 --> 00:52:19,040
Speaker 2: but read negro negotiation and reading negotiation.

1104
00:52:19,440 --> 00:52:21,200
Speaker 1: That's the ship that they throw at Black Acts.

1105
00:52:22,719 --> 00:52:24,480
Speaker 3: Yeah, because if you think back, you know, bust the

1106
00:52:24,520 --> 00:52:27,319
Speaker 3: rhymes went solo. There's a bunch of the.

1107
00:52:27,440 --> 00:52:30,400
Speaker 2: Last thing they wanted is like eight people yelling in

1108
00:52:30,480 --> 00:52:32,560
Speaker 2: the office, Like they said, now we could just take

1109
00:52:32,640 --> 00:52:36,480
Speaker 2: one person and negotiate with that one person their lawyer.

1110
00:52:36,560 --> 00:52:38,760
Speaker 1: Oh you need a lawyer, by the way my brother.

1111
00:52:39,000 --> 00:52:42,480
Speaker 1: So they would, they would, they would mob up on

1112
00:52:42,600 --> 00:52:43,120
Speaker 1: the on the.

1113
00:52:43,360 --> 00:52:46,640
Speaker 3: They would Yeah, it's crazy because that still happens where

1114
00:52:47,840 --> 00:52:50,840
Speaker 3: management or the label will recommend you a lawyer.

1115
00:52:51,239 --> 00:52:53,560
Speaker 2: So they mobbed up telling you to go solo right

1116
00:52:54,920 --> 00:52:58,000
Speaker 2: as opposed that they mobbed up and you mobbed up, right,

1117
00:52:58,160 --> 00:52:59,000
Speaker 2: Ain't that's something right?

1118
00:52:59,760 --> 00:53:00,399
Speaker 1: I see?

1119
00:53:00,520 --> 00:53:03,440
Speaker 3: You know, you've always had a big voice when it

1120
00:53:03,520 --> 00:53:09,640
Speaker 3: comes to just like anything anything, sports, politics, et cetera.

1121
00:53:09,920 --> 00:53:12,520
Speaker 3: What is your thoughts just done? Like, you know, just

1122
00:53:12,600 --> 00:53:14,480
Speaker 3: everything that's happening in the world right now, we got

1123
00:53:14,760 --> 00:53:17,080
Speaker 3: you know, gods of shit is super sad what's happening

1124
00:53:17,120 --> 00:53:20,000
Speaker 3: over there. And it feels like every day there's some

1125
00:53:20,080 --> 00:53:22,040
Speaker 3: new wild shit that Trump's doing where you're like, what.

1126
00:53:22,560 --> 00:53:27,040
Speaker 2: Whippings of mass distraction to get everybody to be phyxiated

1127
00:53:27,120 --> 00:53:30,439
Speaker 2: on bread and circuses as they continue to do the dirt.

1128
00:53:30,680 --> 00:53:33,920
Speaker 2: And you know, it's very easy to detach the United

1129
00:53:33,960 --> 00:53:37,200
Speaker 2: States of American mind away from the world. People already

1130
00:53:37,239 --> 00:53:39,040
Speaker 2: ain't trying to look at the world as the world.

1131
00:53:39,080 --> 00:53:41,600
Speaker 2: They try to look at, you know, their own county

1132
00:53:41,760 --> 00:53:44,040
Speaker 2: and state as that, and they don't want to go

1133
00:53:44,120 --> 00:53:48,239
Speaker 2: any further. Just like ask at the normal California. How

1134
00:53:48,320 --> 00:53:49,759
Speaker 2: much of California did they see?

1135
00:53:50,320 --> 00:53:52,279
Speaker 1: That's true. You got people in laws have never been

1136
00:53:52,320 --> 00:53:53,000
Speaker 1: to bakers Field.

1137
00:53:53,080 --> 00:53:55,960
Speaker 3: Like, what the hello, Doug, I've been a Bakersfield you Yeah,

1138
00:53:56,200 --> 00:53:56,480
Speaker 3: there you go.

1139
00:53:56,680 --> 00:53:59,040
Speaker 1: But you did work in Bakersfield, right.

1140
00:54:00,000 --> 00:54:02,040
Speaker 3: I've been to Bakersfield. I'm on the radio in Bakersfield.

1141
00:54:02,400 --> 00:54:04,400
Speaker 3: I've been there enough times in my life where I'm like,

1142
00:54:04,440 --> 00:54:07,840
Speaker 3: I've seen it. Okay, Insne to ben to Fresno. Actually

1143
00:54:07,880 --> 00:54:08,720
Speaker 3: like Presnel tad.

1144
00:54:08,600 --> 00:54:10,880
Speaker 1: Bit Moore than a little bigger, little bigger, a little.

1145
00:54:10,680 --> 00:54:12,960
Speaker 3: Bigger, little bigger. They get the college shut to the bulldogs.

1146
00:54:13,000 --> 00:54:15,399
Speaker 2: Well, my thing is like people in the United States

1147
00:54:15,440 --> 00:54:18,319
Speaker 2: of America don't venture out to the United America for sure.

1148
00:54:18,480 --> 00:54:21,280
Speaker 2: And when it comes down to it, we'll talk politically.

1149
00:54:22,320 --> 00:54:26,120
Speaker 2: This country's run by counties. So when they talk about police,

1150
00:54:26,800 --> 00:54:29,279
Speaker 2: you know, to be a qualified police where you have

1151
00:54:29,360 --> 00:54:33,000
Speaker 2: to negotiate with human beings and people in Los Angeles

1152
00:54:33,120 --> 00:54:35,200
Speaker 2: or urban quarter called urban areas where a lot of

1153
00:54:35,280 --> 00:54:38,080
Speaker 2: melting pots goes on, you might not have to do

1154
00:54:38,160 --> 00:54:40,120
Speaker 2: it in a county where it's sports and all of

1155
00:54:40,160 --> 00:54:42,520
Speaker 2: a sudden, not only you are the the cop, but

1156
00:54:42,600 --> 00:54:45,920
Speaker 2: you the sheriff in town because eighty six people voted

1157
00:54:45,960 --> 00:54:48,879
Speaker 2: for you, and you get a chance to wear a gun,

1158
00:54:49,080 --> 00:54:51,640
Speaker 2: a badge and drive around in a tank.

1159
00:54:52,160 --> 00:54:54,840
Speaker 3: It's crazy because I can assume that you're to the

1160
00:54:54,880 --> 00:54:58,280
Speaker 3: point in your career where you've had interactions with police

1161
00:54:58,360 --> 00:54:59,320
Speaker 3: that are fans of you.

1162
00:55:00,160 --> 00:55:02,440
Speaker 2: Oh yeah, I've never had conflict with any police ever

1163
00:55:02,480 --> 00:55:04,440
Speaker 2: in my life. But and I was cat when I

1164
00:55:04,520 --> 00:55:06,480
Speaker 2: was going to college. I had to walk to it.

1165
00:55:06,800 --> 00:55:09,120
Speaker 2: I had to walk through a white, posh town.

1166
00:55:09,360 --> 00:55:12,319
Speaker 3: But so did the cops ever fuck with you guys

1167
00:55:12,520 --> 00:55:15,200
Speaker 3: because of you know, nine one one as a joke

1168
00:55:15,280 --> 00:55:16,640
Speaker 3: or some of these records. Did they ever give you

1169
00:55:16,680 --> 00:55:17,120
Speaker 3: any shit?

1170
00:55:17,560 --> 00:55:18,359
Speaker 1: Nah? Nah?

1171
00:55:18,600 --> 00:55:21,680
Speaker 2: Anyway, listen, the Nation Islam, right, and I work with

1172
00:55:21,760 --> 00:55:23,840
Speaker 2: the Nation pop is in the Nation of Islam.

1173
00:55:24,280 --> 00:55:25,600
Speaker 1: Number one, they teach you, number.

1174
00:55:25,440 --> 00:55:29,160
Speaker 2: One, to conduct yourself civilized, so no matter where you are,

1175
00:55:29,320 --> 00:55:32,960
Speaker 2: your language will save you half the time. You Also,

1176
00:55:33,200 --> 00:55:37,120
Speaker 2: the Nation Islam teaches its people to know the law

1177
00:55:37,200 --> 00:55:40,160
Speaker 2: wherever you live. You only fight the law when you

1178
00:55:40,280 --> 00:55:42,120
Speaker 2: know the law. You know it's unjust, and you know

1179
00:55:42,200 --> 00:55:45,279
Speaker 2: the best way to fight the law is collectively with

1180
00:55:45,440 --> 00:55:48,160
Speaker 2: an organized plan, because the law nine times out of

1181
00:55:48,239 --> 00:55:51,799
Speaker 2: ten might be against you, you'll stop by police. There's

1182
00:55:51,840 --> 00:55:55,040
Speaker 2: a language and there's a behavior to untwist you out

1183
00:55:55,080 --> 00:55:58,279
Speaker 2: of that situation that you govern. They don't govern you,

1184
00:55:59,160 --> 00:56:01,640
Speaker 2: they work for you. You, but you gotta have the

1185
00:56:01,800 --> 00:56:05,320
Speaker 2: language to make them understand that at jump the minute

1186
00:56:05,360 --> 00:56:07,440
Speaker 2: that if a cop come and pull you aside, and

1187
00:56:07,480 --> 00:56:10,879
Speaker 2: they already got and you know, a police pulling you over,

1188
00:56:11,000 --> 00:56:14,600
Speaker 2: the number one mission is to get home, right, So,

1189
00:56:14,960 --> 00:56:17,040
Speaker 2: and we know we got some asshole police out there,

1190
00:56:17,120 --> 00:56:20,440
Speaker 2: especially you go through like a boondock, you know, county.

1191
00:56:20,239 --> 00:56:21,120
Speaker 3: And they're just bored.

1192
00:56:23,200 --> 00:56:25,719
Speaker 1: Huh yeah, yeah, So you gotta.

1193
00:56:25,480 --> 00:56:28,160
Speaker 2: Go there and figure out like, all right, this dude, man,

1194
00:56:28,360 --> 00:56:31,680
Speaker 2: it's like, let me untwist it. Even on a bad day,

1195
00:56:32,800 --> 00:56:34,839
Speaker 2: figure out how to get on out and keep it moving,

1196
00:56:34,880 --> 00:56:37,000
Speaker 2: get up out of there. But you know, you were

1197
00:56:37,080 --> 00:56:41,479
Speaker 2: taught how to govern your language, how to govern, govern

1198
00:56:41,600 --> 00:56:45,200
Speaker 2: your human being. And even then you gonna run into

1199
00:56:45,280 --> 00:56:49,920
Speaker 2: some cracker situation that might be adversarial, but then you know,

1200
00:56:50,239 --> 00:56:53,239
Speaker 2: collectively you could figure out the language that that would

1201
00:56:53,280 --> 00:56:55,480
Speaker 2: move you on. I remember, like not too long ago

1202
00:56:55,960 --> 00:57:00,040
Speaker 2: in this state where I live here, I'm driving and

1203
00:57:00,280 --> 00:57:02,319
Speaker 2: my pops back in the day, but probably passed at

1204
00:57:02,320 --> 00:57:07,480
Speaker 2: twenty sixteen. He will always say, Chuck, you better stop

1205
00:57:07,600 --> 00:57:11,200
Speaker 2: at signs this whole get to the sign and roll.

1206
00:57:11,080 --> 00:57:14,400
Speaker 3: Through right, kind of slowly roll through, no complete stop tip.

1207
00:57:14,400 --> 00:57:16,920
Speaker 2: Right, yeah, yeah, my pop tell me this all the time. Now,

1208
00:57:17,000 --> 00:57:19,040
Speaker 2: I don't drive fast, right, so I'm up.

1209
00:57:19,080 --> 00:57:21,040
Speaker 3: But none of us really are coming to a complete stop.

1210
00:57:21,200 --> 00:57:23,480
Speaker 2: We should I know, I know, but then you know,

1211
00:57:23,680 --> 00:57:25,880
Speaker 2: the more you do it, then you get more relaxed

1212
00:57:25,880 --> 00:57:28,440
Speaker 2: and type of thing, you know. So sure enough, I

1213
00:57:28,520 --> 00:57:31,000
Speaker 2: get to stop sign. I kind of didn't go through

1214
00:57:31,640 --> 00:57:36,000
Speaker 2: cop right there right in the street. So I immediately

1215
00:57:36,280 --> 00:57:40,000
Speaker 2: pulled to the side immediately, like I start laughing, right,

1216
00:57:41,120 --> 00:57:43,720
Speaker 2: and he comes up to me, you know, seeing me

1217
00:57:43,880 --> 00:57:49,280
Speaker 2: laughing right, He started laughing right, and I like, yeah,

1218
00:57:49,400 --> 00:57:50,920
Speaker 2: my pops man was telling me about it.

1219
00:57:51,040 --> 00:57:54,040
Speaker 1: He said, yeah, you should listen to your pops already. There.

1220
00:57:54,160 --> 00:57:56,760
Speaker 1: I diffuse the air, right, you know what I'm saying.

1221
00:57:57,440 --> 00:58:00,320
Speaker 2: So, so as a man, you're taught to sometimes say

1222
00:58:00,360 --> 00:58:03,680
Speaker 2: when you air my bad, even in sports, it's like

1223
00:58:03,760 --> 00:58:05,520
Speaker 2: I threw the bad past, but at the same time

1224
00:58:05,560 --> 00:58:06,240
Speaker 2: you didn't catch it.

1225
00:58:06,680 --> 00:58:08,560
Speaker 1: You gotta sometimes say, you know what, I threw it wrong?

1226
00:58:08,680 --> 00:58:10,760
Speaker 1: My bad? You know you learn that from sports.

1227
00:58:11,200 --> 00:58:17,680
Speaker 2: In society, men teach their sons the language because basically,

1228
00:58:17,960 --> 00:58:20,120
Speaker 2: if you especially if you're black or a person of color,

1229
00:58:20,400 --> 00:58:23,480
Speaker 2: you want to be an adversarial situation, your language will

1230
00:58:23,520 --> 00:58:23,880
Speaker 2: save you.

1231
00:58:24,320 --> 00:58:26,160
Speaker 1: Your language will save you from getting a fight that

1232
00:58:26,280 --> 00:58:26,960
Speaker 1: you can't handle.

1233
00:58:27,360 --> 00:58:30,360
Speaker 3: I feel like too, that's why, like the nation is

1234
00:58:30,440 --> 00:58:32,280
Speaker 3: so dangerous to the establishment.

1235
00:58:32,920 --> 00:58:35,360
Speaker 2: Yeah, because they never talked about going around with guns.

1236
00:58:35,920 --> 00:58:39,240
Speaker 2: Their whole policy is like the listen, their minds have

1237
00:58:39,400 --> 00:58:43,080
Speaker 2: to be developed. Yeah, yeah, okay, Yeah, there's situations there

1238
00:58:43,520 --> 00:58:47,560
Speaker 2: where where adversary is guns, even a gun happy nation.

1239
00:58:48,040 --> 00:58:48,800
Speaker 1: Guns everywhere.

1240
00:58:48,920 --> 00:58:52,080
Speaker 2: But can you imagine if it was known for to

1241
00:58:52,200 --> 00:58:55,400
Speaker 2: be an organization with guns, they would have used the

1242
00:58:55,440 --> 00:58:59,800
Speaker 2: same cotel practice that they attempted to wipe out.

1243
00:59:00,480 --> 00:59:02,360
Speaker 3: I feel like it's interesting, Like I mean, in.

1244
00:59:02,440 --> 00:59:05,920
Speaker 2: This state, the Panthers used a policy of the right

1245
00:59:06,000 --> 00:59:10,360
Speaker 2: to bear arms as intellectuals in this state, and immediately

1246
00:59:11,640 --> 00:59:14,320
Speaker 2: crack of tactics was about rubbing them.

1247
00:59:14,200 --> 00:59:18,400
Speaker 3: Out because they they US law, use the law, and

1248
00:59:19,240 --> 00:59:20,600
Speaker 3: it was like, nigga, you got the nerve.

1249
00:59:21,120 --> 00:59:21,280
Speaker 1: Yeah.

1250
00:59:21,280 --> 00:59:22,640
Speaker 3: I always find it interesting. You know, I was talking

1251
00:59:22,680 --> 00:59:23,920
Speaker 3: to my boy. I don't know if you've heard the

1252
00:59:24,000 --> 00:59:27,720
Speaker 3: nineteen Keys. He's incredible. But we're just kind of talking

1253
00:59:27,960 --> 00:59:32,240
Speaker 3: a bit about why there's less taught about Elijah Muhammad

1254
00:59:32,280 --> 00:59:35,680
Speaker 3: than there is about other figures throughout history. And it's

1255
00:59:35,760 --> 00:59:38,840
Speaker 3: like it's that's like almost like purposeful by these you know,

1256
00:59:38,880 --> 00:59:41,600
Speaker 3: whoever's writing the fucking textbooks. Well, yeah, and you're not

1257
00:59:41,600 --> 00:59:43,160
Speaker 3: going to learn much about the Black Panthers if you

1258
00:59:43,240 --> 00:59:45,160
Speaker 3: go to school outside of like a little paragraph.

1259
00:59:45,320 --> 00:59:47,960
Speaker 2: And before we used to rely on family being able

1260
00:59:48,320 --> 00:59:51,200
Speaker 2: to transfer information down. Since everything comes to the screen,

1261
00:59:51,360 --> 00:59:54,479
Speaker 2: is expected that they're going to intentionally miss some things.

1262
00:59:54,560 --> 00:59:58,040
Speaker 2: So I always liking that there's no competition in the

1263
00:59:58,080 --> 01:00:02,040
Speaker 2: great leadership of people in the past before great leaders

1264
01:00:02,240 --> 01:00:04,400
Speaker 2: those are tools in the box. They're like, well, what

1265
01:00:04,440 --> 01:00:07,560
Speaker 2: do you think about Malcolm X, you know, versus Doctor King?

1266
01:00:07,680 --> 01:00:09,680
Speaker 2: I said, it is not a Drake, It's not a

1267
01:00:09,800 --> 01:00:12,440
Speaker 2: Drake and Kendrick battle and every little thing.

1268
01:00:12,520 --> 01:00:13,440
Speaker 3: It's like, it's not that.

1269
01:00:13,720 --> 01:00:16,200
Speaker 1: Malcolm is a tool of learning.

1270
01:00:16,320 --> 01:00:19,040
Speaker 2: Is he used the phillips head and doctor King was

1271
01:00:19,080 --> 01:00:21,960
Speaker 2: a flathead screwdriver, you know what I'm saying his tools.

1272
01:00:22,360 --> 01:00:24,400
Speaker 3: Doctor King came a little bit closer to the phillips

1273
01:00:24,400 --> 01:00:25,600
Speaker 3: head before he passed you know.

1274
01:00:26,200 --> 01:00:28,720
Speaker 1: Yeah, well, you know that's how you use your tools, and.

1275
01:00:30,600 --> 01:00:34,640
Speaker 2: Giants from our past are tools to actually make you

1276
01:00:34,760 --> 01:00:36,960
Speaker 2: understand how to get forward in your current and in

1277
01:00:37,040 --> 01:00:38,960
Speaker 2: the future, to be able to teach a little bit

1278
01:00:39,040 --> 01:00:39,200
Speaker 2: of it.

1279
01:00:39,400 --> 01:00:41,680
Speaker 3: I know you do the radio show. I feel like

1280
01:00:42,440 --> 01:00:45,840
Speaker 3: you could also. I mean, I saw so many artists

1281
01:00:45,840 --> 01:00:48,000
Speaker 3: are doing amazing podcasts, but I feel like you could

1282
01:00:48,680 --> 01:00:53,480
Speaker 3: do a podcast and that would just have conversations that

1283
01:00:53,560 --> 01:00:55,120
Speaker 3: nobody else has happened right now. Is that something you

1284
01:00:55,160 --> 01:00:58,120
Speaker 3: can consider doing At the time, you ain't got the time.

1285
01:00:58,640 --> 01:00:59,920
Speaker 3: That's two or three hours a week.

1286
01:01:00,400 --> 01:01:03,000
Speaker 2: And yeah, at the time, I don't have the brain

1287
01:01:03,800 --> 01:01:06,840
Speaker 2: space for it. I'd rather create the technology. I tell people,

1288
01:01:06,880 --> 01:01:08,840
Speaker 2: I say, you know what, rather than being on the show,

1289
01:01:09,160 --> 01:01:10,000
Speaker 2: get my app.

1290
01:01:10,200 --> 01:01:11,960
Speaker 3: Get my app and put your show on your show

1291
01:01:12,000 --> 01:01:12,200
Speaker 3: on it.

1292
01:01:12,480 --> 01:01:13,240
Speaker 1: I love it, Miliari.

1293
01:01:13,720 --> 01:01:16,000
Speaker 3: All right, So the album is out, Everyone go go

1294
01:01:16,200 --> 01:01:16,640
Speaker 3: run it up.

1295
01:01:16,640 --> 01:01:17,120
Speaker 1: It's dope.

1296
01:01:18,720 --> 01:01:19,920
Speaker 3: A lot of the artists on there hadn't heard of

1297
01:01:20,000 --> 01:01:21,480
Speaker 3: so it was dope to discover some new talent on

1298
01:01:21,560 --> 01:01:22,400
Speaker 3: it that I hadn't been.

1299
01:01:22,360 --> 01:01:25,040
Speaker 2: Here to homage, to homage, just to say to the

1300
01:01:25,160 --> 01:01:28,400
Speaker 2: MC and the DJ, and that's the radio. It's the

1301
01:01:28,680 --> 01:01:33,920
Speaker 2: radio enemy. Radio is the dj MC component of Public Enemy.

1302
01:01:34,480 --> 01:01:37,640
Speaker 2: Matter of fact, it is actually now the component that

1303
01:01:37,800 --> 01:01:41,240
Speaker 2: actually is the backdrop of our concerts now is DJ

1304
01:01:41,400 --> 01:01:44,080
Speaker 2: Johnny Juice joh Heath from the Bay Area. On the

1305
01:01:44,120 --> 01:01:48,000
Speaker 2: other turntable and t Bone the drummer from it used

1306
01:01:48,040 --> 01:01:49,440
Speaker 2: to be our band element.

1307
01:01:50,240 --> 01:01:52,280
Speaker 3: How many I know you guys are always doing shows,

1308
01:01:52,320 --> 01:01:54,360
Speaker 3: so that they's no not always doing show.

1309
01:01:54,400 --> 01:01:58,560
Speaker 2: We just pick it, pick and choose, especially a sixty

1310
01:01:58,640 --> 01:02:01,240
Speaker 2: five bro. Oh yeah, pick and choose. Man, you got listen.

1311
01:02:02,000 --> 01:02:05,040
Speaker 2: Why are you all over the place instead of worrying

1312
01:02:05,040 --> 01:02:06,200
Speaker 2: about the quality of your life?

1313
01:02:06,520 --> 01:02:09,040
Speaker 1: Right? I tell people say, it's not what you accumulate,

1314
01:02:09,080 --> 01:02:10,760
Speaker 1: it is what you do with what you have. I

1315
01:02:11,000 --> 01:02:12,560
Speaker 1: like that in my art studio is.

1316
01:02:12,560 --> 01:02:16,880
Speaker 2: Ten by ten, thirty five hundred dollars from lows.

1317
01:02:18,480 --> 01:02:19,120
Speaker 3: That's all you need.

1318
01:02:19,240 --> 01:02:22,560
Speaker 2: And inside that art studio ten by ten by ten,

1319
01:02:22,640 --> 01:02:24,600
Speaker 2: space magic happens.

1320
01:02:25,040 --> 01:02:25,400
Speaker 1: I love it.

1321
01:02:25,400 --> 01:02:27,120
Speaker 3: Would you guys ever do a new pe album?

1322
01:02:30,880 --> 01:02:34,200
Speaker 1: Wait for surprises? Okay, you'll be first enough.

1323
01:02:34,960 --> 01:02:37,120
Speaker 3: I feel like all the ogs are putting out amazing.

1324
01:02:37,240 --> 01:02:40,160
Speaker 3: The new ice Q album was fire. There's there's a

1325
01:02:40,240 --> 01:02:42,919
Speaker 3: lot of there's just a lot of good, good music

1326
01:02:42,960 --> 01:02:46,440
Speaker 3: being put out by OG's right now, so including yourself. Man,

1327
01:02:46,520 --> 01:02:47,240
Speaker 3: go get the album.

1328
01:02:47,680 --> 01:02:47,880
Speaker 1: Chuck.

1329
01:02:47,960 --> 01:02:50,240
Speaker 3: I appreciate your time. We could have done this for

1330
01:02:50,320 --> 01:02:51,320
Speaker 3: a much longer time.

1331
01:02:51,400 --> 01:02:54,680
Speaker 1: But oh I'm glad to catch up with you since

1332
01:02:54,720 --> 01:02:55,440
Speaker 1: you were fourteen.

1333
01:02:55,760 --> 01:02:59,240
Speaker 3: Yeah, for sure, Man, thank you for everything. Man, you

1334
01:02:59,360 --> 01:03:01,480
Speaker 3: haven't changed my life for real, So thank you for that.

1335
01:03:01,600 --> 01:03:03,720
Speaker 2: Bro, like hey man, to be to be a OG

1336
01:03:03,920 --> 01:03:06,280
Speaker 2: and to get that, I just say, I get it

1337
01:03:06,440 --> 01:03:10,160
Speaker 2: all the time, and it's immeasurable as opposed to like, dude, Man,

1338
01:03:10,320 --> 01:03:11,800
Speaker 2: it's like I'm in jail because of you.

1339
01:03:15,800 --> 01:03:16,640
Speaker 1: I don't have none of that.

1340
01:03:16,800 --> 01:03:19,240
Speaker 3: So yeah, there are artists where you're like yo, man,

1341
01:03:19,520 --> 01:03:22,800
Speaker 3: like yeah, and you care the character and I love

1342
01:03:22,840 --> 01:03:25,440
Speaker 3: some of that music too, for sure. Yeah for sure, Chuck,

1343
01:03:25,480 --> 01:03:27,680
Speaker 3: appreciate you, bro, Yes, Sir Boom