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Speaker 1: Cast the Chronic Goals. This is not your average shows.

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Speaker 2: You're now tuned into the rail.

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Speaker 3: Welcome to the Gangst the Chronicles podcast, the production of

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Speaker 3: iHeart Radio and Black Effect Podcast Network. Make sure you

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Speaker 3: download the iHeart app and subscribe to Against the Chronicles.

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Speaker 3: For my Apple users, hit the Purple Michael on your

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Speaker 3: front screen. Subscribed to Against the Chronicles, leave of five

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Speaker 3: star rating and comment. All right, it's another episode of

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Speaker 3: the Gainst the Chronicles podcast. It's your boy big steal. Yeah, Hey,

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Speaker 3: you know what we got one. I've been telling you

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Speaker 3: eight for a minute. Man, I've been wanting to get

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Speaker 3: this catin the show for a minute.

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Speaker 4: Man.

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Speaker 3: He does this thing called the l a report card

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Speaker 3: that really don't shook the whole West coast up. A

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Speaker 3: lot of people mad at you. I guess y'all know

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Speaker 3: what I'm talking about. The John Paul, what's happening to dog?

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Speaker 2: What's the deal? Jenner Man, how y'all doing?

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Speaker 1: Man?

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Speaker 2: Yes you're sir, Thank y'all for having me.

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Speaker 1: Oh for sure, Man, for sure, I'm gonna jump right

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Speaker 1: into that.

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Speaker 3: Man.

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Speaker 1: You had a lot of people shook up with the

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Speaker 1: LA report card stuff. Man.

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Speaker 2: Yeah, man, it's been crazy. It's been a crazy ride

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Speaker 2: for the past what three years, It's been crazy for years.

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Speaker 3: Now, you don't had a lot of cats upset, man,

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Speaker 3: A lot of cats not really tripping off of but

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Speaker 3: I see more people. Everybody don't necessarily get mad about it. Man,

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Speaker 3: what's the biggest Like, what's the worst reaction?

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Speaker 1: You don't have to it.

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Speaker 2: I mean when I put out the first one in

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Speaker 2: twenty twenty two, man, I was getting death threats. I

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Speaker 2: was getting people sending me pictures of my house. I

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Speaker 2: was it was. It was bad when I put out

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Speaker 2: the first one. I feel like now it's not as bad.

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Speaker 2: Like now this year it was a couple of dis

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Speaker 2: records like Low Vader dropped the disc record, rap your

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Speaker 2: Names all, Simon way crazy on Haigi Live. But it's

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Speaker 2: not as bad as the first year. The first year

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Speaker 2: was like it was scary. It wasn't until I got

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Speaker 2: the Mustard Co sign that people kind of chilled out

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Speaker 2: and hurt me out.

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Speaker 3: Yeah, you had you know what, man cats and they

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Speaker 3: aren't man. People take they are pretty serious. That's true.

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Speaker 1: If people take their art.

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Speaker 3: Real series and you got some cats, I think once

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Speaker 3: you give them a professional level or really period. When

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Speaker 3: you decide to put out an album, you got to

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Speaker 3: take all forms of criticism of good stuff and the

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Speaker 3: bad that come with because everybody ain't gonna love your music.

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Speaker 2: Now, that's a fact. I think people just aren't used

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Speaker 2: to hip hop culture out here in LA especially nowadays,

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Speaker 2: because back in the day, y'all have Source magazine, doubley

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Speaker 2: Cell magazine reviewing albums. So you know, to me, what's

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Speaker 2: the difference.

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Speaker 3: Hey, you can well, hey, you've always got really good

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Speaker 3: Source Mike's scores. You never had no low score. Do

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Speaker 3: you think people was more accepting the people getting critical

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Speaker 3: of their music back in the day.

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Speaker 4: I mean, you got to be able to accept criticism

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Speaker 4: and evor form of profession if it's open to the

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Speaker 4: public getting it. Football players get criticism if they don't play.

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Speaker 4: The basketball player to get criticized if they don't make shots,

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Speaker 4: but so forth and so on. So if you're gonna

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Speaker 4: get into the entertainment field of music and making records

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Speaker 4: and especially hip hop, of course you're gonna have critics

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Speaker 4: and people who criticize your music. And people feel it

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Speaker 4: ain't up to part that's just their opinion.

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Speaker 1: You could take it for what it is. Or what

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Speaker 1: have you.

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Speaker 4: I've never gotten personal with motherfuckers who want to review

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Speaker 4: or rate or criticize. It's their opinion, and I guess

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Speaker 4: you're allowed to have one.

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Speaker 1: You know what I'm saying?

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Speaker 3: Yeah, well, you always had good scores on your stuff.

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Speaker 3: I don't never recall the stories giving you just no

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Speaker 3: booboo scores. You always had threes and fours, you know

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Speaker 3: what I mean, the least I think you might. I

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Speaker 3: almost want to say that music to Drive By might

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Speaker 3: have been four and a half or something like that.

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Speaker 3: We come strap half for mic, that was we come

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Speaker 3: strapped in, all right, man? I remember one of them

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Speaker 3: having the real high score.

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Speaker 1: Older.

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Speaker 2: Could I ask you a if you had, god, let's

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Speaker 2: say you had got two mics or two and a

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Speaker 2: half mics, would you have been hunting down a journalist

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Speaker 2: that wrote that review or would you have not.

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Speaker 4: Tripp I know, because that's a journal that's his opinion.

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Speaker 4: You might have him give you two and a half mics,

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Speaker 4: and then you might have another magazine where they say

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Speaker 4: your shit is bond. So everybody has a difference of

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Speaker 4: opinions of what they feel if they like it or not.

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Speaker 4: When you make music, just a hit or miss. You

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Speaker 4: know what I'm saying, you working in the studio.

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Speaker 1: I don't know. Dudes take shit personal. I guess because

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Speaker 1: I'm of.

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Speaker 4: I might be the wording of how a critic is

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Speaker 4: reviewing they shit if a nigga might take the wording

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Speaker 4: of that too personal, because you got to understand a

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Speaker 4: lot of niggas aren't too intelligent and aren't really acceptable

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Speaker 4: to words.

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Speaker 1: And shit, so be right.

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Speaker 4: So you have to understand when you're writing this reviewing

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Speaker 4: me as an if I was a critic, I'm gonna

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Speaker 4: be careful in the choice words if I feel that

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Speaker 4: this might not be my cup of tea.

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Speaker 1: And I'm a word to the factor where I'm not

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Speaker 1: gonna try.

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Speaker 4: To offend Homeboy or whoever's putting out the music, but

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Speaker 4: i want to make my point that I'm not feeling

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Speaker 4: it or I don't like this, so I'm gonna rate it.

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Speaker 1: Out of five.

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Speaker 4: I might rate this motherfucker two. It's got nothing personal

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Speaker 4: to do with you as a person or who you are.

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Speaker 4: You get me, and I'm gonna make that statement clear

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Speaker 4: to death. This has nothing to do with who you

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Speaker 4: are as a person, So don't say because I gave

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Speaker 4: you a two on a project that you might think

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Speaker 4: is a t in yourself, and then the homies might

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Speaker 4: tell you what's a tin? And then another nigga down

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Speaker 4: the streets might tell you it's a tin. In my opinion,

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Speaker 4: it's a two so and and then you got to

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Speaker 4: understand a lot of this is coming from a journalistic

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Speaker 4: a journalist input. These are writers and he's a dude

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Speaker 4: to who pride themselves on being able to review shit.

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Speaker 4: Some of them might be wrong in an opinion, some

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Speaker 4: of them by everybody, because some people might feel, hell,

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Speaker 4: yeah it two and a half.

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Speaker 1: You get me.

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Speaker 4: So it just all I just feel when you're dealing

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Speaker 4: with and you know what you're dealing with, when you're

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Speaker 4: dealing with certain artists and you're dealing with shit. So

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Speaker 4: you just have to learn how the word shit and

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Speaker 4: not to the point where a nigga want to be

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Speaker 4: knocking order your door, or you are trying to have

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Speaker 4: dinner with your family and a nigga might want to

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Speaker 4: step to you because he saw what he feels is

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Speaker 4: a is a disrespectful review.

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Speaker 1: You get me.

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Speaker 2: Absolutely. I think as journalists, as music critics were to

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Speaker 2: be constructive, so we don't need to be saying using

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Speaker 2: words like trash and offensive words like that. No, specifically

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Speaker 2: say what you don't like about it. I didn't like

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Speaker 2: the production, I didn't like the mix x y Z.

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Speaker 2: But when you use words like trash or weak x

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Speaker 2: y Z, those are like offensive words. It's inflammatory.

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Speaker 4: Yeah, perfect example, Draymond Green just called Dak Trescott traktis.

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Speaker 1: There's a lot of the confusion over that you're getting.

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Speaker 4: There's a lot of feelings that take place behind that

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Speaker 4: because you can say, my man ain't playing good right now,

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Speaker 4: or in playoff times, you're not stepping up to the

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Speaker 4: plate delivering that that that run batted in, or he

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Speaker 4: not delivering that home run. But just to say, oh well,

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Speaker 4: my nigga get up to the plate. He weak as fuck.

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Speaker 4: You get me, That's that's kind of personal. You feel

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Speaker 4: me absolutely, And that's where might get misconscrewed because that

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Speaker 4: sounded like something personal of me. You calling me trash, hallboy. Yeah,

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Speaker 4: you ain't saying that I'm not able, I'm not playing

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Speaker 4: good or in certain situations I can't deliver.

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Speaker 1: You get me.

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Speaker 4: You calling me straight up trash, So to me, that's personal.

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Speaker 1: That sounds personal. It's also people like that.

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Speaker 3: When you start like really judging stuff and not being objective.

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Speaker 3: You know, you're subjective about something, that's when it kind

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Speaker 3: of gets personal. You're telling somebody they shit is trash,

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Speaker 3: that shit is garbage or whatever. Right, that's personal. But

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Speaker 3: when you objective about something, you kind of state in fact.

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Speaker 3: That's what I did. Like about the LA report card.

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Speaker 3: You broke down why each person got the grade they

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Speaker 3: got it. It could have been they had cool lyrics,

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Speaker 3: but they swagged wasn't right, or they look wasn't right.

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Speaker 3: You kind of wrote it all the way across, and me,

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Speaker 3: being a former A and R, I judge people on

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Speaker 3: that all the time. I might have had a dude

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Speaker 3: that had the fest music every but it's looked wasn't right, Like,

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Speaker 3: because you got to.

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Speaker 1: Think about Okay, we go sign this, do it all.

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Speaker 1: We gonna feel the us right. Yeah. Yeah.

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Speaker 2: The music video category and the branding category is just

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Speaker 2: as important as Cayden's flow lyricism. All the categories are

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Speaker 2: equally important.

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Speaker 3: I grid because like I told you before we got on,

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Speaker 3: I think when it comes to stars in LA, I

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Speaker 3: think like when I think about the young Cats always

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Speaker 3: said that I thought Jeeperico was like a record away

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Speaker 3: from being like a big star.

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Speaker 1: You feel what I'm saying.

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Speaker 3: I think he got some though records, but I think

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Speaker 3: he needed that Warner Records Steel to be like, you

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Speaker 3: know what that record is? That that's that record right

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Speaker 3: to put on that level. Everybody got to have a

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Speaker 3: defining record. Like when you go back to back of

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Speaker 3: the day, when you talked about Cube, he had to

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Speaker 3: define an album. I think the first album he put

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Speaker 3: out when he broke up with n W was that

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Speaker 3: America's most warned. Yeah, that that defined him, That defined

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Speaker 3: him as an artist to the point he's still kind

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Speaker 3: of getting defined today because of that. Like, I don't

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Speaker 3: think Cube is necessarily putting out bad music right now.

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Speaker 3: I think it's just a lot different than the music

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Speaker 3: than it was back. You feel what I'm saying.

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Speaker 2: I will challenge you on that Scarface single, but we

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Speaker 2: could talk about that when you're ready.

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Speaker 3: Oh yeah, for sure, But we definitely gonna touch on that.

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Speaker 3: We definitely gonna touch on that. But I do think

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Speaker 3: that it's so many things that makes up artists. I

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Speaker 3: think that's what made like you're thinking about it, like

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Speaker 3: eight is going on his thirtieth summer year of making

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Speaker 3: money being a professional rapper. Right, There's very few people

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Speaker 3: that make it make it that length. And I can

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Speaker 3: almost I ain't gonna see I'm right all the time,

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Speaker 3: but I can kind of tell when a new cat come,

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Speaker 3: if he gonna be around for a while, if he

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Speaker 3: was gonna kind of you know what he kind of

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Speaker 3: hitting on.

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Speaker 1: He kind of on hit right now, but he may

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Speaker 1: fade out a year or two.

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Speaker 3: I think when you in the fads, and when you

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Speaker 3: in the fads and certain gimmicks and shit like that,

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Speaker 3: it usually go that way. But I think when you

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Speaker 3: true to your craft, you stand to have a longer career.

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Speaker 2: You feel me that comes with artists development, though, and

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Speaker 2: that's something that just missing. And that's one of the

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Speaker 2: reasons why I did the La rapperport card. Obviously, coolm

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Speaker 2: o d Had did the original rapperport card back in

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Speaker 2: what eighty seven, He did a with Ego Tripping magazine

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Speaker 2: back in the nineties. A few publications did it in

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Speaker 2: the two thousands, but I was looking back at La

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Speaker 2: rap this publication. My mixtapes put out a post it

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Speaker 2: said California ranks livest place when it comes to new

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Speaker 2: hip hop artists, and I was like, I gotta do

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Speaker 2: something about this. We don't have artists development. Our artists

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Speaker 2: are only focused on being popular. They're not focused on

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Speaker 2: their skill set, lyricism, cadence, flow, they don't care about that.

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Speaker 2: So that's why I put out that list. And it's

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Speaker 2: just my version of holding accountable, holding artists accountable.

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Speaker 3: I agree with that me being a A and R dude.

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Speaker 3: I kind of started something recently with the Homeboy Fiend

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Speaker 3: from my used to be on No Limit Records right

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Speaker 3: from New Orleans. We started a label called Fans Club,

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Speaker 3: And I'm not going to say it's like a big

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Speaker 3: not a We don't have plans on putting out a

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Speaker 3: million artists, but we want to do do want to

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Speaker 3: develop artists right because it's a lot of people out

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Speaker 3: here right now. The reason why you have so many

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Speaker 3: hit one hit fronter is because you get a kid

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Speaker 3: that go in his bedroom, he makes a record, ain't

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Speaker 3: no producer in there with him, and he kind of

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Speaker 3: makes this one record and to blow up and he

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Speaker 3: don't even know why that one record blew up. Like

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Speaker 3: it was so many things like with the one kid

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Speaker 3: that just had the one big record out of here,

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Speaker 3: Soak City. Yeah, the Solk City record.

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Speaker 2: They're a No Baby.

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Speaker 3: He made that on his phone. Yeah yeah, pre wont

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Speaker 3: old baby. He wasn't there, made that record on his own.

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Speaker 3: It wasn't nobody in there with him, and he made

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Speaker 3: a great record. Right, It's harder to make those type

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Speaker 3: of records as artists.

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Speaker 1: Right.

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Speaker 3: He made a hit record, but he didn't have nothing

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Speaker 3: else to follow up with it, right, so he becomes

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Speaker 3: kind of like just a footnote writing and coature. Right,

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Speaker 3: he made this really coach for a relevant song. But

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Speaker 3: now he's not around because the people that he had

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Speaker 3: around him. I'm sorry, I don't care who get mad.

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Speaker 3: They didn't know what the fuck they was doing.

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Speaker 2: I think he had a to challenge that. I think

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Speaker 2: he had a cool follow up with the Rocky ol

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Speaker 2: Hips record with Old Jeezy and Blue Buzz Clan, but

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Speaker 2: I feel like he hasn't followed it up with a

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Speaker 2: dope project. So he had a big single, but he

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Speaker 2: didn't deliver a dope project after.

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Speaker 1: That's but that's what I'm saying.

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Speaker 3: Though it wasn't a project, like it was kind of like, Okay,

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Speaker 3: you threw a bomb, but what was next to follow

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Speaker 3: that up. You feel what I'm saying, because he had

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Speaker 3: another cool record. You have to follow up works of art.

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Speaker 3: You got to follow up a piece of art with

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Speaker 3: a work of art. You feel what I'm saying. That

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Speaker 3: part he's come with this album that was like, okay, man,

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Speaker 3: this is gonna be the album that defines the generation

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Speaker 3: kind of white white chee. He hit a little bit

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Speaker 3: with two of them vote it. But when he did

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Speaker 3: hit this record of my Niggas record and he ever

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Speaker 3: followed it up with My Crazy Life, Now he got

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Speaker 3: a cultureal moment. You feel what I'm saying, the classic

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Speaker 3: So where when you look back at that time period,

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Speaker 3: whether you like him or not, you got to say,

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Speaker 3: you know what, man, that time period he defined that

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Speaker 3: time period right there, like like when this man we

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Speaker 3: on the show with when he came out with his records.

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Speaker 3: He you know, when you think back to the nineties,

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Speaker 3: you got to think about MC eight. I don't care

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Speaker 3: wok you are. You feel what I'm saying. You got

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Speaker 3: to think about that because he kind of gets me.

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Speaker 3: He was an integral part of the culture. You feel

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Speaker 3: what I'm saying. Music is all about culture, right and

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Speaker 3: I think when you get away from that, that's when

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Speaker 3: you lose, right, And I think that's why we're having

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Speaker 3: so many one hit wonders right now. Like, and this

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Speaker 3: ain't to pick on three one. Oh baby, I don't

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Speaker 3: know that gear. I don't know him, right, but I

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Speaker 3: do think that he could he could still have a

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Speaker 3: very viable career if he had someone around him that

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Speaker 3: was pretty much guiding him. And I think that it

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Speaker 3: is to a certain extent. And I'm gonna tell you

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Speaker 3: because I agree with a lot of stuff you said, right,

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Speaker 3: I do think that it's if you in that line

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Speaker 3: of work, right, it is your job kind of to

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Speaker 3: develop the young cats, right, to develop the people who's

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Speaker 3: next up in this culture.

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Speaker 1: Right.

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Speaker 3: But I do think that if you're not doing that,

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Speaker 3: that's cool too, because you're not. You don't like, don't

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Speaker 3: know rapper, Oh nobody nothing at the end of the day, right,

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Speaker 3: Like eight has had his career, but he's never had

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Speaker 3: a regular label. It ain't his responsibility necessarily to go

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Speaker 3: out and raise every the future generation against the rep

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Speaker 3: you feel me.

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Speaker 2: No, it's not his responsibility, but it will be dope

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Speaker 2: if og West Coast Rappers did have their own labels

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Speaker 2: and was generating new artists the way Gucci Man Yo

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Speaker 2: Gotty bird Man. They keep a new artist coming out.

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Speaker 2: It's not their responsibility, but if they were to take

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Speaker 2: it upon themselves and do that, it'll be dope.

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Speaker 1: Well, a lot of a lot of that comes with

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Speaker 1: independency nowadays, you get me.

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Speaker 4: A lot of West Coast artists tried no they had

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Speaker 4: labels to Wault Street. Nowache Snoop had Doggy Style, Mac

334
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Speaker 4: did wal Pool bang In. There were numerous production deals

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Speaker 4: for artists. But that's how I got on. That's our

336
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Speaker 4: Lich Mob, That's how the dog pound whatever. East Siders

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Speaker 4: niggas had labels, But the problem was I don't think

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Speaker 4: that the direction who shing artist was really at hand

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Speaker 4: in those days. Now you have so much self sustainable

340
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Speaker 4: shit by being able to use the Internet, social media

341
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Speaker 4: and push artists along. As far as that is concerned,

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Speaker 4: a lot of West Coast artists.

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Speaker 1: Want to be their own day and so to speak.

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Speaker 1: You get me.

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Speaker 4: It's hard for a young nigga to want to sign

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Speaker 4: to someone when he already has the idea of the

347
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Speaker 4: knowledge of skit. I could put my own shit out here.

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Speaker 4: Why am I gonna sign to a Cube or Sloop

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Speaker 4: or an eight or so. And so when I've turned

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Speaker 4: around to do my own shit, and then you have

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Speaker 4: to understand the income of today and yesterday, you're getting me.

352
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Speaker 4: Look at the self innerating income that a lot of

353
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Speaker 4: these yogatties and Gucci Man's and so and sos produced.

354
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Speaker 4: They're making way more bread than we were able to

355
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Speaker 4: make through record labels. It with the ability to push

356
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Speaker 4: their own shit back. Then stonies and universals wouldn't giving

357
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Speaker 4: up million dollar deals for a nigga's bread and artists

358
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Speaker 4: you get me.

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Speaker 1: It was just the fact of that.

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Speaker 4: So today you have a lot of motherfuckers who feel

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Speaker 4: like I can go out and getting my own before

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Speaker 4: I go sign to a nigga. I'm gonna go get

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Speaker 4: my own. I don't know what the difference is living

364
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Speaker 4: in a Tennessee or Georgia or Florida or whatever, but here,

365
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Speaker 4: the idea of nigga signing to another nigga's life, nigga

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Speaker 4: fucked that and that's where you get that from. And

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Speaker 4: so a lot of young niggas here feel like I'll

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Speaker 4: need to sign, motherfucker because I can go out and

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Speaker 4: do my own and probably do twice as better.

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Speaker 2: Yeah, I mean that's a great retort to it. I

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Speaker 2: still feel like if artists were to if legendary West

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Speaker 2: Coast artists were to break new artists on the West Coast,

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Speaker 2: we would see more momentum for the West Coast. But

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Speaker 2: I understand that this position you saying that, well, shit,

375
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Speaker 2: they can go out and do it themselves. The independent

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Speaker 2: mindset is popular, and I just feel like that might

377
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Speaker 2: come from people watching like a Nipsey Hustle interview or

378
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Speaker 2: something like, oh, I want to be independent. I want

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Speaker 2: to own my own masters. But at the end of

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Speaker 2: the day, if Snoop Dogg has death Row Records or

381
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Speaker 2: Cube has a label, and they're able to give you

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Speaker 2: a deal and take you to a major label for distro,

383
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Speaker 2: or even just keep you independent through them for a

384
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Speaker 2: couple of projects, well I don't think too many artists

385
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Speaker 2: will turn that down if they had the opportunity. I

386
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Speaker 2: don't think a Jason Cash and Airplane James Epic must

387
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Speaker 2: die atm Danny. I don't think those artists are turning

388
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Speaker 2: down Snoop a death Ro deal this moment, or a

389
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Speaker 2: deal from CBE at this very moment.

390
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Speaker 4: Well, for you, that is I can't. The problem with

391
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Speaker 4: that is how sustainable is that gonna be? Where I

392
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Speaker 4: can't turn around and produce you to be the level

393
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Speaker 4: of a little baby for these new artists that are

394
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Speaker 4: coming up that are making millions of dollars. Thus, you

395
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Speaker 4: have conflict in the labels, and we've dealt with that before. Also,

396
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Speaker 4: you get me, you have to watch and understand what

397
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Speaker 4: you're dealing with when you're talking about a young new artist.

398
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Speaker 4: When the motherfucker turned down doing the song with Snoop

399
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Speaker 4: or whatever, Probably not with Q, probably not if the

400
00:19:40,640 --> 00:19:44,520
Speaker 4: deal was right. But then the whole point of that is,

401
00:19:45,080 --> 00:19:47,760
Speaker 4: if I'm just here to walk you into a label,

402
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Speaker 4: then you know you have to understand what that in helles.

403
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Speaker 1: And what that it takes.

404
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Speaker 4: Like I said again, the attitude of a lot of

405
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Speaker 4: young niggas over here is fuck that I do this myself.

406
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Speaker 1: That's where the shit lies. It's not thought the nigga

407
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Speaker 1: won't fuck with a nigga.

408
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Speaker 4: The problem is a lot of young niggas go, I

409
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Speaker 4: don't want to fuck with an older nigga. I want

410
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Speaker 4: to my own shit. You get, and that's what I

411
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Speaker 4: because they, like I said, there's a lot of young

412
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Speaker 4: niggas out here who's getting it their own, and they

413
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Speaker 4: fell with the people like in with the with the

414
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Speaker 4: places like when higher and in the in the places

415
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Speaker 4: you can put out your own projects. A lot of

416
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Speaker 4: niggas go that route unless the nigga's coming in and

417
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Speaker 4: he just got it sold up.

418
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Speaker 1: You get me.

419
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Speaker 4: For instance, my nigga Top Dog in there, you're getting it.

420
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Speaker 4: He was able to get artists and sign artists and

421
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Speaker 4: create and bring out because he put for money into

422
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Speaker 4: that ship. A lot of these older cats they not

423
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Speaker 4: making the bread that some of these younger new labels

424
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Speaker 4: are making. So you gotta understand the position that you

425
00:20:53,200 --> 00:20:56,280
Speaker 4: might be in. I might not be able to get you,

426
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Speaker 4: that we might not be able to pull up and

427
00:20:58,480 --> 00:21:02,240
Speaker 4: rose royces and do all this shit. So it all

428
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Speaker 4: depends on how dedicated a young nigga might fit about

429
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Speaker 4: his career and not just trying to put out a

430
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Speaker 4: record for today. You get me, that's also another day.

431
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Speaker 4: And then it just comes down to bottom line, respect,

432
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Speaker 4: You give me. Niggas gotta respect each other if they

433
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Speaker 4: gonna work with each other. And that's just hitting the nutshell.

434
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Speaker 4: And in a sense, a lot of young niggas feel

435
00:21:25,760 --> 00:21:28,480
Speaker 4: like there was a movement. A lot of niggas didn't

436
00:21:28,480 --> 00:21:30,959
Speaker 4: want to fuck with older or a West Coast artists

437
00:21:31,200 --> 00:21:35,719
Speaker 4: because they felt like West Coast artists will probably steal

438
00:21:36,680 --> 00:21:39,960
Speaker 4: on the block. You give me, that's my example of it.

439
00:21:40,200 --> 00:21:43,119
Speaker 4: You get me, you got if you got new niggas,

440
00:21:43,160 --> 00:21:47,000
Speaker 4: they're coming up on the block. You og, you're getting that.

441
00:21:47,000 --> 00:21:50,960
Speaker 4: That's even for yourself. You were og. You started the

442
00:21:51,080 --> 00:21:55,120
Speaker 4: rat report. That's your shit. Whatever, you do your thing, Okay,

443
00:21:55,320 --> 00:21:56,560
Speaker 4: you've been hustling, whatever.

444
00:21:56,640 --> 00:21:57,000
Speaker 1: Whatever.

445
00:21:57,200 --> 00:21:59,359
Speaker 4: It's a young nigga around the corner that just moved

446
00:21:59,359 --> 00:22:03,080
Speaker 4: into your bi Okay, he's telling all the people that's

447
00:22:03,119 --> 00:22:06,280
Speaker 4: coming to see you, don't go see that nigga no more,

448
00:22:06,480 --> 00:22:09,520
Speaker 4: come see me, Come sit at my show, come do

449
00:22:09,680 --> 00:22:10,160
Speaker 4: my shit.

450
00:22:10,760 --> 00:22:10,920
Speaker 1: Now.

451
00:22:11,000 --> 00:22:13,840
Speaker 4: You ain't stopping niggas that's coming to see him. You

452
00:22:13,880 --> 00:22:17,840
Speaker 4: ain't outside with a picket stye telling niggas, Hey, fuck

453
00:22:17,920 --> 00:22:21,320
Speaker 4: that young nigga. You telling the nigga nigga, we can

454
00:22:21,359 --> 00:22:23,960
Speaker 4: get the car, We get it. Your people coming to

455
00:22:24,000 --> 00:22:26,880
Speaker 4: see you, My people coming to see me. But that

456
00:22:27,040 --> 00:22:29,800
Speaker 4: nigga wants to tell people that's coming to see you

457
00:22:30,320 --> 00:22:35,240
Speaker 4: don't see him anymore. Fuck that old nigga you're getting,

458
00:22:35,480 --> 00:22:39,280
Speaker 4: you're gonna fill with disrespect because you're trying to You're

459
00:22:39,320 --> 00:22:40,120
Speaker 4: still trying to eat.

460
00:22:40,680 --> 00:22:43,400
Speaker 1: You get me. Your doors are still opening.

461
00:22:43,680 --> 00:22:47,600
Speaker 4: Your people who love your shit and your commentary and

462
00:22:47,680 --> 00:22:51,520
Speaker 4: your show, they love your shit. They ride or die

463
00:22:51,600 --> 00:22:54,359
Speaker 4: for you. You're getting. But it's a nigga who just

464
00:22:54,440 --> 00:22:56,800
Speaker 4: moved in your building who feel like, I want to

465
00:22:56,840 --> 00:22:59,520
Speaker 4: take your fans and I want to take the people

466
00:22:59,560 --> 00:23:03,480
Speaker 4: that listen into you every day because why because he

467
00:23:03,640 --> 00:23:06,479
Speaker 4: owed news. That's why I'm the new nigga coming up.

468
00:23:06,840 --> 00:23:09,240
Speaker 4: So you have to respect each other. If you want

469
00:23:09,280 --> 00:23:11,960
Speaker 4: to work with eachuck, you give me absolutely.

470
00:23:12,000 --> 00:23:14,720
Speaker 2: But we've seen that practice and hip hop, even among

471
00:23:14,960 --> 00:23:18,200
Speaker 2: MC's on a even from a female perspective, little kim

472
00:23:18,280 --> 00:23:21,680
Speaker 2: Nicki Minajs. We've seen new generations come in disrespect they

473
00:23:21,720 --> 00:23:24,440
Speaker 2: OG's x y Z. But the wise thing to do,

474
00:23:24,560 --> 00:23:27,920
Speaker 2: in my opinion, if I was in that hypothetical situation,

475
00:23:28,040 --> 00:23:31,080
Speaker 2: you just mission. As soon as I see potential in

476
00:23:31,160 --> 00:23:34,760
Speaker 2: that young journalist that's critiquing West Coast music, I'm supposed

477
00:23:34,760 --> 00:23:37,400
Speaker 2: to go snatch him up and put him on my podcast.

478
00:23:37,760 --> 00:23:39,199
Speaker 2: I supposed to bring him in the.

479
00:23:39,280 --> 00:23:43,520
Speaker 4: Phone all of your podcasts. I got my own podcast,

480
00:23:43,920 --> 00:23:46,680
Speaker 4: and I want the motherfuckers who come in and see

481
00:23:46,760 --> 00:23:50,200
Speaker 4: you to stop seeing you and come to my I

482
00:23:50,240 --> 00:23:54,040
Speaker 4: don't want to work with you. You play news. I

483
00:23:54,040 --> 00:23:57,080
Speaker 4: don't want to work with you. I want niggas to

484
00:23:57,119 --> 00:24:02,480
Speaker 4: come to mind. Shit only you need you right, You're

485
00:24:02,560 --> 00:24:05,400
Speaker 4: all you not gonna walk through my door and be like, hey,

486
00:24:05,480 --> 00:24:07,919
Speaker 4: young brother, I think you should come over here and

487
00:24:07,960 --> 00:24:08,520
Speaker 4: work with me.

488
00:24:08,760 --> 00:24:11,600
Speaker 1: I don't want to work with you on me. Want

489
00:24:11,720 --> 00:24:14,159
Speaker 1: your founds are don't you?

490
00:24:14,720 --> 00:24:20,040
Speaker 4: Everybody who listen to you listen to that nigga, no more,

491
00:24:20,240 --> 00:24:20,880
Speaker 4: I'm listening.

492
00:24:21,640 --> 00:24:25,040
Speaker 2: The chess move would be to then find another young person,

493
00:24:25,119 --> 00:24:27,919
Speaker 2: bring him under your unbrother and have him rival that

494
00:24:28,040 --> 00:24:29,880
Speaker 2: said person. That would be the chess move.

495
00:24:30,160 --> 00:24:33,520
Speaker 1: Come. Your chess move is to start controversy.

496
00:24:34,240 --> 00:24:37,720
Speaker 2: So you go fuck oh man, come, this is about

497
00:24:37,760 --> 00:24:39,840
Speaker 2: the source of double like sound one for years.

498
00:24:40,240 --> 00:24:43,400
Speaker 4: He'll pop up yesterday, Well, we knew how to battle

499
00:24:43,440 --> 00:24:46,600
Speaker 4: and rap and do that shit without pulling out a pistol.

500
00:24:46,840 --> 00:24:48,800
Speaker 1: A nigga come kicking your door today.

501
00:24:49,000 --> 00:24:51,280
Speaker 4: When you got a nigga right across the hall, Oh,

502
00:24:51,320 --> 00:24:53,960
Speaker 4: then niggas across all a young nigga gonna come and

503
00:24:54,040 --> 00:24:55,080
Speaker 4: stick you up on me.

504
00:24:55,480 --> 00:24:57,080
Speaker 1: They ain't playing that ship today.

505
00:24:57,520 --> 00:25:00,560
Speaker 4: Rap rifle nigga, you right across the ha off from me,

506
00:25:00,800 --> 00:25:03,160
Speaker 4: I'm gonna come kicking your fucking door.

507
00:25:04,200 --> 00:25:06,240
Speaker 1: That's the mentality of the end today.

508
00:25:06,640 --> 00:25:10,320
Speaker 4: It's not like, Oh, they're thising me and he brings

509
00:25:10,359 --> 00:25:13,320
Speaker 4: in a nigga to rival me. Okay, let me get

510
00:25:13,359 --> 00:25:17,199
Speaker 4: on the microphone and rival back. No, the mentality of

511
00:25:17,400 --> 00:25:19,840
Speaker 4: young nigga today is something gonna knock.

512
00:25:19,720 --> 00:25:21,120
Speaker 1: On this door and go homeie?

513
00:25:21,160 --> 00:25:29,480
Speaker 2: What switching it back to a music perspective. If I'm

514
00:25:29,480 --> 00:25:33,159
Speaker 2: a og West Coast MC and it's young MC's this

515
00:25:33,359 --> 00:25:35,280
Speaker 2: and me, I'm not finna sit here and go back

516
00:25:35,280 --> 00:25:37,520
Speaker 2: and forth with your own wax. Theoretically, what I'm gonna

517
00:25:37,560 --> 00:25:41,000
Speaker 2: do is I'm gonna go sign a young artist and

518
00:25:41,080 --> 00:25:42,640
Speaker 2: I'm gonna let him he I'm gonna let the little

519
00:25:42,680 --> 00:25:44,720
Speaker 2: homie handle my beat. That would just be the strategic

520
00:25:44,800 --> 00:25:47,879
Speaker 2: thing that's gona get you a break. You socked the nigga.

521
00:25:48,359 --> 00:25:51,439
Speaker 2: Now I'm coming after you. And here you think you

522
00:25:51,520 --> 00:25:52,160
Speaker 2: feeling get a.

523
00:25:52,080 --> 00:25:54,800
Speaker 1: Pat a pass.

524
00:25:55,480 --> 00:25:59,040
Speaker 4: You went out and sign this nigga specifically to start

525
00:25:59,240 --> 00:26:03,760
Speaker 4: rivaling me. So now you and your whole establishment is

526
00:26:03,760 --> 00:26:08,240
Speaker 4: gonna get down, come on homeyess La, This young niggas,

527
00:26:08,560 --> 00:26:12,440
Speaker 4: this ain't kept rack shit. This is how the ship

528
00:26:12,600 --> 00:26:15,959
Speaker 4: works today. It don't walk how l L and CuMo

529
00:26:16,119 --> 00:26:19,200
Speaker 4: D did it. This don't work how it don't work

530
00:26:19,280 --> 00:26:22,600
Speaker 4: like that today. The young niggas today gonna come up

531
00:26:22,600 --> 00:26:25,520
Speaker 4: to your building and they gonna knock on your door

532
00:26:25,560 --> 00:26:27,720
Speaker 4: and say where you can.

533
00:26:27,480 --> 00:26:31,560
Speaker 1: That rival You signed that sony, get down to that.

534
00:26:33,119 --> 00:26:34,760
Speaker 2: Niggas gonn listen.

535
00:26:35,040 --> 00:26:40,240
Speaker 1: And this goes in. This goes in podcasting. This goes

536
00:26:40,320 --> 00:26:41,240
Speaker 1: at anything.

537
00:26:42,040 --> 00:26:45,200
Speaker 4: You can get a rival podcaster to come to get

538
00:26:45,240 --> 00:26:47,960
Speaker 4: on the mic and get the talk and ship against

539
00:26:48,000 --> 00:26:51,199
Speaker 4: the other nigga across the hall. He a young nigga,

540
00:26:51,600 --> 00:26:57,400
Speaker 4: They gonna come knocking on your door, biggause niggas, niggas.

541
00:26:57,119 --> 00:27:01,359
Speaker 2: Who is that full of These days don't work like

542
00:27:01,400 --> 00:27:03,960
Speaker 2: that in LA podcast And I'm the only LA podcaster

543
00:27:04,080 --> 00:27:04,760
Speaker 2: to fight this year.

544
00:27:04,760 --> 00:27:06,960
Speaker 3: All these other niggas just be talking. But I feel

545
00:27:07,640 --> 00:27:09,280
Speaker 3: I find you scrap through by the way. But this

546
00:27:09,320 --> 00:27:11,560
Speaker 3: is what I wanted to say. Eighth made a point

547
00:27:11,560 --> 00:27:14,840
Speaker 3: about the south right the dynamic on the West coast.

548
00:27:14,920 --> 00:27:17,440
Speaker 3: Dejon is so different to where if ad even did.

549
00:27:17,560 --> 00:27:19,960
Speaker 3: If me and eight next month went out and I said, eight,

550
00:27:20,440 --> 00:27:23,240
Speaker 3: I got us a distribution deal with Sony. They gonna

551
00:27:23,240 --> 00:27:25,600
Speaker 3: allow you to put out five projects a year. You

552
00:27:25,720 --> 00:27:29,160
Speaker 3: know what would happened the first time eight did sign somebody,

553
00:27:29,400 --> 00:27:31,760
Speaker 3: he's gonna have to go through so much pullsh especially

554
00:27:31,760 --> 00:27:34,600
Speaker 3: if he's from another neighborhood, right, because what's gonna happen

555
00:27:34,640 --> 00:27:36,480
Speaker 3: the first time they meet.

556
00:27:36,640 --> 00:27:38,280
Speaker 1: It's gonna be two other casts to come over with.

557
00:27:38,359 --> 00:27:40,880
Speaker 3: Oh, the'se my homeboys right here, it's Pop Homie, Big Dulo,

558
00:27:41,040 --> 00:27:44,200
Speaker 3: he's my manager. Ain't gonna have to deal with Big Doulo.

559
00:27:44,240 --> 00:27:46,840
Speaker 3: Don't know what the fuck he doing in the business. Yeah,

560
00:27:46,920 --> 00:27:49,160
Speaker 3: and the whole bu shit. So now, hey, think when

561
00:27:49,200 --> 00:27:52,639
Speaker 3: you think about all the labels like towe atter label,

562
00:27:52,720 --> 00:27:55,960
Speaker 3: right eight, what's his relationship with all artists that was

563
00:27:56,000 --> 00:27:57,720
Speaker 3: on there? All them niggas mad at him for something?

564
00:27:57,720 --> 00:28:00,760
Speaker 3: Now if they didn't sell records, Oh, it's cues for Jesus.

565
00:28:00,760 --> 00:28:04,000
Speaker 3: Summari Q was fult same thing with Scoop. Everybody was

566
00:28:04,040 --> 00:28:06,399
Speaker 3: on Snoop's labels, mad as Snoop boss some ship. Now

567
00:28:06,760 --> 00:28:10,200
Speaker 3: it's very hard right now, man, to establish that in

568
00:28:10,240 --> 00:28:12,879
Speaker 3: the South, I will say, they gotta look, it's a

569
00:28:12,920 --> 00:28:15,120
Speaker 3: lot different, man, because you don't have all the other

570
00:28:15,240 --> 00:28:16,200
Speaker 3: dynamics at play.

571
00:28:17,119 --> 00:28:19,160
Speaker 2: Are you by other dynamics? Are you saying like gang

572
00:28:19,200 --> 00:28:21,719
Speaker 2: politics or where is specific over here?

573
00:28:21,760 --> 00:28:24,320
Speaker 3: The game politics and just the mentality of a lot

574
00:28:24,320 --> 00:28:26,560
Speaker 3: of cats out of here? Man, it's just different. Like

575
00:28:26,600 --> 00:28:29,320
Speaker 3: they said, they were rather challenged you that work with you.

576
00:28:29,880 --> 00:28:31,680
Speaker 3: It's like, I'm gonna tell you a prime example, and

577
00:28:31,680 --> 00:28:35,280
Speaker 3: I ain't gonna say the artist's name. I could convince

578
00:28:35,320 --> 00:28:38,200
Speaker 3: one of the homies to start a label. Right, well

579
00:28:38,280 --> 00:28:41,560
Speaker 3: known dude, I bought an artist up that had a

580
00:28:42,280 --> 00:28:44,920
Speaker 3: had some shit going on. Right, we had already had

581
00:28:44,960 --> 00:28:47,120
Speaker 3: this place set up with the with the major label

582
00:28:47,120 --> 00:28:48,560
Speaker 3: that we was with. Right, we said, we got this

583
00:28:48,600 --> 00:28:50,240
Speaker 3: one kid, we want to do something. What we need

584
00:28:50,280 --> 00:28:52,240
Speaker 3: to punction it? We need we just need a half

585
00:28:52,240 --> 00:28:55,160
Speaker 3: a million dollars. Right, They was with it. The dude

586
00:28:55,240 --> 00:28:58,680
Speaker 3: come to the meeting. Before he even get to meet

587
00:28:58,720 --> 00:29:01,640
Speaker 3: the dude, he ought there we talking. He like, I'm like, yeah,

588
00:29:01,640 --> 00:29:03,360
Speaker 3: we canna get you all a record, won't do He's like,

589
00:29:03,600 --> 00:29:05,680
Speaker 3: I want to do no song with that old wash stuff.

590
00:29:05,720 --> 00:29:07,680
Speaker 3: Nigga and he don't know this man af about to

591
00:29:07,720 --> 00:29:09,880
Speaker 3: give him a half a million dollars. Whole shit just

592
00:29:09,880 --> 00:29:11,480
Speaker 3: got fucked up before we even got to go on

593
00:29:11,480 --> 00:29:14,480
Speaker 3: the door. Eight before it even got started. He calling

594
00:29:14,600 --> 00:29:17,040
Speaker 3: somebody washed up and he hasn't even begin to step

595
00:29:17,080 --> 00:29:23,040
Speaker 3: on the porch. Shit man, These LA rappers. I'll be

596
00:29:23,080 --> 00:29:24,960
Speaker 3: the first to say, maybe I should have leed with

597
00:29:24,960 --> 00:29:27,760
Speaker 3: this disclaimer. I'm not saying it'll be easy to work

598
00:29:27,800 --> 00:29:31,280
Speaker 3: with signed LA rappers. I know more than anybody that

599
00:29:31,480 --> 00:29:35,120
Speaker 3: dealing with New LA rappers, young LA rappers is probably

600
00:29:35,120 --> 00:29:39,480
Speaker 3: the most stressful thing on the planet. Their disposition, their psychology,

601
00:29:39,760 --> 00:29:41,400
Speaker 3: their mindset is bullshit.

602
00:29:41,480 --> 00:29:47,360
Speaker 2: They're late to everything, they don't keep they words scandaloss, lazy, entitled,

603
00:29:47,840 --> 00:29:51,320
Speaker 2: have a negative disposition and outlook on work XYZ. I

604
00:29:51,320 --> 00:29:53,400
Speaker 2: can go on and on. I have a million and

605
00:29:53,480 --> 00:29:55,800
Speaker 2: one horse stories. You gotta think. I do a magazine

606
00:29:55,800 --> 00:29:58,560
Speaker 2: cover every year ten a New LA Rappers called the

607
00:29:58,640 --> 00:30:01,120
Speaker 2: LA Freshman Cover. It's a be my six year doing it.

608
00:30:01,440 --> 00:30:03,920
Speaker 2: I deal with these rappers on a regular basis. It's

609
00:30:03,960 --> 00:30:07,400
Speaker 2: extremely difficult. It stresses me out. I'm bored underneath this hat.

610
00:30:07,760 --> 00:30:09,720
Speaker 2: You get what I'm saying, Like I'm stressed the fuck

611
00:30:09,760 --> 00:30:13,800
Speaker 2: out working with these new LA rappers. Nonetheless, somebody still,

612
00:30:14,080 --> 00:30:17,400
Speaker 2: unless we want West Coast hip hop to die, somebody

613
00:30:17,440 --> 00:30:20,200
Speaker 2: still has to take these new LA rappers under their wings,

614
00:30:20,400 --> 00:30:22,760
Speaker 2: teach them how to write songs, teach them how to

615
00:30:22,800 --> 00:30:26,520
Speaker 2: form good records. Where's the artist development that we asked

616
00:30:26,560 --> 00:30:29,120
Speaker 2: them to have, Like, somebody has to develop them. That's

617
00:30:29,120 --> 00:30:31,120
Speaker 2: all I'm saying. If the ogs could sit down with

618
00:30:31,160 --> 00:30:33,360
Speaker 2: these artists, teach them how to write a dope record,

619
00:30:33,640 --> 00:30:35,920
Speaker 2: teach them how to do a rollout, teach them how

620
00:30:35,920 --> 00:30:39,080
Speaker 2: to sequence a project X y Z, I feel like

621
00:30:39,120 --> 00:30:41,000
Speaker 2: it'll really benefit them. That's all I'm saying.

622
00:30:41,200 --> 00:30:45,320
Speaker 4: Despite the stress, I'm always I think that's good advice.

623
00:30:45,760 --> 00:30:49,800
Speaker 4: I mean for someone who's willing to take it and listen.

624
00:30:50,280 --> 00:30:52,280
Speaker 4: First of all, like he said, this is a different

625
00:30:52,320 --> 00:31:00,840
Speaker 4: time in my days. Somebody like Iced Tea or somebody

626
00:31:00,880 --> 00:31:06,040
Speaker 4: like niggas who schooled me. I got fucked for my publishing,

627
00:31:06,520 --> 00:31:11,240
Speaker 4: but I dealt with a nigga who had an independent label,

628
00:31:11,640 --> 00:31:15,080
Speaker 4: you know what so forth. But a lot of that

629
00:31:15,160 --> 00:31:21,000
Speaker 4: came from being signed to a major. If a nigga

630
00:31:21,160 --> 00:31:26,120
Speaker 4: like Toddy T or Easy Edie, what have would has

631
00:31:26,120 --> 00:31:30,120
Speaker 4: wanted to sign me and tell me, we need to

632
00:31:30,160 --> 00:31:32,800
Speaker 4: do this. You need to write song. You need to

633
00:31:32,840 --> 00:31:35,840
Speaker 4: be able to make a Niggers hit for the radio.

634
00:31:36,400 --> 00:31:36,880
Speaker 1: You need to.

635
00:31:37,320 --> 00:31:40,239
Speaker 4: I would have been willing to take that advice. And

636
00:31:40,840 --> 00:31:45,520
Speaker 4: that advice was given to you get me when you

637
00:31:45,640 --> 00:31:48,400
Speaker 4: signed to Epic or if you was in the studio

638
00:31:48,560 --> 00:31:51,200
Speaker 4: work a nigga would tell me, Okay, we need to.

639
00:31:51,640 --> 00:31:56,880
Speaker 4: I wasn't necessarily because already had stories and songs in

640
00:31:56,960 --> 00:31:59,600
Speaker 4: my head. I knew how to construct a song by

641
00:31:59,720 --> 00:32:03,560
Speaker 4: listen than to the dudes before me and give me

642
00:32:03,920 --> 00:32:07,400
Speaker 4: you write six, you write three sixteens.

643
00:32:06,760 --> 00:32:09,840
Speaker 1: Or back then it was four. You're getting right.

644
00:32:09,880 --> 00:32:12,720
Speaker 4: Back then you had to do four sixteens and then

645
00:32:12,760 --> 00:32:15,280
Speaker 4: you had a break in the hood, and then you

646
00:32:15,360 --> 00:32:18,120
Speaker 4: had to have a me in the song. And it

647
00:32:18,280 --> 00:32:21,400
Speaker 4: was aimed to try to get a song on the radio,

648
00:32:21,680 --> 00:32:24,680
Speaker 4: because that's how shit was. And then we went on

649
00:32:24,800 --> 00:32:27,479
Speaker 4: promo tour and we went to all the different record

650
00:32:27,520 --> 00:32:30,520
Speaker 4: stores and we met the fans and we would sign

651
00:32:30,720 --> 00:32:34,360
Speaker 4: black and white photos, and then we did promo runs

652
00:32:34,560 --> 00:32:37,239
Speaker 4: to where we would go to each major city and

653
00:32:37,320 --> 00:32:39,720
Speaker 4: hook up with the lay Bullet and they would take

654
00:32:39,800 --> 00:32:43,320
Speaker 4: us to radio and do it. So definitely you had

655
00:32:43,480 --> 00:32:47,440
Speaker 4: artists development and niggas in the studio tronic construct.

656
00:32:47,760 --> 00:32:51,080
Speaker 1: The whole problem was we were will it.

657
00:32:51,760 --> 00:32:54,880
Speaker 4: You're getting and not to say all artists, but today

658
00:32:55,040 --> 00:32:59,760
Speaker 4: art you're getting me. Hopefully some of these new artists

659
00:32:59,800 --> 00:33:03,600
Speaker 4: who are developing themselves and sitting in their kitchens or

660
00:33:03,640 --> 00:33:09,400
Speaker 4: their garages or wherever they recording themselves, they would want

661
00:33:09,520 --> 00:33:13,120
Speaker 4: to take direction from a nigga who has had a

662
00:33:13,200 --> 00:33:16,600
Speaker 4: thirty in year career and not to say, oh, nigga,

663
00:33:16,680 --> 00:33:19,760
Speaker 4: you ain't got no platinum chains, or you ain't you

664
00:33:19,760 --> 00:33:22,680
Speaker 4: ain't riding on no G four's or in no Bentley

665
00:33:22,800 --> 00:33:28,520
Speaker 4: coops and shit like that. But it's still sustainable to

666
00:33:28,600 --> 00:33:31,920
Speaker 4: the fact of look, I'm still I'm still a ramp

667
00:33:32,920 --> 00:33:36,880
Speaker 4: at thirty years as an artist. You get me, you

668
00:33:36,960 --> 00:33:39,840
Speaker 4: got catalog. Fuck the Platinum Jays. Xy I said, you

669
00:33:39,840 --> 00:33:43,920
Speaker 4: got catalog. So basically, like I said, it would be

670
00:33:44,000 --> 00:33:47,160
Speaker 4: wooling and definitely you be out there looking for somebody

671
00:33:47,240 --> 00:33:50,600
Speaker 4: who was willing to take that knowledge and know how

672
00:33:50,600 --> 00:33:52,720
Speaker 4: to create instead of niggas who just want to get

673
00:33:52,760 --> 00:33:55,080
Speaker 4: in the booth and spit a couple of lines about

674
00:33:55,120 --> 00:33:57,280
Speaker 4: the ops and where.

675
00:33:57,000 --> 00:33:57,880
Speaker 1: We're from and.

676
00:33:59,600 --> 00:34:02,840
Speaker 4: Make a little catchy little record at the time, and

677
00:34:02,880 --> 00:34:06,280
Speaker 4: then next thing, you know, two years later, you stuck

678
00:34:06,320 --> 00:34:08,640
Speaker 4: in the mix because at the end of the day,

679
00:34:08,719 --> 00:34:12,400
Speaker 4: people want to hear developed. You feel me, definitely. You

680
00:34:12,560 --> 00:34:14,719
Speaker 4: get if I hear a young hot nigga and he

681
00:34:14,880 --> 00:34:18,640
Speaker 4: just spitting all over the place and be fire, and

682
00:34:18,719 --> 00:34:20,400
Speaker 4: I'm like, oh, yeah, this nigga.

683
00:34:20,160 --> 00:34:20,799
Speaker 1: Could be hot.

684
00:34:21,120 --> 00:34:23,480
Speaker 4: But you gotta be willing to take the advice, and

685
00:34:23,560 --> 00:34:26,000
Speaker 4: you got to be willing to take the criticism as well,

686
00:34:26,120 --> 00:34:26,880
Speaker 4: because your memory.

687
00:34:26,880 --> 00:34:28,440
Speaker 1: You can't tell a lot of.

688
00:34:28,480 --> 00:34:31,879
Speaker 4: Niggas today that that shit does sound good without them

689
00:34:31,920 --> 00:34:32,640
Speaker 4: getting offended.

690
00:34:32,880 --> 00:34:35,759
Speaker 1: You feel me, I'm gonna tell you now, design ain't

691
00:34:35,760 --> 00:34:38,440
Speaker 1: you to tell you? He have? I had conversations with

692
00:34:38,520 --> 00:34:39,880
Speaker 1: you about you starting a label.

693
00:34:41,120 --> 00:34:47,560
Speaker 4: Yeah, I don't like I said, I wouldn't mind because one,

694
00:34:47,719 --> 00:34:54,040
Speaker 4: first of all, I'm not a nigga looking to capitalize.

695
00:34:54,520 --> 00:34:56,040
Speaker 1: Awf of shit, You feel me.

696
00:34:56,560 --> 00:34:59,120
Speaker 4: If a nigga hot, be hot, if a nigga sell,

697
00:34:59,640 --> 00:35:03,160
Speaker 4: If if I sell ten thousand records and he sell

698
00:35:03,280 --> 00:35:06,680
Speaker 4: ten million, I'm not on the path to interfere with

699
00:35:06,760 --> 00:35:11,239
Speaker 4: that you're getting. I know, I know what it is

700
00:35:11,239 --> 00:35:14,640
Speaker 4: to be an executive, the nigga behind the scenes. I

701
00:35:14,760 --> 00:35:17,840
Speaker 4: never wanted fame in the first place, So that's a

702
00:35:17,920 --> 00:35:20,480
Speaker 4: lot of that has a lot to do with it.

703
00:35:20,600 --> 00:35:21,160
Speaker 1: You get me.

704
00:35:21,719 --> 00:35:24,160
Speaker 4: You have to be willing to be a real executive

705
00:35:24,239 --> 00:35:26,719
Speaker 4: when you're taking on the role, the role as a

706
00:35:26,800 --> 00:35:29,359
Speaker 4: late you have to be willing to go in your

707
00:35:29,440 --> 00:35:32,080
Speaker 4: own and infest your all. You can't be taking the

708
00:35:32,160 --> 00:35:34,239
Speaker 4: mother for the nigga give you one hundred thousand, you

709
00:35:34,280 --> 00:35:36,640
Speaker 4: want to stick sixty in your pocket and think you're

710
00:35:36,680 --> 00:35:38,320
Speaker 4: gonna get shit done with forty.

711
00:35:38,680 --> 00:35:40,680
Speaker 1: That's where a lot of shit fucks up today.

712
00:35:40,920 --> 00:35:44,680
Speaker 4: You get me. Niggas don't know how to invest themselves

713
00:35:45,080 --> 00:35:48,160
Speaker 4: into the projects. You get me, or a nigga don't

714
00:35:48,160 --> 00:35:51,800
Speaker 4: give me two hundred and fifty thousand. I done played

715
00:35:51,840 --> 00:35:54,680
Speaker 4: a couple of stones on this nigga. Or I don't

716
00:35:54,840 --> 00:35:57,560
Speaker 4: vouch for a nigga because a nigga gonna take my word, nigga.

717
00:35:57,560 --> 00:35:59,720
Speaker 4: I got a nigga down the street and they encamped

718
00:35:59,800 --> 00:36:02,200
Speaker 4: in or wherever nigga hot heat.

719
00:36:02,280 --> 00:36:04,879
Speaker 1: The next so and so, nigg gonna give me the brill.

720
00:36:04,880 --> 00:36:07,680
Speaker 4: I'm gonna play one two songs and they gonna be like, oh, yeah,

721
00:36:07,760 --> 00:36:11,799
Speaker 4: let's get it. But then you gotta be executive enough

722
00:36:11,840 --> 00:36:14,120
Speaker 4: to go, Okay, they gave me two fifty, I need

723
00:36:14,160 --> 00:36:18,160
Speaker 4: to invest this two fifty and not take two hundred thousand,

724
00:36:18,280 --> 00:36:20,399
Speaker 4: stick it in my pocket, go buy me a new

725
00:36:20,400 --> 00:36:23,160
Speaker 4: width in a chain, and then tell this young nigga

726
00:36:23,520 --> 00:36:27,440
Speaker 4: you though HeiG five grand and thinking he gonna be happy.

727
00:36:27,480 --> 00:36:30,359
Speaker 4: And then when the project ain't shit because there ain't

728
00:36:30,360 --> 00:36:34,719
Speaker 4: no money invested. Now you got issues niggas out to

729
00:36:34,760 --> 00:36:36,880
Speaker 4: learn that be But it was a lot of cant

730
00:36:36,920 --> 00:36:40,040
Speaker 4: sleeve that weren't up being executive, and you gotta look

731
00:36:40,080 --> 00:36:42,359
Speaker 4: at it like that. That's what it is, and that's

732
00:36:42,640 --> 00:36:45,359
Speaker 4: that's what I think. That's what happens with a lot

733
00:36:45,360 --> 00:36:48,760
Speaker 4: of successes of those labels you mentioned in the beginning.

734
00:36:49,040 --> 00:36:51,840
Speaker 4: You get me, boots me and willing to take a

735
00:36:51,960 --> 00:36:56,280
Speaker 4: million dollars you feel me, You get me, I'm willing

736
00:36:56,320 --> 00:37:01,040
Speaker 4: to invest that in the artist. Oh got me, I'm

737
00:37:01,080 --> 00:37:04,760
Speaker 4: willing to invest you get me money into a glow

738
00:37:04,920 --> 00:37:09,000
Speaker 4: Riller or whatever, because the return is gonna be greater

739
00:37:09,520 --> 00:37:13,080
Speaker 4: me as an executive. It's gonna it's gonna be greater

740
00:37:13,520 --> 00:37:16,480
Speaker 4: than a motherfucker feeling like ooh, I gonna get a

741
00:37:16,520 --> 00:37:19,560
Speaker 4: million dollars and stick at least half in my pocket.

742
00:37:20,040 --> 00:37:23,520
Speaker 4: You feel me. You have to be a true executive

743
00:37:23,600 --> 00:37:27,680
Speaker 4: when you're dealing with artists, and you have to. That's

744
00:37:28,320 --> 00:37:31,040
Speaker 4: that's why I say it's a lot of differences between LA,

745
00:37:31,719 --> 00:37:34,839
Speaker 4: but LA work in mysterious ways.

746
00:37:34,880 --> 00:37:35,120
Speaker 1: Man.

747
00:37:35,239 --> 00:37:37,640
Speaker 2: It's the mentality. It's desert the mentality.

748
00:37:37,760 --> 00:37:41,120
Speaker 4: Well, nigga's all the time, man, Nigga LA work in

749
00:37:40,800 --> 00:37:43,120
Speaker 4: a different motherfucking place.

750
00:37:43,239 --> 00:37:43,479
Speaker 1: Man.

751
00:37:44,320 --> 00:37:46,359
Speaker 2: I know this is your show, but let me ask you,

752
00:37:46,440 --> 00:37:50,520
Speaker 2: what was your experience being signed to who begging? Because

753
00:37:50,520 --> 00:37:52,120
Speaker 2: you've been signed to an artist before.

754
00:37:56,719 --> 00:38:03,000
Speaker 4: My thing, Like I say with this, when you're signed

755
00:38:03,040 --> 00:38:10,759
Speaker 4: to another artist or another everybody, mentality is different, you

756
00:38:10,800 --> 00:38:17,960
Speaker 4: feel me. We have had examples of niggas who have

757
00:38:18,080 --> 00:38:22,239
Speaker 4: been artists themselves and had successful runs.

758
00:38:21,960 --> 00:38:26,080
Speaker 1: At being executives and labels. You're getting Master P was

759
00:38:26,120 --> 00:38:26,920
Speaker 1: an artist.

760
00:38:26,760 --> 00:38:34,000
Speaker 4: Himself, highly highly lucrative, and highly successful as being an

761
00:38:34,040 --> 00:38:41,279
Speaker 4: executive for No Limits Records, Baby for Cats Money, jay

762
00:38:41,360 --> 00:38:49,640
Speaker 4: Z for Rockefella, You get me Drewood aftermath when it

763
00:38:49,760 --> 00:38:51,920
Speaker 4: came to EM and M in fifty and.

764
00:38:53,920 --> 00:38:56,520
Speaker 1: But some sometimes.

765
00:38:55,760 --> 00:39:04,200
Speaker 4: You, I would say, sometimes the executive position is just

766
00:39:04,920 --> 00:39:08,200
Speaker 4: the name on the door for some niggas. You feel me,

767
00:39:08,800 --> 00:39:15,759
Speaker 4: because if I'm a nigga putting out records and you

768
00:39:15,920 --> 00:39:18,720
Speaker 4: putting out records, and you're putting out the same records

769
00:39:18,760 --> 00:39:23,399
Speaker 4: I'm putting out, it might be a confusion of how

770
00:39:23,520 --> 00:39:27,120
Speaker 4: much promotion or how much I want you to succeed.

771
00:39:27,760 --> 00:39:34,879
Speaker 4: You get me, Okay, it's always competition. I will give

772
00:39:34,880 --> 00:39:37,800
Speaker 4: a fuck, but sometimes you have to have that mind

773
00:39:37,880 --> 00:39:40,400
Speaker 4: state of Okay, this competition, but at the end of

774
00:39:40,400 --> 00:39:42,120
Speaker 4: the day, I'm still the executive.

775
00:39:42,600 --> 00:39:43,200
Speaker 1: You feel me.

776
00:39:43,680 --> 00:39:48,200
Speaker 4: And so if I can put out hs record and

777
00:39:48,280 --> 00:39:51,400
Speaker 4: it's selling million copies, and I can pull out my

778
00:39:51,600 --> 00:39:55,719
Speaker 4: record and it's selling million copies, I'm only looking this

779
00:39:55,920 --> 00:40:03,600
Speaker 4: double successful you're getting. But sometimes situations to where my

780
00:40:03,760 --> 00:40:06,640
Speaker 4: record gonna come out and it's gonna sell a million

781
00:40:06,719 --> 00:40:10,719
Speaker 4: copies because they got the machine behind it, right, you know.

782
00:40:11,440 --> 00:40:15,080
Speaker 4: It's the it's got the niggas going the radio, it's

783
00:40:15,120 --> 00:40:20,719
Speaker 4: got the motherfucker's hitting up the record stores and street teams.

784
00:40:20,320 --> 00:40:20,920
Speaker 1: And all of that.

785
00:40:21,600 --> 00:40:24,560
Speaker 4: As far as when it comes to an artist that

786
00:40:24,760 --> 00:40:27,359
Speaker 4: I'm developing or on my label.

787
00:40:28,239 --> 00:40:30,360
Speaker 1: I might not go pay for all that shit.

788
00:40:30,800 --> 00:40:33,840
Speaker 4: At the end of the day you feel me, I

789
00:40:34,000 --> 00:40:37,000
Speaker 4: might not go pay niggas to go run the radio.

790
00:40:37,760 --> 00:40:40,200
Speaker 1: I might not pay niggas to go do this.

791
00:40:40,719 --> 00:40:43,960
Speaker 4: I'm not looking at it as the fact of if

792
00:40:44,000 --> 00:40:47,960
Speaker 4: I do that, I could have double the success. And

793
00:40:48,080 --> 00:40:51,720
Speaker 4: so sometimes that's where it falls. That's where it falls.

794
00:40:52,480 --> 00:40:57,319
Speaker 4: You have to be truly invested as being an executive.

795
00:40:57,400 --> 00:40:59,880
Speaker 4: And like I said, when you signed to another r

796
00:41:00,080 --> 00:41:03,799
Speaker 4: this who has a label, you would think that a

797
00:41:03,920 --> 00:41:06,680
Speaker 4: mentality is to push.

798
00:41:06,480 --> 00:41:10,880
Speaker 1: You just as hard as you're being pushed, right, you.

799
00:41:10,880 --> 00:41:13,680
Speaker 2: Would think that. But like you said, that competitiveness, I

800
00:41:13,680 --> 00:41:17,960
Speaker 2: think it works best when there's a CEO or president

801
00:41:18,120 --> 00:41:20,439
Speaker 2: or another executive there to run the day to day.

802
00:41:20,840 --> 00:41:24,680
Speaker 2: I think Ben, it makes like a Dame Dash with Rockefeller,

803
00:41:24,760 --> 00:41:26,400
Speaker 2: Like Okay, jay Z. You could focus on being a

804
00:41:26,480 --> 00:41:28,520
Speaker 2: rapper in the face of the company, but I'm here

805
00:41:28,560 --> 00:41:30,320
Speaker 2: to run the day to day of the roster.

806
00:41:31,360 --> 00:41:33,600
Speaker 4: Say yeah, I mean if you're going to have a

807
00:41:33,640 --> 00:41:41,560
Speaker 4: successful label, I feel like you know, maybe even if

808
00:41:41,560 --> 00:41:44,840
Speaker 4: you are an artist. But having that executive mind state

809
00:41:45,239 --> 00:41:49,400
Speaker 4: is where it takes place. Having that corporate mind state,

810
00:41:49,520 --> 00:41:54,759
Speaker 4: you want to see the company succeeds as it's not

811
00:41:54,920 --> 00:41:59,160
Speaker 4: so much as the individual inside the corporation you're getting me,

812
00:42:00,239 --> 00:42:04,040
Speaker 4: I'm I'm flying on lear jets and I'm hying and

813
00:42:04,160 --> 00:42:09,560
Speaker 4: Bentley coops. But you know, my niggas got cameras and

814
00:42:09,680 --> 00:42:15,640
Speaker 4: my niggas got chargers and shit like that. So I'm

815
00:42:15,680 --> 00:42:19,040
Speaker 4: hopping off a helicopters and shit like that with platinum

816
00:42:19,120 --> 00:42:22,680
Speaker 4: chains and my niggas got little ropes and shit and

817
00:42:22,760 --> 00:42:27,320
Speaker 4: whatever whatever. So it all depends on where your mind

818
00:42:27,400 --> 00:42:31,799
Speaker 4: state is, on how successful you want to see your artists. Me,

819
00:42:32,040 --> 00:42:35,040
Speaker 4: at the end of the day, if I said, if

820
00:42:35,040 --> 00:42:38,279
Speaker 4: I had a label and a nigga invested two three

821
00:42:38,320 --> 00:42:42,200
Speaker 4: million dollars in my label, you be careful on how

822
00:42:42,239 --> 00:42:45,520
Speaker 4: many people you sign, and then you want to develop

823
00:42:45,560 --> 00:42:49,719
Speaker 4: a motherfucker. So I look at like that three four

824
00:42:49,800 --> 00:42:52,319
Speaker 4: million got to go into the lake when it's got

825
00:42:52,360 --> 00:42:54,520
Speaker 4: to go into developing artists, because at the end of

826
00:42:54,560 --> 00:42:57,040
Speaker 4: the day, shit, if I can turn that and I

827
00:42:57,040 --> 00:42:59,800
Speaker 4: can get these motherfuckers to sell a million two million,

828
00:43:00,880 --> 00:43:01,880
Speaker 4: that's just gonna.

829
00:43:01,680 --> 00:43:03,759
Speaker 1: Make it great for us around here.

830
00:43:04,520 --> 00:43:07,880
Speaker 4: Not so much as if I take that advance money

831
00:43:07,920 --> 00:43:10,880
Speaker 4: and stick it in my pocket. And because these motherfuckers

832
00:43:10,880 --> 00:43:13,360
Speaker 4: have no knowledge of how the record business go or

833
00:43:13,440 --> 00:43:17,239
Speaker 4: advances or upfront money or whatever. I'm gonna tell him, Hey,

834
00:43:17,280 --> 00:43:20,160
Speaker 4: I got fifty grand for you to do this record,

835
00:43:20,600 --> 00:43:22,600
Speaker 4: and all and all the nigga done walked away with

836
00:43:22,640 --> 00:43:25,759
Speaker 4: a quarter of a million. So gotta be smart enough,

837
00:43:25,800 --> 00:43:27,560
Speaker 4: and you got to know who you're dealing with. As

838
00:43:27,600 --> 00:43:29,480
Speaker 4: far as whoever you signed.

839
00:43:29,280 --> 00:43:36,880
Speaker 3: To, Facts Facts, I agree with that they made a

840
00:43:36,960 --> 00:43:40,320
Speaker 3: valid point. A lot of people don't understand the economics

841
00:43:40,360 --> 00:43:42,960
Speaker 3: of actually putting out an artist. You're going to get

842
00:43:43,000 --> 00:43:44,680
Speaker 3: the money from a label because it is to put

843
00:43:44,680 --> 00:43:47,200
Speaker 3: out a record. And I heard you mentioned Top Dog

844
00:43:47,320 --> 00:43:51,200
Speaker 3: Entertainment earlier. There hasn't been too many tds on the

845
00:43:51,239 --> 00:43:55,440
Speaker 3: West coast, right. Td was an anomaly. I was there

846
00:43:55,440 --> 00:43:57,200
Speaker 3: in the beginning with them, and you just had a

847
00:43:57,239 --> 00:43:58,440
Speaker 3: bunch of people that were homebreing.

848
00:43:58,480 --> 00:43:58,920
Speaker 1: You had to do.

849
00:43:59,719 --> 00:44:02,399
Speaker 3: Top didn't have no interest in being entertainer. He didn't

850
00:44:02,400 --> 00:44:04,799
Speaker 3: have no interest in being a rapper, producer or nothing else.

851
00:44:04,840 --> 00:44:07,880
Speaker 3: He was just sol your CEO, and that's what he did.

852
00:44:07,960 --> 00:44:10,279
Speaker 3: He smashed. He was very he was relentless man. He

853
00:44:10,320 --> 00:44:12,000
Speaker 3: was gonna get it regardless of what he had to do.

854
00:44:12,160 --> 00:44:12,359
Speaker 1: Right.

855
00:44:12,760 --> 00:44:14,320
Speaker 3: So, when you got a force like that and you

856
00:44:14,440 --> 00:44:16,560
Speaker 3: got the one thing he did a lot of those

857
00:44:16,640 --> 00:44:18,359
Speaker 3: kids to do is go back there and actually rap

858
00:44:18,400 --> 00:44:20,120
Speaker 3: and make music, right and to fill up they crab.

859
00:44:20,560 --> 00:44:22,400
Speaker 3: He had that fact that for him, but he also

860
00:44:22,440 --> 00:44:25,160
Speaker 3: had a lot of structure behind that. And it's very

861
00:44:25,200 --> 00:44:27,719
Speaker 3: hard man to get four or five people in the

862
00:44:27,760 --> 00:44:29,680
Speaker 3: same place. You can't get two people in the same

863
00:44:29,719 --> 00:44:33,960
Speaker 3: place in la right. The following instruction he had, he

864
00:44:34,080 --> 00:44:37,560
Speaker 3: had kline, he had school Boy Q had Ja brought

865
00:44:37,600 --> 00:44:40,960
Speaker 3: it back and so he had four different cash back

866
00:44:41,000 --> 00:44:42,680
Speaker 3: and you see what it on balloon to bubb it

867
00:44:42,719 --> 00:44:45,600
Speaker 3: into right. Just it ain't it ain't been no hell

868
00:44:45,600 --> 00:44:48,000
Speaker 3: a long time. But it took them. It took a

869
00:44:48,040 --> 00:44:49,400
Speaker 3: lot of work, you know what I'm Sayingcause people were

870
00:44:49,360 --> 00:44:52,799
Speaker 3: sleeping on them at first. So I do think that

871
00:44:53,960 --> 00:44:56,440
Speaker 3: what you're saying is right in one sense. Right, you

872
00:44:56,640 --> 00:44:58,719
Speaker 3: just have to have the moon and the stars, got

873
00:44:58,719 --> 00:45:01,160
Speaker 3: a kind of all the line for that to come together, right.

874
00:45:02,080 --> 00:45:04,400
Speaker 3: Like he said, I think eight would make a good executive.

875
00:45:06,080 --> 00:45:07,640
Speaker 3: I know for sure he could do the right things

876
00:45:07,640 --> 00:45:10,120
Speaker 3: with the budget. I know for sure he's not gonna

877
00:45:10,120 --> 00:45:11,799
Speaker 3: be out there trying to push the artists out the way,

878
00:45:11,840 --> 00:45:13,000
Speaker 3: So he could be a photo ops.

879
00:45:13,000 --> 00:45:14,919
Speaker 1: Hell, I think you play.

880
00:45:15,840 --> 00:45:19,000
Speaker 4: If I was in the position of talk and I

881
00:45:19,080 --> 00:45:21,640
Speaker 4: had three or four young niggas who I knew could

882
00:45:21,680 --> 00:45:28,440
Speaker 4: spit and they were hungry to progress, and I could

883
00:45:29,000 --> 00:45:34,239
Speaker 4: show them the ropes, not necessarily change their styles or

884
00:45:34,280 --> 00:45:37,600
Speaker 4: what he wrote about, to show them how to construct,

885
00:45:37,920 --> 00:45:40,080
Speaker 4: show them. With the music business.

886
00:45:39,719 --> 00:45:42,200
Speaker 1: Back in the days and our niggas had to.

887
00:45:42,200 --> 00:45:44,879
Speaker 4: Promote and go on the road and do all that.

888
00:45:45,280 --> 00:45:48,400
Speaker 4: You got the Internet now, social media, so all of

889
00:45:48,440 --> 00:45:53,360
Speaker 4: that cut out. I would definitely invest in motherfuckers, have

890
00:45:53,520 --> 00:45:56,360
Speaker 4: them come into this, But it's all about in willing

891
00:45:56,680 --> 00:46:00,480
Speaker 4: how much they would want to be invested and come

892
00:46:00,560 --> 00:46:04,560
Speaker 4: into the studio and develop and not like just Okay, tomorrow,

893
00:46:04,640 --> 00:46:07,000
Speaker 4: let's put out a wreck. You get me, you know

894
00:46:07,040 --> 00:46:09,440
Speaker 4: what I'm saying. Eight you eight man, you've been put

895
00:46:09,560 --> 00:46:12,080
Speaker 4: my shit out tomorrow or woof, you won't. But like

896
00:46:12,160 --> 00:46:15,439
Speaker 4: you said, it's the difference between rapping on the mic

897
00:46:15,520 --> 00:46:18,480
Speaker 4: and just rying and then creating music and songs that's

898
00:46:18,520 --> 00:46:20,759
Speaker 4: gonna be able to play and you're gonna be able

899
00:46:20,800 --> 00:46:23,359
Speaker 4: to have a catalog that a motherfucker can look up

900
00:46:23,719 --> 00:46:26,719
Speaker 4: thirty years from now and go, Damn, that shit's still

901
00:46:26,800 --> 00:46:28,040
Speaker 4: playing you feel Me.

902
00:46:28,480 --> 00:46:31,880
Speaker 1: So it's a two ways. It's a two way street.

903
00:46:32,400 --> 00:46:33,799
Speaker 4: You just got to be able to work with a

904
00:46:33,840 --> 00:46:36,680
Speaker 4: motherfucker who's willing to work with you, I believe. But

905
00:46:36,800 --> 00:46:40,000
Speaker 4: there's a lot of hongry young artists out here who's

906
00:46:40,040 --> 00:46:43,160
Speaker 4: on to come up who just take the knowledge of

907
00:46:43,200 --> 00:46:46,920
Speaker 4: that you feel me. Even if you want to fuck

908
00:46:46,960 --> 00:46:51,480
Speaker 4: with yourself and develop yourself, learn how to start creating

909
00:46:51,640 --> 00:46:55,120
Speaker 4: music that's gonna be able to withstand the test of

910
00:46:55,239 --> 00:46:58,280
Speaker 4: time and you can look up fifteen years from now

911
00:46:58,600 --> 00:47:01,560
Speaker 4: and the niggas wanting to play your music because it

912
00:47:01,719 --> 00:47:05,880
Speaker 4: meant something you feel me, and that's whatever form of

913
00:47:06,000 --> 00:47:08,400
Speaker 4: whatever you want to call it, if it's from the

914
00:47:08,440 --> 00:47:12,000
Speaker 4: streets or it's pop, or it's whatever, whatever you want

915
00:47:12,040 --> 00:47:14,319
Speaker 4: to do. Man, you just got to be able to

916
00:47:14,400 --> 00:47:18,360
Speaker 4: know how to create and develop yourself into an aspect

917
00:47:18,440 --> 00:47:21,560
Speaker 4: of where motherfuckers is gonna want to spend their money

918
00:47:21,560 --> 00:47:23,000
Speaker 4: and they gonna want more.

919
00:47:22,880 --> 00:47:23,520
Speaker 1: Of your shit.

920
00:47:25,200 --> 00:47:29,960
Speaker 2: Absolutely so. Yet definitely I feel like from this conversation,

921
00:47:30,080 --> 00:47:32,200
Speaker 2: I'm learned we got to meet in the middle. The

922
00:47:32,239 --> 00:47:34,719
Speaker 2: New La rappers gotta be willing to meet in the

923
00:47:34,719 --> 00:47:36,399
Speaker 2: middle with the ol G They got to be willing

924
00:47:36,440 --> 00:47:40,600
Speaker 2: to accept the criticism except the help accept the signings,

925
00:47:40,680 --> 00:47:43,160
Speaker 2: and then the ol g rappers got to extend that

926
00:47:43,280 --> 00:47:45,520
Speaker 2: same olibresh. I'm assuming we just got to meet in

927
00:47:45,600 --> 00:47:48,640
Speaker 2: the middle of works because your respect go both ways.

928
00:47:48,400 --> 00:47:51,439
Speaker 4: It took a lot to get here and for them

929
00:47:51,520 --> 00:47:53,840
Speaker 4: to be able to do what they do today.

930
00:47:54,280 --> 00:47:57,000
Speaker 1: It took a lot that we had to.

931
00:47:56,920 --> 00:47:59,440
Speaker 4: Go through for a lot of young artists to be

932
00:47:59,560 --> 00:48:02,160
Speaker 4: able to say what they want to say, rep how

933
00:48:02,200 --> 00:48:04,680
Speaker 4: they want to rep and create what they want to create.

934
00:48:05,760 --> 00:48:09,920
Speaker 4: You got to remember fifty years ago they what getting

935
00:48:09,920 --> 00:48:13,320
Speaker 4: on us to have this shit. This is our own lane.

936
00:48:13,840 --> 00:48:23,520
Speaker 4: So being able to accept criticism and help and respecting

937
00:48:24,080 --> 00:48:27,720
Speaker 4: where the music started from and where it's came from.

938
00:48:27,960 --> 00:48:30,399
Speaker 4: You know, y'all got your own style and y'all got

939
00:48:30,440 --> 00:48:33,799
Speaker 4: your own way of getting down in the way of expressing.

940
00:48:34,320 --> 00:48:37,560
Speaker 4: But you know it was set forth for us. We

941
00:48:37,640 --> 00:48:40,080
Speaker 4: had to fight for y'all to be able to do that.

942
00:48:40,560 --> 00:48:44,000
Speaker 4: People hear that talk and whatever and the ogs and whatever.

943
00:48:44,120 --> 00:48:46,960
Speaker 4: But it was a lot because there was a point

944
00:48:47,000 --> 00:48:50,320
Speaker 4: to where you can hear your music Indi and everywhere

945
00:48:50,440 --> 00:48:52,719
Speaker 4: that but at one point they didn't even want to

946
00:48:52,760 --> 00:48:55,040
Speaker 4: hear your shit, you get it. I won't give a

947
00:48:55,040 --> 00:48:58,680
Speaker 4: fuck how much money they started made. There were motherfuckers

948
00:48:58,719 --> 00:49:02,799
Speaker 4: out to stop this sh you're getting. Literally, there were

949
00:49:02,880 --> 00:49:06,880
Speaker 4: motherfuckers out who were powers that be, who were sitting

950
00:49:06,960 --> 00:49:10,400
Speaker 4: up in positions where they were suiting ties you get me,

951
00:49:10,880 --> 00:49:15,240
Speaker 4: and took folks and political motherfuckers you get.

952
00:49:15,040 --> 00:49:19,040
Speaker 1: Me, wanted to tucker you give me. They wanted to

953
00:49:19,160 --> 00:49:20,000
Speaker 1: stop this ship.

954
00:49:20,440 --> 00:49:24,000
Speaker 4: And we took the motherfucking lups, and we took the

955
00:49:25,040 --> 00:49:28,880
Speaker 4: disrespect and the bannings and the not being able to

956
00:49:28,920 --> 00:49:36,640
Speaker 4: hear your shit, and police fucking shit and shutting your

957
00:49:36,640 --> 00:49:40,279
Speaker 4: shows down and all that type of shit. We went

958
00:49:40,320 --> 00:49:42,560
Speaker 4: through all that. Look what easy in them had to

959
00:49:42,600 --> 00:49:45,960
Speaker 4: do when they had the Pojese. They were going to

960
00:49:46,080 --> 00:49:49,040
Speaker 4: jail and getting chased out of arenas and told like,

961
00:49:49,160 --> 00:49:52,000
Speaker 4: you can't perform this, and you can't say fuck, you

962
00:49:52,080 --> 00:49:55,600
Speaker 4: can't do this, you can't gyrate on stage and do

963
00:49:55,719 --> 00:49:58,319
Speaker 4: all that think of with two live crew had to

964
00:49:58,360 --> 00:50:01,760
Speaker 4: go through for motherfuckers able to be have the bitches

965
00:50:01,840 --> 00:50:05,920
Speaker 4: half nked in videos now and flossing and bikinis and

966
00:50:06,320 --> 00:50:09,160
Speaker 4: doing all kind of weird and crazy shit. You would

967
00:50:09,160 --> 00:50:11,640
Speaker 4: do whatever the fuck you want to now. And that's

968
00:50:11,640 --> 00:50:15,080
Speaker 4: because we took the motherfucking we got the brick stone

969
00:50:15,160 --> 00:50:18,280
Speaker 4: at us, so niggas can be able to do whatever

970
00:50:18,320 --> 00:50:20,440
Speaker 4: the fuck they want to do today, you know what

971
00:50:20,480 --> 00:50:22,640
Speaker 4: I'm saying. So that's where I think a lot of

972
00:50:22,680 --> 00:50:26,480
Speaker 4: respect lies and for and so if a nigga want

973
00:50:26,480 --> 00:50:28,479
Speaker 4: to if an older nigga want to do a rap

974
00:50:28,560 --> 00:50:31,040
Speaker 4: song where he wanted to create shit, I just tell

975
00:50:31,080 --> 00:50:33,320
Speaker 4: older niggas, man, you just got to be able to compete.

976
00:50:33,680 --> 00:50:36,640
Speaker 1: You're getting because you are in a young man's game.

977
00:50:37,080 --> 00:50:40,320
Speaker 4: And even though you still got a fan base, and

978
00:50:40,360 --> 00:50:43,800
Speaker 4: they are still people forty and forty five and fifty

979
00:50:43,880 --> 00:50:47,480
Speaker 4: who still listening to music, and they still might want

980
00:50:47,520 --> 00:50:51,080
Speaker 4: to pick up an eight CD or ice cube or whatever,

981
00:50:51,320 --> 00:50:53,560
Speaker 4: but you gotta have some good shit. You can't just

982
00:50:53,600 --> 00:50:56,600
Speaker 4: put out anything because you got a name and a

983
00:50:56,640 --> 00:50:59,800
Speaker 4: fan base. And that's my that's my number one point

984
00:51:00,239 --> 00:51:03,720
Speaker 4: when it comes to niggas from my generation who still

985
00:51:03,840 --> 00:51:07,680
Speaker 4: want to dab in this in this game, you have

986
00:51:07,760 --> 00:51:11,799
Speaker 4: to be able to create something that's official, just put

987
00:51:11,880 --> 00:51:14,360
Speaker 4: out in the garbage. And that's just point blunt.

988
00:51:15,239 --> 00:51:17,480
Speaker 2: At any stage. Now, Hey, I saw you on I'm

989
00:51:17,480 --> 00:51:19,840
Speaker 2: trying to remember the podcast is with Court. It's a

990
00:51:20,120 --> 00:51:23,399
Speaker 2: larr I saw that. It's a viral clip going around.

991
00:51:23,440 --> 00:51:26,520
Speaker 2: How you even reposted it. Basically the quote is you're saying,

992
00:51:26,560 --> 00:51:30,319
Speaker 2: like the early age, the early stage of LA rap,

993
00:51:30,400 --> 00:51:33,400
Speaker 2: West Coast hip hop, in your opinion, was either trash

994
00:51:33,600 --> 00:51:36,200
Speaker 2: or you said something to that effect, the techno music,

995
00:51:36,239 --> 00:51:39,719
Speaker 2: that electro music, the dance music before in that way,

996
00:51:39,760 --> 00:51:42,920
Speaker 2: before Ice Tea, before Tiddy t you were saying LA

997
00:51:43,040 --> 00:51:46,040
Speaker 2: rappers tragedy. Do you feel I feel like it's going

998
00:51:46,160 --> 00:51:47,799
Speaker 2: back to that. I feel like it's kind of like

999
00:51:47,840 --> 00:51:50,799
Speaker 2: a three sixty a full circle moment. We've gone back

1000
00:51:50,800 --> 00:51:55,080
Speaker 2: to where it's like TikTok dance. Everything's clown dance of music.

1001
00:51:55,160 --> 00:51:56,560
Speaker 2: But like that where we started.

1002
00:51:57,000 --> 00:51:57,680
Speaker 1: You can get some.

1003
00:51:59,200 --> 00:51:59,839
Speaker 2: Said that plan.

1004
00:52:00,200 --> 00:52:05,520
Speaker 4: Like me as a young nigga coming up who would

1005
00:52:05,560 --> 00:52:10,920
Speaker 4: take summer vacation trips back to down South, and I

1006
00:52:11,000 --> 00:52:16,000
Speaker 4: had older cousins who they got music from the East

1007
00:52:16,000 --> 00:52:19,600
Speaker 4: Coast before we did, so to go down to those

1008
00:52:19,680 --> 00:52:24,840
Speaker 4: places and they hear those early rappers coming out of

1009
00:52:24,920 --> 00:52:28,560
Speaker 4: New York and then to come home and turn on

1010
00:52:28,640 --> 00:52:32,560
Speaker 4: the radio and we had none of that. You get me,

1011
00:52:35,480 --> 00:52:38,920
Speaker 4: It might have been a few who were trying to

1012
00:52:38,960 --> 00:52:43,040
Speaker 4: get to a level of sustaining West Coast hip hop.

1013
00:52:43,160 --> 00:52:48,360
Speaker 4: But to me, it was all dance, techno tronic. It

1014
00:52:48,520 --> 00:52:53,920
Speaker 4: was all it was. It wasn't what we are today

1015
00:52:54,160 --> 00:52:57,440
Speaker 4: or what developed from Easy E and Toddy t and that,

1016
00:52:58,080 --> 00:53:01,759
Speaker 4: And so I felt like the music didn't give us

1017
00:53:02,040 --> 00:53:07,919
Speaker 4: justice on the West Coast. Before niggas like Ice Tea

1018
00:53:08,400 --> 00:53:11,360
Speaker 4: or niggas like Shit, we were banging school E.

1019
00:53:11,520 --> 00:53:12,719
Speaker 1: D you feel me?

1020
00:53:12,960 --> 00:53:16,440
Speaker 4: Because that was gangster shit to us, because that's you

1021
00:53:16,480 --> 00:53:19,880
Speaker 4: had gangster niggas way before hip hop and rap music,

1022
00:53:20,360 --> 00:53:25,480
Speaker 4: and so our go to was that in Parliament and

1023
00:53:25,520 --> 00:53:29,120
Speaker 4: Marvin Gaye and shit like that, because we had no

1024
00:53:30,000 --> 00:53:33,120
Speaker 4: I don't think we had a decent representation of us

1025
00:53:33,160 --> 00:53:38,040
Speaker 4: in the neighborhoods until early Toddy Tea, Mixed masters A,

1026
00:53:38,280 --> 00:53:41,600
Speaker 4: Mixed Master Ken, and then with the development of Easy

1027
00:53:41,719 --> 00:53:46,520
Speaker 4: and NWA, we got out of that Bobby Jimmy and

1028
00:53:46,560 --> 00:53:49,399
Speaker 4: the critters and we got out of the Wrecking Crew

1029
00:53:49,560 --> 00:53:52,960
Speaker 4: era nothing. And I don't like the this niggas because

1030
00:53:53,000 --> 00:53:55,600
Speaker 4: they be thinking, are dissing and I'm just giving my

1031
00:53:55,719 --> 00:53:57,120
Speaker 4: opinion of what I heard.

1032
00:53:57,680 --> 00:54:00,680
Speaker 1: That's what I heard coming out of dude.

1033
00:54:00,840 --> 00:54:02,960
Speaker 3: It was a lot of white music like I've got

1034
00:54:03,000 --> 00:54:05,120
Speaker 3: the ultimate respect man for for.

1035
00:54:06,600 --> 00:54:08,920
Speaker 1: What's my boys? Yes we're here, the dream Team, the

1036
00:54:09,000 --> 00:54:09,879
Speaker 1: dream team and all.

1037
00:54:09,800 --> 00:54:15,520
Speaker 4: The evening the street out of I banged the ship

1038
00:54:15,640 --> 00:54:19,759
Speaker 4: out of Egypt, you get, I banged the ship out

1039
00:54:19,800 --> 00:54:22,839
Speaker 4: of Egypt, Egypt, and my beat goals boom And what

1040
00:54:22,960 --> 00:54:27,000
Speaker 4: is a DJ if he can't scratch? That started to

1041
00:54:27,040 --> 00:54:31,920
Speaker 4: me was waking up our element of West Coast music,

1042
00:54:32,360 --> 00:54:35,520
Speaker 4: because it wasn't.

1043
00:54:36,000 --> 00:54:38,680
Speaker 1: Last said Wrecking Crew had turned off the lights that

1044
00:54:39,000 --> 00:54:40,440
Speaker 1: you knowing they were.

1045
00:54:41,080 --> 00:54:45,719
Speaker 4: I don't know, Lonzo had that direction you feel Me,

1046
00:54:46,239 --> 00:54:49,200
Speaker 4: which was nothing was wrong with it, But it wasn't

1047
00:54:49,600 --> 00:54:51,440
Speaker 4: nw A you feel Me.

1048
00:54:51,920 --> 00:54:56,160
Speaker 1: It wasn't Toddy t. It wasn't mixed Master Spade.

1049
00:54:56,640 --> 00:55:02,000
Speaker 4: And as a young nigga thirteen fourteen, growing up, introduction

1050
00:55:02,200 --> 00:55:05,480
Speaker 4: in the streets and gang banging and niggas selling dope

1051
00:55:05,560 --> 00:55:11,640
Speaker 4: and seeing police and getting all this motherfucking information, the

1052
00:55:11,800 --> 00:55:15,239
Speaker 4: music didn't match what was going on in the neighborhoods. Now,

1053
00:55:15,360 --> 00:55:17,600
Speaker 4: not to say niggas wasn't going to the clubs and

1054
00:55:17,640 --> 00:55:21,800
Speaker 4: partying and doing their thing, but I was fourteen years old.

1055
00:55:21,920 --> 00:55:24,359
Speaker 4: I wasn't going to no more fucking clubs. I was

1056
00:55:24,360 --> 00:55:29,080
Speaker 4: on the streets, so the street music didn't reflect until

1057
00:55:29,600 --> 00:55:34,880
Speaker 4: we started here in Schooley DPSK. We heard six in

1058
00:55:34,920 --> 00:55:38,200
Speaker 4: the Morning, we heard Toddy Ta and Nick Spasist fade

1059
00:55:38,320 --> 00:55:43,120
Speaker 4: underground tapes and so the development of our music started,

1060
00:55:43,440 --> 00:55:46,960
Speaker 4: and so it kind of pushed out, remember, free music started.

1061
00:55:47,480 --> 00:55:51,319
Speaker 4: It pushed out that that that form of what was

1062
00:55:51,400 --> 00:55:54,040
Speaker 4: before that you give me, which to me was a

1063
00:55:54,040 --> 00:56:00,200
Speaker 4: lot of dance technotronic fas upbeat.

1064
00:55:59,280 --> 00:56:00,239
Speaker 1: Let's just pau play.

1065
00:56:00,239 --> 00:56:04,479
Speaker 3: Didn't have a good la LA before gangs rap, before

1066
00:56:04,520 --> 00:56:08,279
Speaker 3: those groups that Adas mintioned and came around. Right, you

1067
00:56:08,360 --> 00:56:11,680
Speaker 3: gotta remember something, the whole dance sound LA was very

1068
00:56:11,800 --> 00:56:14,799
Speaker 3: dance stripping, right, A lot of awkward net sets, a

1069
00:56:14,800 --> 00:56:17,160
Speaker 3: lot of just take no music. A lot of people

1070
00:56:17,160 --> 00:56:19,520
Speaker 3: don't even know the sounds that they call Miami Base

1071
00:56:19,680 --> 00:56:23,840
Speaker 3: originated in Los Angeles, California. That was a guy from Riverside, California.

1072
00:56:23,880 --> 00:56:26,680
Speaker 3: They did Mister Mix, Hobbs, the two live crews. Whole

1073
00:56:26,680 --> 00:56:28,840
Speaker 3: sound came from the West Coast. I did not know

1074
00:56:28,960 --> 00:56:33,160
Speaker 3: that mister Mix is from Riverside, California. He's from Riverside, California.

1075
00:56:33,160 --> 00:56:35,920
Speaker 3: He took that sound two Live crew to actually release

1076
00:56:36,000 --> 00:56:39,600
Speaker 3: the record through Macola first right with him aw some

1077
00:56:39,800 --> 00:56:41,480
Speaker 3: Vee and them guys. They were in the military at

1078
00:56:41,520 --> 00:56:44,960
Speaker 3: the time. When Mix came home from Mister Mix came

1079
00:56:45,000 --> 00:56:48,719
Speaker 3: home from the from being in service, right his mom

1080
00:56:48,840 --> 00:56:51,759
Speaker 3: kept telling him, Hey, this man from Miami keep calling y'all.

1081
00:56:51,760 --> 00:56:53,520
Speaker 3: He wants y'all to come down and perform the record

1082
00:56:53,520 --> 00:56:55,319
Speaker 3: that got big, and it got big in Miami. They

1083
00:56:55,320 --> 00:56:57,400
Speaker 3: didn't even know it when he went down there. He

1084
00:56:57,480 --> 00:56:59,879
Speaker 3: brought that sound with them. You remember that Egyptian muff

1085
00:57:00,040 --> 00:57:02,080
Speaker 3: and all that other stuff that was all that's all

1086
00:57:02,120 --> 00:57:03,880
Speaker 3: West Coast stuff. Bro to eight A Waits and all

1087
00:57:03,920 --> 00:57:07,120
Speaker 3: that stuff, so pretty much the sound that wound up

1088
00:57:07,160 --> 00:57:09,759
Speaker 3: being the foundation for what the South the kine comes

1089
00:57:09,760 --> 00:57:11,560
Speaker 3: from the West Coast. South from the West Coast.

1090
00:57:11,719 --> 00:57:15,480
Speaker 2: I think my relationship to it would be one of

1091
00:57:15,480 --> 00:57:17,600
Speaker 2: the closest I would have is So when I was

1092
00:57:17,640 --> 00:57:21,160
Speaker 2: in middle school, the Jerking era was popping off, and

1093
00:57:21,320 --> 00:57:24,360
Speaker 2: to me, obviously it's not the most respectable form of

1094
00:57:24,400 --> 00:57:27,160
Speaker 2: West Coast music. The lyricism isn't there. We didn't get

1095
00:57:27,160 --> 00:57:30,280
Speaker 2: any classic bodies of work from it. But the Jerking era,

1096
00:57:30,480 --> 00:57:33,640
Speaker 2: which is dance music bullshit dance music. Some would say

1097
00:57:34,000 --> 00:57:36,760
Speaker 2: he got mainstream attition back to the West Coast. At

1098
00:57:36,800 --> 00:57:38,960
Speaker 2: the time, we didn't have it. So it seems like

1099
00:57:39,000 --> 00:57:42,840
Speaker 2: there's this weird current theme where dance music, techno music

1100
00:57:43,080 --> 00:57:46,160
Speaker 2: like electro music, fast placed music kind of gets the

1101
00:57:46,200 --> 00:57:50,040
Speaker 2: party jumping and then following so we get a reassertce

1102
00:57:50,120 --> 00:57:52,800
Speaker 2: of real MC's. It seems like it just keep going to.

1103
00:57:52,800 --> 00:57:54,880
Speaker 3: See So what the thing is the one thing you

1104
00:57:54,920 --> 00:57:58,240
Speaker 3: can't do though, Dejon, all that stuff has this place

1105
00:57:58,240 --> 00:58:01,240
Speaker 3: in the branch hip, right, you gotta have to meet.

1106
00:58:01,520 --> 00:58:04,000
Speaker 3: The West Coast need more rappers like a Will Smith.

1107
00:58:04,040 --> 00:58:05,560
Speaker 3: You feel what I'm saying, Everything gonna have to be

1108
00:58:05,640 --> 00:58:08,120
Speaker 3: a gangster rapper. I think that's why you have so

1109
00:58:08,240 --> 00:58:11,320
Speaker 3: many guys out here that that's really not from a gang.

1110
00:58:11,800 --> 00:58:13,680
Speaker 3: A and R told me one time, man, and in

1111
00:58:13,800 --> 00:58:15,600
Speaker 3: order to get signed to be from California, you had

1112
00:58:15,640 --> 00:58:17,640
Speaker 3: to become you had to come from a gang. Because

1113
00:58:17,640 --> 00:58:21,440
Speaker 3: I remember when I remember when Gentry said that did

1114
00:58:21,880 --> 00:58:23,400
Speaker 3: you have you have to be from a gang? That's

1115
00:58:23,400 --> 00:58:25,320
Speaker 3: not necessarily true. It's a whole bunch of cats, like

1116
00:58:25,400 --> 00:58:26,240
Speaker 3: it's not from nowhere.

1117
00:58:26,400 --> 00:58:28,160
Speaker 1: Now. They may live in the neighborhood. But that don't

1118
00:58:28,160 --> 00:58:29,440
Speaker 1: mean ain't necessarily gang banger.

1119
00:58:30,560 --> 00:58:33,600
Speaker 4: And we found out we found a lot of nists

1120
00:58:33,840 --> 00:58:38,240
Speaker 4: who have developed from the West Coast who didn't necessarily.

1121
00:58:39,040 --> 00:58:44,120
Speaker 1: Take that route of John Kennedy. A lots.

1122
00:58:46,160 --> 00:58:48,360
Speaker 4: If you want to go back to my days, we

1123
00:58:48,400 --> 00:58:52,200
Speaker 4: had the young end, the seats, we had the digital undergrounds,

1124
00:58:52,920 --> 00:58:56,880
Speaker 4: we had their souls of mischief from the West Coast.

1125
00:58:57,960 --> 00:59:01,480
Speaker 4: We had a lot of artists Man KD who was

1126
00:59:01,520 --> 00:59:05,960
Speaker 4: from Lynch, who was signed the queue. You had a

1127
00:59:06,000 --> 00:59:10,960
Speaker 4: lot of artists who didn't take or represent the street

1128
00:59:11,120 --> 00:59:17,760
Speaker 4: route far Si everybody false exactly the alcoholics.

1129
00:59:18,040 --> 00:59:21,280
Speaker 1: You give me everybody of their lane.

1130
00:59:21,360 --> 00:59:25,120
Speaker 4: I believe if you make significant good music, then it

1131
00:59:25,160 --> 00:59:28,600
Speaker 4: really doesn't matter as long as you can make and

1132
00:59:28,640 --> 00:59:33,640
Speaker 4: sustain good music. If you can make songs that people

1133
00:59:33,680 --> 00:59:36,880
Speaker 4: can relate to and whatever the genre of it is,

1134
00:59:38,120 --> 00:59:40,760
Speaker 4: you're gonna have fans and you're gonna have music that

1135
00:59:40,800 --> 00:59:43,439
Speaker 4: motherfucker that you can sustain. Now, if you're just trying

1136
00:59:43,480 --> 00:59:45,680
Speaker 4: to get in a booth and create a song to

1137
00:59:45,840 --> 00:59:48,520
Speaker 4: diss the ops, or you're just trying to make some

1138
00:59:48,840 --> 00:59:52,760
Speaker 4: catchy like you said to go TikTok, or a lot

1139
00:59:52,800 --> 00:59:57,520
Speaker 4: of people want to take that rap now because becoming

1140
00:59:57,640 --> 01:00:01,360
Speaker 4: famous is the name of the game now. So if

1141
01:00:01,400 --> 01:00:04,280
Speaker 4: I can create some shit on TikTok and have everybody

1142
01:00:04,320 --> 01:00:06,840
Speaker 4: sing along to it and make a day and step

1143
01:00:06,880 --> 01:00:10,720
Speaker 4: to it, that's how That's how we're discovering artists today.

1144
01:00:12,000 --> 01:00:14,520
Speaker 4: But like I said, everything goes around for a circle.

1145
01:00:14,760 --> 01:00:17,840
Speaker 4: It always has when it comes to hip hop, or

1146
01:00:18,200 --> 01:00:21,520
Speaker 4: it always has when it comes to cultures and trends.

1147
01:00:22,720 --> 01:00:28,400
Speaker 4: You might see something your parents wore thirty years ago,

1148
01:00:29,000 --> 01:00:31,520
Speaker 4: they selling that shit in a vintage store. Today you

1149
01:00:31,600 --> 01:00:34,320
Speaker 4: get me and motherfucker's going in there and buying the shit.

1150
01:00:36,320 --> 01:00:39,600
Speaker 4: It just takes time for it to come around and

1151
01:00:39,640 --> 01:00:43,600
Speaker 4: for people to start coming up age and feeling like

1152
01:00:44,160 --> 01:00:47,760
Speaker 4: they want to hear something different than what's been going on.

1153
01:00:48,240 --> 01:00:49,920
Speaker 1: And that's usually what happens.

1154
01:00:50,160 --> 01:00:53,440
Speaker 4: You get an artist to come back, you get somebody

1155
01:00:53,480 --> 01:00:56,439
Speaker 4: to come out the woodwork where you get somebody new

1156
01:00:56,480 --> 01:01:01,600
Speaker 4: that comes with a different sounds that people like I

1157
01:01:01,680 --> 01:01:04,440
Speaker 4: want to do that now you get me. So whether

1158
01:01:04,520 --> 01:01:07,120
Speaker 4: it be an old sound or new sound, hip hop

1159
01:01:07,160 --> 01:01:12,520
Speaker 4: has always found a way of recreating itself and then

1160
01:01:12,720 --> 01:01:14,640
Speaker 4: going back to its roots.

1161
01:01:15,200 --> 01:01:18,480
Speaker 2: Speaking of things going in cycles are you familiar with

1162
01:01:18,560 --> 01:01:20,320
Speaker 2: Draco or the Rulers music eight.

1163
01:01:20,760 --> 01:01:22,600
Speaker 1: Yeah, have you?

1164
01:01:22,960 --> 01:01:28,120
Speaker 2: Because I've heard similarities between the flow your flow in

1165
01:01:28,200 --> 01:01:30,440
Speaker 2: his flow, especially when I listen to late night hype,

1166
01:01:30,520 --> 01:01:32,200
Speaker 2: and when I hear late night hype, I'd be like,

1167
01:01:32,560 --> 01:01:35,600
Speaker 2: this is like, this reminds me of Draco in a bit,

1168
01:01:35,760 --> 01:01:38,800
Speaker 2: or vice versa. Do you hear any similarities in your flow?

1169
01:01:41,040 --> 01:01:45,280
Speaker 4: I've heard it a little bit. I've always said that

1170
01:01:47,600 --> 01:01:56,200
Speaker 4: it's always good to be able to influence whatever whatever

1171
01:01:56,440 --> 01:02:00,480
Speaker 4: d might be, even if people may think that a

1172
01:02:00,520 --> 01:02:06,440
Speaker 4: little influence has been given, it's always respect to me,

1173
01:02:06,680 --> 01:02:11,520
Speaker 4: and especially when it's the new generation. I had a

1174
01:02:11,680 --> 01:02:15,520
Speaker 4: distinctive flow and tried to create something different than what

1175
01:02:15,600 --> 01:02:18,720
Speaker 4: all the other dudes were doing in my time. He

1176
01:02:18,920 --> 01:02:22,640
Speaker 4: was another one. My son liked Jim a lot, so

1177
01:02:23,120 --> 01:02:27,720
Speaker 4: like you could see some similarities in the music. Standing

1178
01:02:27,760 --> 01:02:30,400
Speaker 4: on your own, creating your own shit and not give

1179
01:02:30,440 --> 01:02:32,840
Speaker 4: what the fuck about what people thought about it, but

1180
01:02:32,960 --> 01:02:34,160
Speaker 4: you was just gonna go on.

1181
01:02:34,480 --> 01:02:37,640
Speaker 2: You feel me, y'all were very similar in that way.

1182
01:02:37,680 --> 01:02:41,440
Speaker 2: I feel like the same way you didn't have that bright, sunny,

1183
01:02:41,720 --> 01:02:46,560
Speaker 2: super super defunk, warm house party feel like a Warren

1184
01:02:46,640 --> 01:02:50,520
Speaker 2: g Or Quick it's the same way that Draco didn't

1185
01:02:50,560 --> 01:02:54,880
Speaker 2: have that red cup ratchet feel of a yg or

1186
01:02:55,040 --> 01:02:57,520
Speaker 2: Joe Moses or a problem Like he stood out in

1187
01:02:57,560 --> 01:03:00,840
Speaker 2: his generation and you stood out in your generation. So

1188
01:03:01,160 --> 01:03:02,320
Speaker 2: I see the similarities.

1189
01:03:02,600 --> 01:03:04,720
Speaker 3: I think dude was on his way man, probably to

1190
01:03:04,760 --> 01:03:07,360
Speaker 3: become one of the biggest artists on the West Coast. Man.

1191
01:03:07,760 --> 01:03:09,479
Speaker 1: I think it's.

1192
01:03:09,400 --> 01:03:12,040
Speaker 3: Tragical happen to him because I I go back with

1193
01:03:12,160 --> 01:03:15,760
Speaker 3: my son's listening to I got young sons, right, and

1194
01:03:15,840 --> 01:03:18,160
Speaker 3: the way when Chris was putting me up on me.

1195
01:03:18,360 --> 01:03:21,200
Speaker 3: Chris used to try to get me to sign everybody eight. Dad,

1196
01:03:21,240 --> 01:03:23,280
Speaker 3: you need to go find him and sign him. I said,

1197
01:03:23,320 --> 01:03:26,360
Speaker 3: Chris ain't just that easy, right, But I definitely thought

1198
01:03:26,400 --> 01:03:28,360
Speaker 3: that he was one of them dudes. Man, that was

1199
01:03:28,480 --> 01:03:32,360
Speaker 3: like I want to say, he was different, man, he

1200
01:03:32,480 --> 01:03:34,720
Speaker 3: was unique. He had his own he had his own

1201
01:03:34,760 --> 01:03:37,160
Speaker 3: thing going. And it's just tragedy, That's what I mean. Man.

1202
01:03:37,160 --> 01:03:40,000
Speaker 3: That's why I tell a lot of young cats, Man,

1203
01:03:40,000 --> 01:03:42,720
Speaker 3: it's in LA that's doing stuff right now. Move go

1204
01:03:42,760 --> 01:03:46,280
Speaker 3: down to Atlanta somewhere, Go down to Texas somewhere. Get

1205
01:03:46,280 --> 01:03:47,640
Speaker 3: out the city, you know what I mean, Because it's

1206
01:03:47,680 --> 01:03:48,200
Speaker 3: just tragic.

1207
01:03:48,240 --> 01:03:48,560
Speaker 1: Out there.

1208
01:03:48,600 --> 01:03:51,919
Speaker 3: Man, it's a lot of bullshit. I think you got

1209
01:03:51,960 --> 01:03:55,000
Speaker 3: to brove even something simple as moving out to the ie. Man,

1210
01:03:55,040 --> 01:03:56,840
Speaker 3: sometimes you got to get away from this shit thog.

1211
01:03:57,280 --> 01:03:59,680
Speaker 2: That's true, being out the way of the benefit.

1212
01:04:00,000 --> 01:04:02,040
Speaker 3: You just got to get out the wait man, before

1213
01:04:02,080 --> 01:04:04,760
Speaker 3: we go. I gotta address this now, what's going on?

1214
01:04:04,800 --> 01:04:04,960
Speaker 1: You know?

1215
01:04:05,000 --> 01:04:07,320
Speaker 3: I had to comment. I'll follow you on Instagram and men,

1216
01:04:07,360 --> 01:04:08,919
Speaker 3: you have dialogue cross there.

1217
01:04:09,560 --> 01:04:09,800
Speaker 2: Yeah.

1218
01:04:10,040 --> 01:04:15,480
Speaker 3: You recently dropped his album, his new album, Yeah, and

1219
01:04:16,200 --> 01:04:18,240
Speaker 3: you had a lot of stuff to say about it. Man,

1220
01:04:18,280 --> 01:04:19,800
Speaker 3: you had a lot of comment. That's one thing I

1221
01:04:19,840 --> 01:04:21,800
Speaker 3: do respect about you. You say what you say and

1222
01:04:21,840 --> 01:04:25,040
Speaker 3: you stand on it right. Yeah, why was you going

1223
01:04:25,080 --> 01:04:26,480
Speaker 3: so hard on the homely Cube man?

1224
01:04:27,240 --> 01:04:27,400
Speaker 1: Man?

1225
01:04:27,520 --> 01:04:31,320
Speaker 2: First off, Cube is probably the greatest LA rapper of

1226
01:04:31,360 --> 01:04:34,760
Speaker 2: all time. Let me start off there. Obviously a household name,

1227
01:04:35,440 --> 01:04:38,000
Speaker 2: pop culture icon and a hip hop icon of Like

1228
01:04:38,720 --> 01:04:42,160
Speaker 2: when he dropped up the single Accurate Age with Scarface

1229
01:04:42,240 --> 01:04:45,080
Speaker 2: with the music video, I just felt it was laughable.

1230
01:04:45,880 --> 01:04:48,720
Speaker 2: The bars, the flow iss it just sounded like they

1231
01:04:48,800 --> 01:04:51,720
Speaker 2: recorded on a karaoke machine. I was just like, Man,

1232
01:04:51,720 --> 01:04:54,080
Speaker 2: I imagine if he took these resources, the money for

1233
01:04:54,160 --> 01:04:57,120
Speaker 2: this video, the studio time and put it into a

1234
01:04:57,200 --> 01:05:00,760
Speaker 2: new La rapper, it would go further. I just felt

1235
01:05:00,800 --> 01:05:03,640
Speaker 2: like it would be more strategic and beneficial for the

1236
01:05:03,680 --> 01:05:07,800
Speaker 2: West Coast if Q was breaking a new artist instead

1237
01:05:07,800 --> 01:05:10,160
Speaker 2: of dropping an accurate age. Did you like really hear

1238
01:05:10,160 --> 01:05:13,640
Speaker 2: the single like this told me to act my age?

1239
01:05:13,880 --> 01:05:16,760
Speaker 2: Never tell me to act my age. That's when I

1240
01:05:16,800 --> 01:05:19,640
Speaker 2: let his ask out the cage. Never tell me to

1241
01:05:19,680 --> 01:05:22,120
Speaker 2: act my age, Like, I'm like, get that Curtis bullshit

1242
01:05:22,160 --> 01:05:24,160
Speaker 2: out of here, Q, you could do way better than that.

1243
01:05:24,200 --> 01:05:27,800
Speaker 2: I just wasn't feeling that as a single. And yeah,

1244
01:05:27,800 --> 01:05:29,120
Speaker 2: I just felt like it's a waste of time. That

1245
01:05:29,160 --> 01:05:31,880
Speaker 2: record's not going anywhere, is what I'm saying. Respectfully.

1246
01:05:33,320 --> 01:05:38,000
Speaker 4: Mmm, I'm not mad at your opinion, bro, Like I said,

1247
01:05:38,080 --> 01:05:43,360
Speaker 4: we don't be. I mean, everybody's entitled to their opinion.

1248
01:05:44,280 --> 01:05:50,480
Speaker 4: I am, for one. I'm not one of those dudes

1249
01:05:51,160 --> 01:05:57,080
Speaker 4: who I call them yes me and niggas who would

1250
01:05:57,120 --> 01:06:01,480
Speaker 4: sit up in the studio hear somebody some shit and

1251
01:06:01,520 --> 01:06:06,480
Speaker 4: then knowing I'm like that's not the best, but I'm

1252
01:06:06,520 --> 01:06:09,000
Speaker 4: still go on co sign it. It'd be like, oh,

1253
01:06:09,080 --> 01:06:14,440
Speaker 4: that's sufficient. I'm not one of them dudes. Did I

1254
01:06:14,600 --> 01:06:23,400
Speaker 4: like the single personally no, and like you said, maybe,

1255
01:06:24,480 --> 01:06:26,920
Speaker 4: and I tried to take it in the form of

1256
01:06:27,720 --> 01:06:31,560
Speaker 4: maybe that was direct the direction of the song, for

1257
01:06:31,680 --> 01:06:36,560
Speaker 4: it to be comical and for it to be laughable

1258
01:06:37,200 --> 01:06:41,600
Speaker 4: because of the concept of the song.

1259
01:06:45,480 --> 01:06:46,880
Speaker 1: So that's where I took it.

1260
01:06:47,040 --> 01:06:50,920
Speaker 4: He wanted motherfuckers to be like, oh, listen, this's some

1261
01:06:50,960 --> 01:06:52,959
Speaker 4: funny shit, just some Friday shit.

1262
01:06:53,120 --> 01:06:57,760
Speaker 1: This some funny shit. You get me. And then the point,

1263
01:06:58,040 --> 01:06:58,720
Speaker 1: I don't know you.

1264
01:06:58,960 --> 01:07:03,880
Speaker 4: Like I said, it was something that I probably wouldn't

1265
01:07:03,920 --> 01:07:07,960
Speaker 4: have chosen for a single, but I'm not cu. And

1266
01:07:08,000 --> 01:07:11,439
Speaker 4: Atq's point, you can do what the fuck he want

1267
01:07:11,480 --> 01:07:14,400
Speaker 4: to do because he's one of those artists, you feel me,

1268
01:07:14,680 --> 01:07:19,280
Speaker 4: because he has a significant fan base that are going

1269
01:07:19,320 --> 01:07:23,640
Speaker 4: to support what he does. You as a as a

1270
01:07:23,640 --> 01:07:30,280
Speaker 4: as a as a journalist and somebody who can openly

1271
01:07:31,640 --> 01:07:37,000
Speaker 4: criticize and voice your opinion about whatever, and you have

1272
01:07:37,120 --> 01:07:39,800
Speaker 4: the right to do that. And so it would be

1273
01:07:40,080 --> 01:07:44,800
Speaker 4: it would be dumb to think that everyone is going

1274
01:07:44,880 --> 01:07:49,160
Speaker 4: to like, what a motherfucker do you feel me? Would

1275
01:07:49,160 --> 01:07:51,439
Speaker 4: be crazy for us to sit up here and think

1276
01:07:51,480 --> 01:07:55,120
Speaker 4: that everybody across the board is gonna like the SNG

1277
01:07:56,040 --> 01:08:00,680
Speaker 4: you feel me? That's just it and another and it

1278
01:08:00,720 --> 01:08:04,800
Speaker 4: has nothing to do with Q or who did the

1279
01:08:04,960 --> 01:08:08,320
Speaker 4: video or who produced the song, has nothing to do

1280
01:08:08,400 --> 01:08:11,720
Speaker 4: with that personally, But to some people it might not

1281
01:08:11,800 --> 01:08:12,800
Speaker 4: be to their liking.

1282
01:08:13,720 --> 01:08:14,080
Speaker 1: And then.

1283
01:08:15,680 --> 01:08:19,759
Speaker 4: Coming from a place where you like you said, Cube

1284
01:08:19,880 --> 01:08:23,479
Speaker 4: is one of the best, hands down West Coast raptor period,

1285
01:08:23,960 --> 01:08:27,360
Speaker 4: fuck coast period, you get me, He's one of the

1286
01:08:27,400 --> 01:08:30,639
Speaker 4: best to ever do this shit from me from west east,

1287
01:08:30,760 --> 01:08:33,559
Speaker 4: down south, wherever you want to go, Canada, I don't

1288
01:08:33,560 --> 01:08:39,800
Speaker 4: give a fuck. So coming from that and knowing the

1289
01:08:39,840 --> 01:08:43,720
Speaker 4: track record of Q, you might have been disappointed.

1290
01:08:44,000 --> 01:08:47,040
Speaker 3: If you're accused and you got to think about it.

1291
01:08:47,080 --> 01:08:50,080
Speaker 3: He's fighting his You know this the dude man that

1292
01:08:50,200 --> 01:08:52,920
Speaker 3: made Black Korea. You feel what I'm saying this, the

1293
01:08:53,000 --> 01:08:56,920
Speaker 3: dude that he has made some of the most iconic

1294
01:08:56,960 --> 01:09:00,040
Speaker 3: street records of all time. But I will tell you this,

1295
01:09:00,320 --> 01:09:02,439
Speaker 3: I was talking to Homie really d right. He said

1296
01:09:02,479 --> 01:09:06,080
Speaker 3: he just came back from hum Cube show Cube still

1297
01:09:06,080 --> 01:09:11,360
Speaker 3: packing out Arenas Cuby to her. Yep, if Cube went

1298
01:09:11,439 --> 01:09:13,439
Speaker 3: and did the Stable Center, he could sell that motherfucker out.

1299
01:09:13,479 --> 01:09:16,720
Speaker 3: I have no doubt in my mind. Right, But they

1300
01:09:16,800 --> 01:09:19,680
Speaker 3: said that Cube man that brought out a blimp. You

1301
01:09:19,720 --> 01:09:21,280
Speaker 3: know how the part of something we said even saw

1302
01:09:21,280 --> 01:09:22,880
Speaker 3: the lights of the good Year blimp and the rear

1303
01:09:22,920 --> 01:09:25,400
Speaker 3: eyes Cub's a fimp and the song falls and they

1304
01:09:25,439 --> 01:09:30,040
Speaker 3: said plinp went over to the arena and everybody wasn't crazy. Now,

1305
01:09:30,160 --> 01:09:33,240
Speaker 3: it probably cost him thirty thousand dollars to put that

1306
01:09:33,320 --> 01:09:34,960
Speaker 3: BLMP up in the sky like that, you know what

1307
01:09:35,000 --> 01:09:37,000
Speaker 3: I mean. I don't know what the man got paid

1308
01:09:37,040 --> 01:09:39,840
Speaker 3: for the show, but Cube is not out there doing

1309
01:09:39,880 --> 01:09:42,200
Speaker 3: shows because he needs the money. I think that man

1310
01:09:42,320 --> 01:09:45,280
Speaker 3: really just loved hip hop man, and this is Cube

1311
01:09:45,280 --> 01:09:46,760
Speaker 3: don't have to put out on records. Don't worry, I

1312
01:09:46,760 --> 01:09:48,240
Speaker 3: don't think. I don't believe so. I don't know the

1313
01:09:48,240 --> 01:09:50,840
Speaker 3: man's pockets. I don't know his financial status, but I

1314
01:09:51,000 --> 01:09:53,200
Speaker 3: think Cub is doing this shit at this point because

1315
01:09:53,240 --> 01:09:55,479
Speaker 3: he loved it. And to be honest with you, man,

1316
01:09:55,520 --> 01:09:57,200
Speaker 3: I want to see all the OG's continue to put

1317
01:09:57,200 --> 01:09:59,120
Speaker 3: out records. I wanted to put out good music now.

1318
01:09:59,320 --> 01:10:01,040
Speaker 3: I don't want to hear too much white shit, but

1319
01:10:02,160 --> 01:10:05,240
Speaker 3: I do want to continue hearing my childhood heroes. Because

1320
01:10:05,240 --> 01:10:08,040
Speaker 3: I'm gonna tell you, I thought I'm me and A

1321
01:10:08,240 --> 01:10:10,160
Speaker 3: had a conversation the other night. I'm a pick too

1322
01:10:10,160 --> 01:10:12,599
Speaker 3: Short a fan. I'm gonna use to me too short

1323
01:10:12,600 --> 01:10:15,479
Speaker 3: of the greatest rap of all time. Nobody has had

1324
01:10:15,479 --> 01:10:18,439
Speaker 3: a career like him. Nobody has had it. You got

1325
01:10:18,439 --> 01:10:20,880
Speaker 3: to think about this. Mann't been doing this since eighty two,

1326
01:10:22,520 --> 01:10:24,679
Speaker 3: some shit like that, Man eighty five or some shit

1327
01:10:24,800 --> 01:10:28,040
Speaker 3: like that on a professional level. Man that has been

1328
01:10:28,200 --> 01:10:30,679
Speaker 3: and still a household name. You can ask any twenty

1329
01:10:30,760 --> 01:10:32,240
Speaker 3: year old walking the streets in LA if they know

1330
01:10:32,280 --> 01:10:35,680
Speaker 3: who too Short he is. Nigga probably say yeah, But

1331
01:10:36,200 --> 01:10:39,240
Speaker 3: I think I do think man. As far as cats

1332
01:10:39,360 --> 01:10:41,920
Speaker 3: coming off of it, Bretnan, you're sending you pictures of

1333
01:10:42,000 --> 01:10:44,280
Speaker 3: your house and stuff. Man, I think people need to

1334
01:10:44,280 --> 01:10:45,040
Speaker 3: get over themselves.

1335
01:10:45,120 --> 01:10:45,240
Speaker 4: Man.

1336
01:10:45,280 --> 01:10:47,240
Speaker 3: I think as long as you when you decide to

1337
01:10:47,240 --> 01:10:52,479
Speaker 3: put our music, man, you gotta be open to criticism.

1338
01:10:51,000 --> 01:10:54,960
Speaker 2: Absolutely, And like I said, I feel like a woman

1339
01:10:55,080 --> 01:10:56,720
Speaker 2: up to it. It just took some time, but that

1340
01:10:56,840 --> 01:11:00,160
Speaker 2: woman up to the criticisms. And hopefully not hopefully it's

1341
01:11:00,200 --> 01:11:02,400
Speaker 2: artists like Big Sad nineteen hundred that told me that

1342
01:11:02,640 --> 01:11:04,960
Speaker 2: my critiques and the grades I gave him helped him

1343
01:11:05,240 --> 01:11:07,960
Speaker 2: step up his game. Jason cash end Up linked with

1344
01:11:08,080 --> 01:11:10,439
Speaker 2: Mustard off of a port Card. There's been plenty of

1345
01:11:10,560 --> 01:11:13,200
Speaker 2: artists that have stepped their game up off the port Card.

1346
01:11:13,240 --> 01:11:18,080
Speaker 2: Ralphie the plug started being more consistent xyz so. But

1347
01:11:18,120 --> 01:11:20,760
Speaker 2: it's been artists that that took it took key to

1348
01:11:20,840 --> 01:11:22,960
Speaker 2: what I was saying. It's still artists like a zold

1349
01:11:23,000 --> 01:11:25,439
Speaker 2: Sim or a little Vady that's upset dropping a disrecord

1350
01:11:25,479 --> 01:11:27,720
Speaker 2: here or there. But you know it's all hip hop.

1351
01:11:27,760 --> 01:11:28,960
Speaker 2: I don't take it personal at all.

1352
01:11:29,520 --> 01:11:31,960
Speaker 1: Man. Do you have a podcast? Yeah?

1353
01:11:32,040 --> 01:11:35,000
Speaker 2: I have two podcasts, have a dan Lay podcast now Wrapp,

1354
01:11:35,040 --> 01:11:37,519
Speaker 2: a port Card podcast, Rapp port Card just Grave music

1355
01:11:37,560 --> 01:11:39,800
Speaker 2: on live screen. A day in La I shit with

1356
01:11:39,800 --> 01:11:42,240
Speaker 2: the Homies and the Homegirl and we talked La rap.

1357
01:11:43,120 --> 01:11:45,439
Speaker 3: Man, y'all make sure man, y'all support the homy Man.

1358
01:11:45,479 --> 01:11:48,000
Speaker 3: We go drop a link man in the comment section. Man,

1359
01:11:48,120 --> 01:11:50,080
Speaker 3: so y'all can go, not in the comment section, but

1360
01:11:50,200 --> 01:11:51,439
Speaker 3: to show the scription section.

1361
01:11:51,720 --> 01:11:52,719
Speaker 1: So y'all can go check.

1362
01:11:52,560 --> 01:11:54,840
Speaker 3: The homy out Man on that note, Man, we out

1363
01:11:54,840 --> 01:11:56,000
Speaker 3: of yacht.

1364
01:11:55,720 --> 01:11:58,120
Speaker 1: Shit like peace. Well.

1365
01:11:58,120 --> 01:12:01,360
Speaker 3: That concludes another episode of the Gainstnicle's podcast. Be sure

1366
01:12:01,360 --> 01:12:03,679
Speaker 3: to download the iHeart app and subscribe to the Gangster

1367
01:12:03,760 --> 01:12:06,920
Speaker 3: Chronicles podcast. But Apple users find a purple micae on

1368
01:12:06,920 --> 01:12:08,880
Speaker 3: the front of your screen, Subscribe to the show, leave

1369
01:12:08,920 --> 01:12:12,080
Speaker 3: a comment and rating. Executive producers for The Gangster Chronicles

1370
01:12:12,160 --> 01:12:15,120
Speaker 3: podcasts of Norman Steel Aaron m c a Tyler. Our

1371
01:12:15,200 --> 01:12:18,040
Speaker 3: visual media director is Brian Whatt, and our audio editors

1372
01:12:18,080 --> 01:12:20,600
Speaker 3: tell It Hayes. The Gangster Chronicles is a production of

1373
01:12:20,640 --> 01:12:24,200
Speaker 3: iHeartMedia Network and the Black Effect Podcast Network. For more

1374
01:12:24,240 --> 01:12:27,439
Speaker 3: podcasts from iHeart Radio, visit the iHeart Radio app Apple

1375
01:12:27,520 --> 01:12:29,640
Speaker 3: Podcasts Wherever you're listening to your podcasts