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Speaker 1: What's the hook? How you did the hook? I don't

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Speaker 1: need nobody as long.

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Speaker 2: As I got you.

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Speaker 1: I don't need nobody else but you. And then what

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Speaker 1: y'all do? What's y'all chant?

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Speaker 2: This shit was crazy.

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Speaker 3: Yo, yo, what up, y'all? It's Joe Crack, the dog.

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Speaker 3: You know who it is, your boy Jada. You know

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Speaker 3: what it is, the Joe and Jada show. Every show legendary.

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Speaker 1: Every show iconic. And we never let you down.

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Speaker 2: Ever.

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Speaker 1: Ever, ever. Ever, ever. Ever, ever. Ever, ever. When you

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Speaker 1: think of today's guest, you think of originality. That's a fact.

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Speaker 1: You think of a musician. That's a super fat. A storyteller.

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Speaker 1: That's a fat. A producer. Somebody who never let one

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Speaker 1: sound or one category define him. That's a fat. From

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Speaker 1: Haiti to Jersey to the whole world. From the Fugees

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Speaker 1: to the carnival. We're talking ready or not. Going to November.

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Speaker 1: Sharia Maria. Hips don't lie. Records that brought different generations,

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Speaker 1: different countries, different cultures together.

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Speaker 4: He can give you bars. He can pick up the guitar.

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Speaker 4: Then get behind the boards and help somebody else make

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Speaker 4: the biggest records of their life. A proud Haitian. A

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Speaker 4: global hit maker. And one of the most creative minds

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Speaker 4: that come through hereby.

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Speaker 1: ICN. Ladies and gentlemen, our brother, Wyclef Jean is in

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Speaker 1: the business. What up, my families? ICN. Oh, oh, oh.

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Speaker 2: What up, man?

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Speaker 1: ICN.

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Speaker 5: Woo. Oh, oh.

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Speaker 1: This is home. That's right. Appreciate you, brother. You know

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Speaker 1: I appreciate y'all too. Every time I see y'all, long time.

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Speaker 3: You know what's crazy, Wyclef Jean, he's, Fat Joe's pretty crazy.

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Speaker 5: Right?

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Speaker 1: I know we opened up for you at times. Uji's

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Speaker 1: opened up for you. Thousand Deep. Not with the GOAT? Nah,

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Speaker 1: this ain't the GOAT. We're going to get to the GOAT.

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Speaker 1: But this early tunnel days, we used to move around.

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Speaker 1: And literally, we moved around like 12 or 13. When

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Speaker 1: Fat Joe came around in that era, it was no

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Speaker 1: less than a thousand movements. You know what I'm saying

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Speaker 1: to you? And we was like, yo, Thank God we

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Speaker 1: good with this dude, man.

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Speaker 2: You know?

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Speaker 1: Yeah. We was there. We seen it. And I got

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Speaker 1: to tell you, looking at you now, Joe, I do

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Speaker 1: believe in reform, man. Oh, yeah. Yo. Yo, let me

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Speaker 1: tell you the man back in the years, Jada. You're

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Speaker 1: the man I walk in the club. You're the club splurge.

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Speaker 1: If there's beef, we was right there, man. We seen

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Speaker 1: it all. You know what I'm saying? So just to

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Speaker 1: see it like firsthand as a Haitian, American and just

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Speaker 1: to see the transformation, like that's, that's why I fight

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Speaker 1: for what I fight for every day. Cause it's like,

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Speaker 1: there was some that was like you, some like my cousin,

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Speaker 1: all kind of different move in certain ways.

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Speaker 2: Right.

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Speaker 1: And the deportation factor, it really just happened. Cause at

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Speaker 1: the end of the day, you was just literally trying

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Speaker 1: to rep where you came from. You was like, yo,

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Speaker 1: y'all ain't want to play me out. Like we all here,

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Speaker 1: we all want to be heard. And I think that

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Speaker 1: hip hop connection, was that thing that just brought all

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Speaker 1: of us together.

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Speaker 3: You know what was one of the illest moments I

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Speaker 3: ever witnessed in my life, just as a fan of life?

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Speaker 3: I want to say it was the Grammys when y'all

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Speaker 3: won and you pulled out the Haitian flag.

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Speaker 1: That's forever embedded in me. That is in my head.

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Speaker 3: Like if I was dying now, if I was in

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Speaker 3: a hospice, I couldn't forget that. Like I felt so

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Speaker 3: proud For you being so proud of where you from.

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Speaker 3: So when you picked up that flag, I seen Anthony

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Speaker 3: Ramos do it when Hamilton won with the Puerto Rican flag.

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Speaker 3: And just now, the Knicks finally won, and Alvarado asked me,

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Speaker 3: he said, yo, Joe, I got a Puerto Rican flag.

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Speaker 3: I said, go get that shit now. But the whole time,

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Speaker 3: I'm thinking you. You know what I mean? So he

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Speaker 3: wins the Knicks. He's like, yo, I got a Puerto

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Speaker 3: Rican flag. I said, yo, you got a Dominican gift card?

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Speaker 3: The Dominican, like, you got to rap while you can.

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Speaker 3: These moments are... Very few and in between. And what

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Speaker 3: made you just say, yo, I'm going to pull out

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Speaker 3: the Haitians flag?

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Speaker 1: Well, man, fam, let me tell you, like, coming from

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Speaker 1: where we come from, you ever seen that movie Slumdog Millionaire? Like,

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Speaker 1: just that beginning of that movie, like, we really from

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Speaker 1: them tenement yards. And it's like, because what I try

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Speaker 1: to explain to someone, like, when you eight years old,

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Speaker 1: you know what I'm saying? You have a country. That's

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Speaker 1: just known for dictatorship running through like baby Doc, Papa Doc,

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Speaker 1: the Tonto Makutsu, you know, where you have family members like, yo,

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Speaker 1: if you don't become a Makut, you know, you dead tomorrow.

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Speaker 1: You feel what I'm saying? So you in this village

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Speaker 1: and all you can think about is, yo, I want

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Speaker 1: to get to America. I want to get to America.

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Speaker 1: You know what I'm saying? And you think, yo, when

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Speaker 1: I get to America, it's going to be amazing. And

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Speaker 1: you get to America.

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Speaker 3: How did you get illegally to America from Haiti? You

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Speaker 3: go to Miami or you cut through? Man, this is

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Speaker 3: a great, yo, this is a great question.

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Speaker 1: So the immigration laws back then was different. I know that.

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Speaker 1: That's what I'm saying. Yeah, so what happened was my

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Speaker 1: dad was a preacher. He used to preach in the villages.

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Speaker 1: And then some missionaries from America came to Haiti and

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Speaker 1: they saw a dude turning up in the village. Like,

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Speaker 1: dude got like 7,000 people. And they're like, yo, if

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Speaker 1: we could get this dude to Brooklyn, he could spread

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Speaker 1: that faith, right? So then they got my dad over

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Speaker 1: to Brooklyn, Flatbush Avenue, Nordstrom, all of that. So my

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Speaker 1: dad was part of the original churches that was getting started.

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Speaker 1: So once the church of the Nazarene flew him over,

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Speaker 1: then he just started preaching. Then he was able to

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Speaker 1: bring my mom over. Meanwhile, we in Haiti, you feel

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Speaker 1: what I'm saying? Me and my brother, we slumdogging in Haiti.

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Speaker 1: Then the laws in America, if you had a kid

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Speaker 1: in America- automatically, now, the kid becomes a citizen, right? Yeah,

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Speaker 1: it was different rules. For your citizenship, right? And after that,

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Speaker 1: they get on the plane, legally come and get me

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Speaker 1: and my brother. Jada, I ain't gonna even hold you.

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Speaker 1: The first time I seen an airplane, I thought it

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Speaker 1: was like a flying bird. That's like the reality of

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Speaker 1: like where we came from. Like, so, first time I

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Speaker 1: seen a white person ever, right? I was in a

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Speaker 1: village with my grandmother. A jeep pull up. From my angle,

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Speaker 1: a Jeep just looks like a UFO because I've never

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Speaker 1: seen a Jeep before. White brother get out, long hair.

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Speaker 1: I'm with my grandmother talking prayer. I was like, come here. Yes, sir. Translation. Grandma,

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Speaker 1: who that? And my grandma said in prayer, she said, translation,

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Speaker 1: that's Jesus, right? So now Jesus comes, he brings us

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Speaker 1: the rice, right? And we're in the village. And I

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Speaker 1: remember being eight when, when, when, Jesus is leaving. I

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Speaker 1: tell my grandmother, why ain't Jesus leave us like the

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Speaker 1: fertilizers and the seeds? Because we only going to be

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Speaker 1: able to eat that rice for a second. So I'm

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Speaker 1: just showing you that thinking of where we come from.

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Speaker 1: By the time me and my brother now, my parents

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Speaker 1: come and get us and we get on this airplane and.

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Speaker 1: I see my little brother freaking out on the plane.

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Speaker 1: And I'm like, Sam, Sam, what's wrong? And then he

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Speaker 1: starts to point. And now we confused because we see

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Speaker 1: like 140. A hundred Jesus. Yeah, yeah, 30 white people.

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Speaker 1: 40 white people. And we tripping out because now all

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Speaker 1: of these Jesuses all are wearing the same uniform. So

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Speaker 1: we freaking out. So I got to call my brother now.

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Speaker 1: I said, yo, stop crying, man. These are Jesus Christ cousins, man.

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Speaker 1: We good, right? And I'm showing you this reality. And

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Speaker 1: this plane takes off. And I remember we land in America.

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Speaker 1: We see the Twin Towers. And then we see mad lights.

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Speaker 1: So imagine a dude that used to take a donkey

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Speaker 1: to school, a dude that used to go get water

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Speaker 1: from a well, right? A dude that when we talk

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Speaker 1: about electricity is coming from a lamp, right? When we

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Speaker 1: seen all of those city lights, man, I looked at

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Speaker 1: my brother. I said, yo, man, we rich, man. We

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Speaker 1: finally made it to the city of diamonds. You know

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Speaker 1: what I'm saying? So in my head, automatically, like, I

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Speaker 1: felt like, oh, man, once we got to America, I

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Speaker 1: felt like, oh, there ain't no turning back. Like, ain't

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Speaker 1: nothing we want to be. We can't be. Look at

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Speaker 1: all these diamonds on the floor. You know what I'm saying?

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Speaker 1: And we ended up in Marlboro Projects, Coney Island. So

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Speaker 1: my first pit stop was Coney Island. Marlboro Projects. Wow. Yeah, man.

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Speaker 3: You know, I still got family in Cuba. My brothers

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Speaker 3: and sisters. I brought all my brothers and sisters here,

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Speaker 3: nine of them. But I still got family in Cuba.

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Speaker 3: And the situation is so dire over there. But I

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Speaker 3: remember always hearing my Cuban cousins. like, yo, it's America

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Speaker 3: got the streets made out of gold. Like, they got

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Speaker 3: fountains to spit diamonds out.

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Speaker 1: Like, this is the type of shit. You ain't got shit, though. Like, nothing.

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Speaker 3: And they just telling you, yo, you go over there.

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Speaker 1: And they ain't lying.

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Speaker 3: Because imagine if you were in a situation where you

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Speaker 3: can't eat, you can't eat, even if you.

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Speaker 1: Got the money.

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Speaker 3: You ain't got no way to eat. You ain't got

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Speaker 3: nothing to eat. But you would come over here and

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Speaker 3: buy McDonald's. I'll never forget, one of my brothers came,

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Speaker 3: he was fucking stuck on McDonald's. He was like, yo, bro, McDonald's.

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Speaker 3: I was like, yo, that's better shit, bro. He was

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Speaker 3: just like, he couldn't believe you can go and buy McDonald's.

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Speaker 1: Like, He couldn't believe it.

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Speaker 3: He was like, yo, you know, because over there, Cuba

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Speaker 3: is communism, so they give you a certain amount of food,

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Speaker 3: and that's all you're eating unless you got family over

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Speaker 3: here to send you money and food back. And so

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Speaker 3: I know about the simple things.

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Speaker 1: I don't. I didn't live there.

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Speaker 3: So we like to think we grew up poor, but

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Speaker 3: the way you describe it, it's like, because I've been

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Speaker 3: to Haiti, so, and I've been in Haiti, and You

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Speaker 3: know what I'm saying? So it's like, I see how

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Speaker 3: hard it is. It's still hard now. I seen Sweet

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Speaker 3: Mickey going back trying to be president again.

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Speaker 1: So you got beauty and the beast, right? So it's like,

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Speaker 1: think of like the city of gods. So as much

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Speaker 1: slums as we have, we have the most beautifulest white

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Speaker 1: beaches that you could ever imagine, right? So at the

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Speaker 1: end of the day, think of like, when you look

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Speaker 1: at Haiti, think of like, um, Jamaica. So, for example,

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Speaker 1: remember early 80s, it was wilding in Jamaica, right? We

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Speaker 1: had the shower policy. We seen everything going down, right?

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Speaker 1: This was majority that was happening in Kingston. But when

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Speaker 1: you looked at the rest of Jamaica, Ocho Rios and

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Speaker 1: all of the parts, remember, it was beautiful, right? And

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Speaker 1: then later, they came back with the campaign when they

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Speaker 1: started wanting to get people back to Jamaica. We're back

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Speaker 1: to Jamaica. What's old is what's new, you know? And

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Speaker 1: then so that brought it back. So I always say, like,

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Speaker 1: countries like Haiti got the worst PR. Because when you

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Speaker 1: talking about it's going down and shit is crazy, right?

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Speaker 1: We literally talking about Tivoli Garden. We talking about Spanish town, right?

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Speaker 1: At the end, I'm just showing you example comparison with Jamaica.

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Speaker 1: Once you get out of that, it's people making all

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Speaker 1: types of investments in the North. So the thing about

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Speaker 1: it is, I feel like as we move towards the future, yes,

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Speaker 1: Sweet Mickey is back. He's back on the run. He

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Speaker 1: came back. There's a few people, Guy Philippe, He came back.

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Speaker 1: There's another woman by the name of Dominique Dupuy. She

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Speaker 1: came back. Right now, there's a little chaos going on.

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Speaker 1: You saw what's going on with the president of El Salvador. Yes.

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Speaker 1: You saw that's going down.

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Speaker 3: So he has legal permission from the Haitian government to

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Speaker 3: come in there like that or he just came up

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Speaker 3: in there like that?

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Speaker 1: Well, the thing is, he said that four of his

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Speaker 1: dudes are missing.

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Speaker 3: Yo, this is like the way that Haiti is because

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Speaker 3: of bad political structure, right?

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Speaker 1: If we like little kids and we need to eat,

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Speaker 1: a member.

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Speaker 3: Of the parliament back in the days would come to

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Speaker 3: our territory and be like, yo, here's the guns.

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Speaker 1: And I just need y'all to watch over the area

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Speaker 1: for me, right? And literally, when I'm in the parliament,

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Speaker 1: if somebody don't agree with me, what I'm going to

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Speaker 1: do is I'm going to come and get y'all and

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Speaker 1: y'all literally going to handle that work, right? So what

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Speaker 1: happens is now years later, them same kids that they

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Speaker 1: populated like that to think like that, now these kids

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Speaker 1: have risen and gotten their own money now. They understand

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Speaker 1: what it's like to control the air, the sea, right?

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Speaker 1: And now they're like, nah, we our own bosses now.

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Speaker 1: So in this process now, you have literally anarchy through

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Speaker 1: something that was literally created by the government. So right

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Speaker 1: now what happened is the president of El Salvador, he

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Speaker 1: sent four dudes to go to Haiti, four soldiers for assessment, right?

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Speaker 1: Them dudes done disappeared, right? And then they don't exist

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Speaker 1: no more. And in the process of that, they sent

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Speaker 1: only back four bodies.

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Speaker 2: Right.

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Speaker 1: He was like, yo, if I don't get my people back,

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Speaker 1: there's going to be all out war. So so literally

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Speaker 1: he went to D.C. to get permission because, you know,

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Speaker 1: it starts off with Trump administration past that. Now he

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Speaker 1: went to Haiti. He employed 400 soldiers.

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Speaker 5: Right.

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Speaker 1: Now, my whole thing with this, right, is if we're

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Speaker 1: looking at the big scope of things, this is what

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Speaker 1: I want you to think. first of all, love for

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Speaker 1: my people in El Salvador, all Latin America, all over

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Speaker 1: the world, right? But what I want y'all to think

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Speaker 1: of is like, this news that you're seeing right now,

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Speaker 1: I could tell y'all when 184 people got murdered, there

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Speaker 1: was no news. I could tell y'all, yo, when cops

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Speaker 1: got caught up, they chopped their heads off. You feel

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Speaker 1: what I'm saying to you? They did all kinds of stuff.

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Speaker 1: It's like no news. You feel what I'm saying? So

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Speaker 1: what I'm saying is that same energy that we're using

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Speaker 1: now where you see what's going on in El Salvador,

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Speaker 1: that same energy have to be used for the Haitian

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Speaker 1: people too, right? So that same love. So just in

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Speaker 1: saying that, I feel like the only way this country

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Speaker 1: could move forward, and I'm going to say it again,

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Speaker 1: it's a Haitian problem and it's Haitians that have to

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Speaker 1: solve the problem. No international force could ever come in.

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Speaker 1: Which country you ever know where an international force come

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Speaker 1: in and solve the problem of the country. It never exists.

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Speaker 1: You see what I'm saying to you?

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Speaker 3: Yeah, but do you think the gangsters at this point is, like,

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Speaker 3: really out of control out there? Because from what I see, right,

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Speaker 3: I done lost track of time. I watch the Haitian

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Speaker 3: shit every day on YouTube, right? So, because you know

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Speaker 3: Rich Player, my best friend, is Haitian.

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Speaker 1: Yeah.

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Speaker 3: And my family's Haitian. Shout out to the Joe Petrie.

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Speaker 3: So I tune into it. And it looks like the

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Speaker 3: Haitian government themselves cannot control those guys.

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Speaker 1: They just can't. Okay, but the thing is, remember the

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Speaker 1: movie Frankenstein? It's like literally, like I said, you... No, no,

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Speaker 1: they created it, but how do you calm it down?

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Speaker 1: Because these guys are saying, we run this part of town. Well,

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Speaker 1: you have to calm it down through real negotiations. When

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Speaker 1: I went in to negotiate it, remember, when I felt,

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Speaker 1: I still feel, and remember what I'm going to stand

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Speaker 1: by what I said, the only way that country could

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Speaker 1: move forward is dialogue. When I went in and I said,

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Speaker 1: the man of arms have to be on the table,

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Speaker 1: I said, All of the political parties have to be

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Speaker 1: on the table. The devil got to be on the table.

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Speaker 1: God got to be on the table. The chicken got

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Speaker 1: to be on the table. The goat got to be

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Speaker 1: on the table. When I took a stance and I

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Speaker 1: said that, they didn't want the peace, Joe, at the time.

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Speaker 5: Right?

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Speaker 1: Because what happens is the peace ain't good for them.

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Speaker 1: Because you're talking about, it ain't good for the drug game.

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Speaker 1: It ain't good for the arms trade that's coming in. Right?

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Speaker 1: So the thing is, in order to move forward and

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Speaker 1: have a real conversation, it's going to take, meanwhile, while

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Speaker 1: they're telling me that, they're going through back doors still

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Speaker 1: trying to negotiate with them dudes. You see what I'm saying?

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Speaker 1: So a real dialogue has to happen in the front.

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Speaker 3: Everybody knows I'm New York all day. And for me,

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Speaker 3: that means the next. The fandom goes way, way back.

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00:17:52,660 --> 00:17:55,060
Speaker 3: It's something you got to grow up with. Something your

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00:17:55,100 --> 00:17:59,820
Speaker 3: family puts in your DNA. And eventually, something you pass down.

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Speaker 6: And that's what 1800 to Killin' Fanatics Club Legacy is

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00:18:04,940 --> 00:18:09,480
Speaker 6: all about. Celebrating the teams, traditions, and stories fans across

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00:18:09,530 --> 00:18:12,850
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Speaker 1: And we want to hear your story.

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Speaker 3: Submit a short video telling us how your fandom has

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00:18:35,359 --> 00:18:36,359
Speaker 3: been passed down.

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Speaker 1: Your family, your team, your legacy.

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Speaker 1: Keep the legacy going.

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00:18:55,020 --> 00:18:58,940
Speaker 6: 1,800 Tequila and Fanatics Club legacy.

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Speaker 1: Man, let me tell y'all family something. One day... when

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Speaker 1: I decided I was going to run to become president

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Speaker 1: of Haiti, right? One of the first trips I did,

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Speaker 1: I went to South Africa and I met with Nelson Mandela.

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Speaker 1: I went down there with my cousin, Jerry Wonder, and

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Speaker 1: we got to spend some time with Mandela. And one

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Speaker 1: thing I had to ask Mandela, because I'm a straight

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Speaker 1: up an eye for an eye person. I just couldn't

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Speaker 1: see past, if you do something to my sister, I

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Speaker 1: don't see like- You got to go. You got to go. Like,

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Speaker 1: I don't even- I still feel like that.

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Speaker 2: Yeah.

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Speaker 1: So, I go to Mandela because I ain't understand. Like,

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Speaker 1: how they done put you in jail. They done beat

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Speaker 1: you up.

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Speaker 2: Sure.

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Speaker 1: Kinds of stuff on you. And I know. And then

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Speaker 1: at the time, I'm more of the early Mandela, the

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Speaker 1: one that was a boxer, like the one that was

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Speaker 1: like when they was going to put him on a

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Speaker 1: fire squad. He was like, yo, do whatever you want. Right.

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Speaker 1: So this dude becomes president of South Africa. And yo,

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Speaker 1: and I go and I'm in a room and I'm like,

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Speaker 1: I can't wait to ask Mandela a question. And I'm like,

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Speaker 1: I'm thinking about doing this, man. But, you know, I'm

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Speaker 1: wrestling with this, this thing that you're like, yo, I

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Speaker 1: still feel like that today, right? And what he told

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Speaker 1: me was, yo, he was like, yo, in order for

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Speaker 1: the blood cycle to stop, there have to be communications

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Speaker 1: between two sides. He basically said, even mobsters, right, that

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Speaker 1: are at the highest level understand, like, in order to

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Speaker 1: stop the bloodshed from your family and my family, we

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Speaker 1: both got to sit down and be like, okay, you

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Speaker 1: lost this amount of people. I lost this amount of people.

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Speaker 1: What form of amnesty we going to come moving forward?

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Speaker 1: So at the end of the day, Everybody is responsible

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Speaker 1: for what's going on. Men of arms, the government, all

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Speaker 1: types of people. But now in order to move forward, though, right,

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Speaker 1: everybody got to sit down on the table. And I

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Speaker 1: didn't understand that because Mandela said a cycle of blood

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Speaker 1: only going to keep producing cycles of blood from generations

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Speaker 1: to generations.

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Speaker 3: So that's why we consider him a great man. That's

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Speaker 3: why we consider him. Martin Luther King, a great man,

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Speaker 3: but there's far and few. And so with me, say

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Speaker 3: the other day, the guy threw the girl out the

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Speaker 3: balcony in the Bronx and threw the baby out.

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Speaker 1: He got to die. Like, he.

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Speaker 3: He got to die. Like, like, like, they lucky I

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Speaker 3: ain't going, like, Instagram and all that. Like, you know

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Speaker 3: what I'm saying? Like, I hope he doesn't make, I

390
00:21:41,300 --> 00:21:43,460
Speaker 3: think he made it too far if he's still alive

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Speaker 3: two weeks later.

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Speaker 1: Like, he got to go.

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Speaker 3: Well, again, I mean, you have what's called extreme. Some

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Speaker 3: of these pedophiles, all these type of people, they got

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Speaker 3: to go. Like, there ain't no negotiation or whatever the

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Speaker 3: case may be. That's where I feel like real strongly that,

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Speaker 3: about that.

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Speaker 1: You know what I'm saying? It's like, you got a

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Speaker 1: man he throws... Well, I agree with you. If a

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Speaker 1: nigga throw a baby out the window, I don't negotiate. Like, Cole,

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Speaker 1: you feel what I'm saying? I agree with you with

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Speaker 1: that 100%, right? But at the end of the day, right,

403
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Speaker 1: if on the block, we on the block, you got

404
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Speaker 1: your team, I got my team.

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Speaker 3: I got a place for you. I got a place

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Speaker 3: for you. Even though I got kidnapped there in Gola, Africa. Angola,

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Speaker 3: Africa was in civil war.

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Speaker 5: Right?

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Speaker 1: But they owned diamonds. They owned oil. Very clear. This

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Speaker 1: and that.

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Speaker 3: They stopped the civil war and they made guys the

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Speaker 3: leader of the Department of Treasury. They gave guys different...

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Speaker 3: Positions that were on both sides and there's still peace

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Speaker 3: over there.

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Speaker 1: There's still everybody getting along.

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Speaker 3: So this is what you're referring to is like, yo,

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Speaker 3: y'all got to come to the table. Not only that,

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Speaker 3: what you breaking down to us is so real that

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Speaker 3: they know what they did. They know they gave barbecue

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Speaker 3: them guns. They know they gave those guys them guns.

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Speaker 3: So y'all got to come to the table now that

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Speaker 3: they feel like, yo, we're not working for nobody no more.

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Speaker 1: I just want to be clear because Barbecue's probably listening

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Speaker 1: to this right now. Yes. I want to be clear.

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Speaker 1: So it's very important to understand that Barbecue was a police, right?

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Speaker 1: And what put Barbecue in the situation that he's in today,

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Speaker 1: he felt like he was set up and betrayed by

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00:23:32,200 --> 00:23:34,859
Speaker 1: the system. So at the end of the day, it's

429
00:23:35,000 --> 00:23:37,320
Speaker 1: very clear because what happened is, I'm going to bring

430
00:23:37,340 --> 00:23:39,660
Speaker 1: you all the news that's the unfiltered. <HAL> <HAL> <HAL>

431
00:23:39,680 --> 00:23:41,129
Speaker 1: <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL>

432
00:23:41,150 --> 00:23:51,640
Speaker 1: <HAL> <HAL> <HAL> <HAL> <HAL> if the system that we

433
00:23:51,680 --> 00:23:55,340
Speaker 1: have in that country wasn't so fucked up and so corrupted,

434
00:23:55,680 --> 00:23:58,199
Speaker 1: because the gangsters that we need to be looking at

435
00:23:58,640 --> 00:24:02,540
Speaker 1: is the dudes that are running the, the, the, the Dwan,

436
00:24:02,859 --> 00:24:05,860
Speaker 1: like who's running what's coming in and out of the country.

437
00:24:06,300 --> 00:24:11,409
Speaker 1: Who's enforcing the laws. Who's going to Washington to, and saying,

438
00:24:11,730 --> 00:24:14,909
Speaker 1: we need better policies for Haiti, but really put pocket

439
00:24:14,970 --> 00:24:17,940
Speaker 1: in their pocket. So again, the change... That's been Haiti's

440
00:24:17,980 --> 00:24:18,760
Speaker 1: biggest problem.

441
00:24:19,200 --> 00:24:23,139
Speaker 3: Anybody who's become the leader done tapped the money for themselves.

442
00:24:23,820 --> 00:24:28,260
Speaker 3: That's been Haiti's biggest problem. Whoever become the president, somehow

443
00:24:28,700 --> 00:24:31,290
Speaker 3: they get thrown away because they done took too many

444
00:24:31,350 --> 00:24:34,690
Speaker 3: billions of dollars and kept it for their crew.

445
00:24:35,150 --> 00:24:39,870
Speaker 1: But listen, listen, listen, King. What's deep about what you're saying, though,

446
00:24:41,080 --> 00:24:44,220
Speaker 1: I haven't been to a country in my life. Don't

447
00:24:44,260 --> 00:24:48,010
Speaker 1: do that. Oh, no, they do that shit. Hold up now, fam.

448
00:24:48,530 --> 00:24:53,450
Speaker 1: I haven't been to a place, right, that don't do that, right?

449
00:24:53,990 --> 00:24:56,090
Speaker 1: But at the end of the day, right? It's a fact.

450
00:24:56,270 --> 00:24:59,410
Speaker 1: But we have, we got to establish law and order.

451
00:24:59,930 --> 00:25:02,129
Speaker 1: Haiti got to have law and order. Like, at the

452
00:25:02,170 --> 00:25:04,449
Speaker 1: end of the day, the anti-corruption law got to be

453
00:25:04,490 --> 00:25:06,139
Speaker 1: at the end of the day where you know if

454
00:25:06,180 --> 00:25:09,460
Speaker 1: you do something... you're going to get penalized for it.

455
00:25:09,550 --> 00:25:11,450
Speaker 1: I don't care if you got a billion dollar or

456
00:25:11,560 --> 00:25:14,020
Speaker 1: one penny. That's what's going to happen. You feel me?

457
00:25:14,680 --> 00:25:21,580
Speaker 3: Haiti, to me, is a symbolism of overtaking slavery. It's

458
00:25:21,600 --> 00:25:25,540
Speaker 3: the first country on earth that fought back and took

459
00:25:25,560 --> 00:25:28,889
Speaker 3: their country back. And I feel like if there's such

460
00:25:30,369 --> 00:25:34,750
Speaker 3: an existence of we're going to keep them down here,

461
00:25:36,390 --> 00:25:38,310
Speaker 3: We're never going to help them. We're never going to

462
00:25:38,369 --> 00:25:44,689
Speaker 3: do nothing to help them because they're a.

463
00:25:44,590 --> 00:25:47,670
Speaker 1: Symbol of freedom, of liberation, right?

464
00:25:48,010 --> 00:25:53,520
Speaker 3: First black country that ran their own self after Africa.

465
00:25:54,210 --> 00:25:57,659
Speaker 1: So now, do you think this is true? Do you

466
00:25:57,700 --> 00:25:58,480
Speaker 1: think it's.

467
00:25:58,280 --> 00:26:02,700
Speaker 3: Like an omen or they look at it like, you know,

468
00:26:02,760 --> 00:26:05,520
Speaker 3: they want to keep penalizing Haiti because it.

469
00:26:06,200 --> 00:26:08,540
Speaker 1: I don't give a fuck what Haiti think. United States

470
00:26:08,560 --> 00:26:11,140
Speaker 1: could go in there tomorrow. Yeah, fix shit up. They

471
00:26:11,220 --> 00:26:13,560
Speaker 1: in there blowing up Iran, all type of shit.

472
00:26:14,060 --> 00:26:17,260
Speaker 3: I don't know who think who they are, but they

473
00:26:17,320 --> 00:26:20,200
Speaker 3: ain't see guns like these niggas got. And they'll go

474
00:26:20,240 --> 00:26:22,850
Speaker 3: up in there and liberate that bitch in a second.

475
00:26:23,250 --> 00:26:26,850
Speaker 3: My point is why they don't do it.

476
00:26:27,930 --> 00:26:30,530
Speaker 1: All right. And that's an amazing question. So let's start

477
00:26:30,570 --> 00:26:34,450
Speaker 1: off real quick. You said the Haitian got its independence, 1804,

478
00:26:34,450 --> 00:26:38,130
Speaker 1: first black republic. We got the general, Toussaint. We got

479
00:26:38,170 --> 00:26:41,120
Speaker 1: the general, Toussaint Louverture. You know what I'm saying? We

480
00:26:41,160 --> 00:26:44,260
Speaker 1: got the emperor, Jean-Jacques Dessalines. All of them dudes, just

481
00:26:44,280 --> 00:26:46,720
Speaker 1: to name a few, who fought, right? So the first

482
00:26:46,760 --> 00:26:49,440
Speaker 1: thing is, I would say, like, we start off by,

483
00:26:49,940 --> 00:26:54,780
Speaker 1: even though Haiti got its independence, it's still Napoleon charged

484
00:26:54,800 --> 00:26:57,840
Speaker 1: them a debt. Big debt to this day. So with

485
00:26:57,859 --> 00:27:00,350
Speaker 1: the debt, like, it's literally like, okay, I ain't going

486
00:27:00,369 --> 00:27:03,510
Speaker 1: to come back to your block and raid it. Okay,

487
00:27:03,550 --> 00:27:05,940
Speaker 1: you can have that. But yo, you're going to have

488
00:27:05,980 --> 00:27:09,709
Speaker 1: to pay me a billion dollars. Give you an example. And,

489
00:27:10,030 --> 00:27:11,530
Speaker 1: and then, you know, you ain't going to have no

490
00:27:11,570 --> 00:27:13,210
Speaker 1: billion dollars to pay back. How are you going to

491
00:27:13,230 --> 00:27:14,869
Speaker 1: have that? So at the end of the day, I

492
00:27:14,910 --> 00:27:16,730
Speaker 1: want to start off by saying the way that you

493
00:27:16,790 --> 00:27:19,970
Speaker 1: break somebody down is you have to, you have to

494
00:27:20,010 --> 00:27:22,750
Speaker 1: break the economy down. When you got a place that

495
00:27:22,790 --> 00:27:25,530
Speaker 1: was known in the world, that was number one for

496
00:27:25,690 --> 00:27:30,920
Speaker 1: exporting sugar and coffee, number one in the world, like

497
00:27:31,300 --> 00:27:33,880
Speaker 1: automatically you got to break that down. So in saying like,

498
00:27:33,900 --> 00:27:37,270
Speaker 1: when we break that down, where we at today, I

499
00:27:37,330 --> 00:27:40,950
Speaker 1: think that in order for the country to move forward, right,

500
00:27:41,530 --> 00:27:44,109
Speaker 1: what you said is very important. I'm going to give

501
00:27:44,130 --> 00:27:47,050
Speaker 1: you a word. It's called trade for trade. What do

502
00:27:47,130 --> 00:27:50,490
Speaker 1: Haiti have to trade at this time that's going to

503
00:27:50,550 --> 00:27:54,760
Speaker 1: make America pay more attention to Haiti, right? What's going,

504
00:27:54,780 --> 00:27:56,460
Speaker 1: what do Haiti have to trade? What do they have

505
00:27:56,520 --> 00:27:59,660
Speaker 1: right now that they can show resources with? There we go.

506
00:27:59,820 --> 00:28:02,439
Speaker 1: Haiti have amazing resources, but let's start off with the

507
00:28:02,520 --> 00:28:06,530
Speaker 1: first part of the trade is the soils. the human capital, right?

508
00:28:06,850 --> 00:28:10,630
Speaker 1: So you have over the 50% of the population that's

509
00:28:10,810 --> 00:28:14,280
Speaker 1: a youth population. So whether you have IT jobs, a

510
00:28:14,359 --> 00:28:16,600
Speaker 1: lot of the jobs that you're sending to China from

511
00:28:16,680 --> 00:28:20,680
Speaker 1: manufacturing jobs, right? In Jacmel, we have kids that are

512
00:28:20,680 --> 00:28:23,609
Speaker 1: 10 years old right now doing AI solutions, right? I

513
00:28:23,690 --> 00:28:27,910
Speaker 1: feel that human capital Meaning like if I got over 50%

514
00:28:27,910 --> 00:28:30,630
Speaker 1: of a population, that's kids that are willing to work,

515
00:28:30,670 --> 00:28:34,170
Speaker 1: we could trade that. You got the soil, we have resources.

516
00:28:34,510 --> 00:28:37,780
Speaker 1: When you look how far Haiti is from Miami, right?

517
00:28:38,170 --> 00:28:41,360
Speaker 1: A lot of things that you moving from China to

518
00:28:41,420 --> 00:28:44,500
Speaker 1: back over to India or whatever, literally you have a

519
00:28:44,600 --> 00:28:47,140
Speaker 1: population of like 12 million people that you could put

520
00:28:47,160 --> 00:28:51,100
Speaker 1: for work, right? Now, how does this happen? Education, right?

521
00:28:51,420 --> 00:28:53,860
Speaker 1: You got to take us seriously and be willing to

522
00:28:53,960 --> 00:28:56,520
Speaker 1: invest in us, right? And at the end of the day,

523
00:28:56,980 --> 00:28:59,820
Speaker 1: the same thing that you see, you see Haiti, you

524
00:28:59,840 --> 00:29:03,700
Speaker 1: see the Dominican Republic, you see Cuba, you see Venezuela,

525
00:29:03,760 --> 00:29:05,340
Speaker 1: like keep thinking about it, right? But at the end

526
00:29:05,380 --> 00:29:07,600
Speaker 1: of the day, you see water, right? You understand all

527
00:29:07,640 --> 00:29:10,960
Speaker 1: these places have oil. You understand all these places have gold.

528
00:29:11,200 --> 00:29:14,170
Speaker 1: You understand all these places have copper, right? So you're

529
00:29:14,190 --> 00:29:16,270
Speaker 1: going to need companies that are willing to go in

530
00:29:16,630 --> 00:29:21,640
Speaker 1: and invest that money, not big governments extorting our government

531
00:29:21,740 --> 00:29:24,500
Speaker 1: at times saying, yo, we'll come in and dig for y'all,

532
00:29:24,820 --> 00:29:27,040
Speaker 1: but y'all only going to get 1% of the mining

533
00:29:27,460 --> 00:29:29,400
Speaker 1: after we find things. You see what I'm saying to you?

534
00:29:29,560 --> 00:29:33,270
Speaker 1: That's been a big problem in the past. Huge, huge problem.

535
00:29:33,290 --> 00:29:37,330
Speaker 3: Governments go up in there, create factories, this, this, that,

536
00:29:37,370 --> 00:29:39,310
Speaker 3: but don't really pay the workers right.

537
00:29:40,060 --> 00:29:45,240
Speaker 1: And take everything. Yeah, and in order for this to happen,

538
00:29:45,260 --> 00:29:48,620
Speaker 1: this is a real conversation. So in moving forward, as

539
00:29:48,680 --> 00:29:52,840
Speaker 1: we know, it's all about that policy and that legislation,

540
00:29:53,220 --> 00:29:55,620
Speaker 1: and a lot of it comes from Washington. Like I

541
00:29:55,640 --> 00:29:58,660
Speaker 1: said before, for the country to move forward, it's going

542
00:29:58,680 --> 00:30:02,820
Speaker 1: to take all of us. And Frederick Douglass, man, talks

543
00:30:02,880 --> 00:30:05,020
Speaker 1: about Haiti. You know what I'm saying? Like anyone want

544
00:30:05,040 --> 00:30:08,240
Speaker 1: to check, he talked about Haiti. When we talk about Chicago,

545
00:30:08,280 --> 00:30:10,910
Speaker 1: Chicago is founded by Haitian. When we talk about like

546
00:30:10,950 --> 00:30:15,720
Speaker 1: the Louisiana Purchase, right? The Louisiana Purchase, the best real estate,

547
00:30:16,080 --> 00:30:18,260
Speaker 1: we was part of that. And the only reason I'm

548
00:30:18,300 --> 00:30:21,959
Speaker 1: saying that is because Shakespeare says that the devil's greatest

549
00:30:22,020 --> 00:30:24,460
Speaker 1: illusion is to convince the world that he don't exist.

550
00:30:24,820 --> 00:30:27,950
Speaker 1: So the greatest illusion that these politicians pulled on us,

551
00:30:28,270 --> 00:30:31,310
Speaker 1: that they just, they didn't want me to get to you, Jada.

552
00:30:32,330 --> 00:30:35,270
Speaker 1: Because if I got to you and we had this conversation,

553
00:30:35,990 --> 00:30:39,890
Speaker 1: then the score happens, right? Then the locks happen. Then

554
00:30:39,950 --> 00:30:42,790
Speaker 1: Fat Joe happened. Then Big Pun happened. So the only

555
00:30:42,810 --> 00:30:47,350
Speaker 1: time people was getting real information was through the hip hop. Right?

556
00:30:47,590 --> 00:30:50,850
Speaker 1: So imagine though, back then, what would have happened, right?

557
00:30:51,210 --> 00:30:55,200
Speaker 1: If freaking Tucson got with the dude that was in America.

558
00:30:55,820 --> 00:30:57,160
Speaker 1: You see what I'm saying to you? And then they

559
00:30:57,200 --> 00:30:59,100
Speaker 1: got with, it would have made a difference. So I

560
00:30:59,140 --> 00:31:02,740
Speaker 1: always tell people as we move forward, always remember, man,

561
00:31:03,060 --> 00:31:05,700
Speaker 1: the trick that they do is the vision. Because when

562
00:31:05,740 --> 00:31:08,360
Speaker 1: I shake your hand, I shake your hand. Man, we

563
00:31:08,400 --> 00:31:10,890
Speaker 1: all really brothers and sisters fighting the same thing. That's

564
00:31:10,950 --> 00:31:13,710
Speaker 1: all I'm saying. That's a fact. Shout out Meek Mill.

565
00:31:13,750 --> 00:31:16,030
Speaker 1: He behind the scene. He just popped up. Meek Mill

566
00:31:16,090 --> 00:31:20,410
Speaker 1: in the building. Meek Mill's right out. Yo, Meek Mill, Philly.

567
00:31:20,430 --> 00:31:24,290
Speaker 1: You know I'm really from Philly, Meek. Yeah. You know

568
00:31:24,310 --> 00:31:28,230
Speaker 1: what they say. Fifth and Allegheny. Fifth and Allegheny. No, no,

569
00:31:28,320 --> 00:31:31,760
Speaker 1: I'm next all day. They switched it. We shaky right now,

570
00:31:31,820 --> 00:31:34,000
Speaker 1: but don't worry about it. Meek Mill, he got an

571
00:31:34,060 --> 00:31:36,440
Speaker 1: album coming out too. He going to come back. I'm

572
00:31:36,680 --> 00:31:39,540
Speaker 1: on my way. I'm going to come make my time.

573
00:31:39,600 --> 00:31:41,460
Speaker 1: You know what I mean? What up, family? You know

574
00:31:41,680 --> 00:31:44,980
Speaker 1: what I mean? What's good? Kiss. In fact, I told

575
00:31:45,020 --> 00:31:46,200
Speaker 1: you this a few weeks ago, man.

576
00:31:46,220 --> 00:31:47,610
Speaker 7: When I get my time, I'm going to come through

577
00:31:47,650 --> 00:31:49,290
Speaker 7: in a few weeks and we're going to bust it up, man.

578
00:31:49,330 --> 00:31:49,740
Speaker 1: We got you.

579
00:31:49,790 --> 00:31:50,930
Speaker 5: We got a lot to talk about.

580
00:31:50,950 --> 00:31:53,110
Speaker 7: I love what you're speaking on, speaking about your country,

581
00:31:53,570 --> 00:31:56,110
Speaker 7: everything y'all going through. I got my piece I want

582
00:31:56,150 --> 00:31:58,650
Speaker 7: to say, too, about all this propaganda. And then that

583
00:31:59,070 --> 00:32:02,190
Speaker 7: was real, was fake, addressing all problems.

584
00:32:02,230 --> 00:32:03,080
Speaker 5: So, you know what I mean?

585
00:32:03,520 --> 00:32:04,229
Speaker 1: Appreciate y'all.

586
00:32:04,260 --> 00:32:06,120
Speaker 5: I just wanted to watch y'all doing y'all thing today.

587
00:32:06,300 --> 00:32:09,120
Speaker 1: Yo, Meek, so last time I saw you, we was

588
00:32:09,160 --> 00:32:12,080
Speaker 1: in Miami. Yeah. And then you came up to me

589
00:32:12,460 --> 00:32:15,750
Speaker 1: and you was like, yo. I seen that documentary. With

590
00:32:15,790 --> 00:32:18,210
Speaker 1: Tupac and 50 Cent. With Tupac and 50, the gang's

591
00:32:18,290 --> 00:32:20,540
Speaker 1: in Haiti. So I was like, oh, yeah, yeah. I

592
00:32:20,560 --> 00:32:21,400
Speaker 1: don't know about that.

593
00:32:21,420 --> 00:32:23,400
Speaker 7: They got a 50 Cent and a Tupac in Haiti,

594
00:32:23,440 --> 00:32:25,960
Speaker 7: but they more killers than the ones over here.

595
00:32:26,020 --> 00:32:29,090
Speaker 1: They die, right? They really wilding over there. Yeah. So

596
00:32:29,130 --> 00:32:34,010
Speaker 1: I did my team. my production team had did this

597
00:32:34,070 --> 00:32:37,390
Speaker 1: whole uh that whole uh that whole doc because i

598
00:32:37,410 --> 00:32:39,540
Speaker 1: was hitting the lady yeah so it was ill that

599
00:32:39,600 --> 00:32:41,060
Speaker 1: i was like yo i don't know how he got

600
00:32:41,080 --> 00:32:43,680
Speaker 1: a hold of this doc so before what you see

601
00:32:43,720 --> 00:32:47,680
Speaker 1: happen now right so so before the era he was

602
00:32:47,780 --> 00:32:50,880
Speaker 1: telling the story before it erupted to where it's at

603
00:32:50,900 --> 00:32:53,190
Speaker 1: damn it's called the ghost of sita sole yeah so

604
00:32:53,210 --> 00:32:55,790
Speaker 1: it was still he was in the city of sole

605
00:32:55,810 --> 00:32:58,390
Speaker 1: yeah the city is god i've been through this Yeah,

606
00:32:58,430 --> 00:33:01,110
Speaker 1: so you've been to the city. So the city is

607
00:33:01,190 --> 00:33:04,380
Speaker 1: inspired by all of y'all. Y'all go through Cite Soleil,

608
00:33:04,400 --> 00:33:06,800
Speaker 1: there's mirrors of all of y'all here. You're showing me

609
00:33:06,840 --> 00:33:07,100
Speaker 1: too much love.

610
00:33:07,120 --> 00:33:09,360
Speaker 5: They got another Fat Joe, another Jadakiss.

611
00:33:09,420 --> 00:33:12,310
Speaker 1: No, all of y'all. There's mirrors of all of y'all.

612
00:33:12,370 --> 00:33:15,790
Speaker 3: I went to Cite Soleil, they treated me like Ali Boombayee.

613
00:33:16,550 --> 00:33:18,030
Speaker 1: Joe Crack was in the building.

614
00:33:18,130 --> 00:33:18,290
Speaker 2: Period.

615
00:33:18,310 --> 00:33:22,630
Speaker 3: The whole fucking, you couldn't even see. The floor, it

616
00:33:22,650 --> 00:33:26,490
Speaker 3: was so many humans out there. Joey Crack, like, man,

617
00:33:26,530 --> 00:33:29,770
Speaker 3: they got all these places that people be scared to

618
00:33:29,810 --> 00:33:32,800
Speaker 3: go to. They got so much love for us. It's

619
00:33:32,920 --> 00:33:33,720
Speaker 3: out of control.

620
00:33:34,000 --> 00:33:36,760
Speaker 5: Tell them, bring them bikes out. I'm there in Haiti whenever, man.

621
00:33:36,940 --> 00:33:39,660
Speaker 1: Oh, yeah, yeah, yeah. And we share the same commonality

622
00:33:39,700 --> 00:33:45,220
Speaker 1: with motorcycles, too. Yeah, yeah. Oh, man, listen. Not only ride,

623
00:33:45,240 --> 00:33:48,850
Speaker 1: they inspire by everything that you do. You see, I'll

624
00:33:48,890 --> 00:33:52,330
Speaker 1: send you a video of how you inspire these kids.

625
00:33:52,350 --> 00:33:55,230
Speaker 1: You'll bug out. When I tell you they Willie game.

626
00:33:55,330 --> 00:33:56,570
Speaker 5: I've been communicating with a few of them.

627
00:33:56,590 --> 00:34:00,340
Speaker 1: You know the vibes, man. They on y'all a hundred percent.

628
00:34:00,400 --> 00:34:07,340
Speaker 1: And guess what? This one thing I realized before, before words, energy.

629
00:34:08,280 --> 00:34:10,779
Speaker 1: Like a nigga could just feel your energy. And from

630
00:34:10,820 --> 00:34:14,230
Speaker 1: your energy, he's able to like, even like he know

631
00:34:14,250 --> 00:34:16,870
Speaker 1: who fat Joe, just from the energy. Like when he's,

632
00:34:16,969 --> 00:34:20,339
Speaker 1: when he's like lean back, Lean back, like that, even

633
00:34:20,400 --> 00:34:22,560
Speaker 1: if you don't know what that shit meanin', he like,

634
00:34:22,600 --> 00:34:24,540
Speaker 1: this the, I'm feeling it. He can feel the energy.

635
00:34:24,560 --> 00:34:27,089
Speaker 1: Because energy is before anything, you know what I'm saying?

636
00:34:27,680 --> 00:34:27,940
Speaker 2: Yeah.

637
00:34:27,960 --> 00:34:30,420
Speaker 7: Shit, I'm going to let y'all get back to it,

638
00:34:30,420 --> 00:34:32,399
Speaker 7: but when I come back, let's talk this real East

639
00:34:32,440 --> 00:34:34,060
Speaker 7: Coast gritty shit when we get back.

640
00:34:34,080 --> 00:34:37,380
Speaker 1: When you come back, let's go, Meek. Let's go, man.

641
00:34:37,460 --> 00:34:40,020
Speaker 1: I'm with you, man. I want to hear it out.

642
00:34:40,040 --> 00:34:42,359
Speaker 1: Play a couple of them smokers, too, that he was playing.

643
00:34:42,420 --> 00:34:43,520
Speaker 1: All right, let's do whatever.

644
00:34:43,540 --> 00:34:44,120
Speaker 2: I'm with whatever.

645
00:34:44,140 --> 00:34:44,799
Speaker 5: Let's do it, y'all.

646
00:34:44,820 --> 00:34:47,279
Speaker 1: Appreciate it. Love, love, love, King.

647
00:34:47,320 --> 00:34:50,759
Speaker 3: Meek Mill just did a drive-by, you know what I'm saying?

648
00:34:50,780 --> 00:34:52,350
Speaker 3: That's the house of hip-hop, man.

649
00:34:52,410 --> 00:34:54,910
Speaker 1: That's right. People just pull up, you know what I'm saying?

650
00:34:54,930 --> 00:34:56,549
Speaker 1: Pull up, pull up. For all the.

651
00:34:56,550 --> 00:34:59,560
Speaker 6: Real ones out there, we keeping it 1800.

652
00:34:59,560 --> 00:35:05,620
Speaker 3: And when I'm thinking about Wyclef Jones, An entertainer's entertainment.

653
00:35:05,640 --> 00:35:07,879
Speaker 3: The other day I was watching the morning show and

654
00:35:07,900 --> 00:35:11,799
Speaker 3: you had like a jazz song. Tell me about the

655
00:35:11,880 --> 00:35:15,460
Speaker 3: jazz song, man. I see you performing. That shit was fly, yo.

656
00:35:15,800 --> 00:35:19,400
Speaker 3: But look, I'm not surprised. I know Wyclef's young. I

657
00:35:19,440 --> 00:35:20,880
Speaker 3: know you play all the instruments.

658
00:35:20,960 --> 00:35:22,200
Speaker 1: I know. I'm not surprised.

659
00:35:22,239 --> 00:35:24,800
Speaker 3: When I seen that shit, I was like, yo, Wyclef

660
00:35:24,860 --> 00:35:28,700
Speaker 3: in his other bag right now. What's that project right there?

661
00:35:29,760 --> 00:35:33,600
Speaker 1: So the project started seven years ago. So I was like, okay.

662
00:35:33,989 --> 00:35:36,569
Speaker 1: the score coming up and we going to celebrate 30

663
00:35:36,570 --> 00:35:38,759
Speaker 1: year anniversary of the score. Then I was like the

664
00:35:38,860 --> 00:35:42,220
Speaker 1: carnival coming up and we going to celebrate 30 year.

665
00:35:42,920 --> 00:35:45,460
Speaker 1: And then I said the miseducation coming up. And then

666
00:35:45,500 --> 00:35:49,700
Speaker 1: I was like, okay, looking at everybody's career in the

667
00:35:49,760 --> 00:35:52,799
Speaker 1: past 30 years and everything I've been, right? So whether

668
00:35:52,840 --> 00:35:56,070
Speaker 1: if we talking about Destiny Child, shout out to Beyonce,

669
00:35:56,090 --> 00:35:58,770
Speaker 1: shout out to Jay-Z, right? Whether we talking about like

670
00:35:58,810 --> 00:36:02,190
Speaker 1: from Destiny Child to Mary J. Blige that I'm on

671
00:36:02,210 --> 00:36:04,730
Speaker 1: my way to see tomorrow. Or we talk about like

672
00:36:04,750 --> 00:36:09,290
Speaker 1: Whitney Houston, freaking Kenny Rogers. Like at the end of

673
00:36:09,330 --> 00:36:11,810
Speaker 1: the day, I was like, how do I celebrate the

674
00:36:11,850 --> 00:36:15,190
Speaker 1: 30th anniversary? So seven years ago, I said, I'm going

675
00:36:15,230 --> 00:36:16,569
Speaker 1: to do seven genres.

676
00:36:17,190 --> 00:36:17,390
Speaker 5: Right.

677
00:36:17,410 --> 00:36:19,730
Speaker 1: I'm going to do hip hop. I'm going to do reggae.

678
00:36:19,989 --> 00:36:21,910
Speaker 1: I'm going to do jazz. I'm going to do country.

679
00:36:21,950 --> 00:36:24,419
Speaker 1: I'm going to do gospel. Every genre that I've been

680
00:36:24,680 --> 00:36:27,100
Speaker 1: that I've been part of in the past 30 years.

681
00:36:27,520 --> 00:36:30,180
Speaker 1: And then I was like, every three months, I'm going

682
00:36:30,200 --> 00:36:32,420
Speaker 1: to drop a project based on the genre.

683
00:36:32,440 --> 00:36:32,600
Speaker 2: Right.

684
00:36:32,910 --> 00:36:35,130
Speaker 1: So by the time we get to the 30th anniversary,

685
00:36:35,290 --> 00:36:37,610
Speaker 1: all seven albums will be out. So the first one

686
00:36:37,630 --> 00:36:40,210
Speaker 1: that came out was Clef Notes. And it's exactly what

687
00:36:40,230 --> 00:36:42,469
Speaker 1: we talked about. How it came to America and that

688
00:36:42,510 --> 00:36:45,819
Speaker 1: whole thing. The second one that you heard, which came

689
00:36:45,880 --> 00:36:48,880
Speaker 1: out as Q Theory, that one's dedicated to Quincy Jones.

690
00:36:49,219 --> 00:36:53,239
Speaker 1: Because Quincy Jones... Q Theory, yeah. Q found me when

691
00:36:53,300 --> 00:36:55,960
Speaker 1: I was like 18. By the way, the song was amazing.

692
00:36:55,980 --> 00:36:57,600
Speaker 1: But again, I'm sorry. No, no, thank you.

693
00:36:57,640 --> 00:36:57,739
Speaker 2: So.

694
00:36:58,750 --> 00:37:01,410
Speaker 1: Yeah, so Quincy found me when I was 18. Here

695
00:37:01,590 --> 00:37:08,649
Speaker 1: goes a crazy thing. Me, Lauren, and MC Lyte was

696
00:37:08,710 --> 00:37:13,920
Speaker 1: in a play 30 years ago before Hamilton was Hamilton.

697
00:37:14,120 --> 00:37:18,980
Speaker 1: It was a hip-hop musical. It was called Club 12. Like,

698
00:37:19,219 --> 00:37:22,560
Speaker 1: Lisa Carson, Darren, a lot of us was like kid

699
00:37:22,580 --> 00:37:26,109
Speaker 1: stars from that play. Quincy was inquiring on buying that

700
00:37:26,150 --> 00:37:29,890
Speaker 1: play back then. So, I remember him coming and then

701
00:37:30,350 --> 00:37:32,730
Speaker 1: he was like, yo, who did the music for the play?

702
00:37:32,830 --> 00:37:36,430
Speaker 1: And I was just excited about Quincy. Years later, man,

703
00:37:36,750 --> 00:37:40,170
Speaker 1: after I get the Grammys, Quincy took me and he

704
00:37:40,210 --> 00:37:43,320
Speaker 1: bought me the Montrose Jazz Festival, right? So it came

705
00:37:43,380 --> 00:37:48,419
Speaker 1: a time, right, where I was no more radios, right?

706
00:37:49,040 --> 00:37:50,339
Speaker 1: And my friends was like, yo, why are you not

707
00:37:50,380 --> 00:37:54,460
Speaker 1: on the radio? And I said, because the power of

708
00:37:54,500 --> 00:37:57,840
Speaker 1: the world It's not in the radio. The power of

709
00:37:57,860 --> 00:37:59,950
Speaker 1: the world is going to be in these arenas where

710
00:37:59,969 --> 00:38:01,969
Speaker 1: the humans are at. So you literally got to get

711
00:38:02,030 --> 00:38:05,209
Speaker 1: on a plane and go find them. So Quincy brought

712
00:38:05,230 --> 00:38:08,969
Speaker 1: me to Montrose Jazz Festival and introduced me and let

713
00:38:09,010 --> 00:38:12,290
Speaker 1: me do a whole jazz set. So in this album,

714
00:38:12,330 --> 00:38:16,530
Speaker 1: so in high school, again, like in my high school, Joe,

715
00:38:16,630 --> 00:38:18,950
Speaker 1: if I could take you back, start off from Flatbush

716
00:38:19,370 --> 00:38:22,350
Speaker 1: to move into New Jersey. I remember like them OGs

717
00:38:22,430 --> 00:38:25,040
Speaker 1: on the block, like dudes doing all that type of work.

718
00:38:25,480 --> 00:38:27,140
Speaker 1: All they would do is bring me over. They'd call

719
00:38:27,160 --> 00:38:29,500
Speaker 1: me the music man. It don't matter. You'd be like, yo,

720
00:38:29,540 --> 00:38:31,759
Speaker 1: the music man. And they'd be like, yo, stick to

721
00:38:31,800 --> 00:38:33,960
Speaker 1: that music no matter what you're doing. So for me,

722
00:38:34,800 --> 00:38:40,120
Speaker 1: this jazz album is critically acclaimed. No, it's fucking incredible. Yes,

723
00:38:40,239 --> 00:38:40,500
Speaker 1: it's a vibe.

724
00:38:40,520 --> 00:38:42,480
Speaker 3: I don't listen to jazz like that, but I do

725
00:38:42,540 --> 00:38:43,860
Speaker 3: know that record that y'all did.

726
00:38:43,880 --> 00:38:46,319
Speaker 1: Nah, it's a different jazz. Yo, I fuckery was in.

727
00:38:46,480 --> 00:38:49,250
Speaker 3: Joe, the jazz we... That boy, that boy. How does

728
00:38:49,290 --> 00:38:50,549
Speaker 3: shit go?

729
00:38:51,130 --> 00:38:54,450
Speaker 1: Joe, the jazz we do is called Ra-Ra Jazz. What's

730
00:38:54,510 --> 00:38:57,089
Speaker 1: the hook? What's the hook? How you did the hook?

731
00:38:57,110 --> 00:39:02,420
Speaker 2: I don't need nobody. It's the other part. As long

732
00:39:02,440 --> 00:39:03,440
Speaker 2: as I got you back.

733
00:39:05,710 --> 00:39:10,760
Speaker 1: I don't need nobody else but you. And then what

734
00:39:10,800 --> 00:39:12,460
Speaker 1: y'all do? What's y'all chant?

735
00:39:13,180 --> 00:39:15,279
Speaker 2: This shit was crazy.

736
00:39:15,320 --> 00:39:20,060
Speaker 1: He just did it right there on the table.

737
00:39:33,310 --> 00:39:39,240
Speaker 6: JoeAndJayTheShow.com. We got new merch fresh off the presses. Go

738
00:39:39,360 --> 00:39:39,700
Speaker 6: get it.

739
00:39:39,940 --> 00:39:40,300
Speaker 5: Big.

740
00:39:41,060 --> 00:39:41,740
Speaker 1: On a big.

741
00:39:42,420 --> 00:39:42,820
Speaker 5: Bomb.

742
00:39:43,080 --> 00:39:47,600
Speaker 6: JoeAndJayTheShow.com. You can get these. A little cold for a

743
00:39:47,660 --> 00:39:48,960
Speaker 6: t-shirt with a hoodie tag.

744
00:39:49,340 --> 00:39:51,540
Speaker 3: It's my favorite right there. I need an extra large.

745
00:39:51,820 --> 00:39:54,450
Speaker 3: Joe and Jadis show.com. Go there and get it.

746
00:40:02,870 --> 00:40:04,010
Speaker 1: Me and Remy, right?

747
00:40:04,750 --> 00:40:06,650
Speaker 3: It's my sister and I love her to death. I

748
00:40:06,670 --> 00:40:10,500
Speaker 3: don't know about you or you, but we know your

749
00:40:10,540 --> 00:40:11,460
Speaker 3: love for Lauren.

750
00:40:11,500 --> 00:40:13,100
Speaker 1: We know your love for Styles.

751
00:40:13,840 --> 00:40:15,940
Speaker 3: Do you ever get to talk like for hours?

752
00:40:15,960 --> 00:40:20,100
Speaker 1: Because I don't. You like... With who? With Stiles and Lou?

753
00:40:20,160 --> 00:40:23,259
Speaker 1: With Stiles and them. Oh, yeah. You get to talk

754
00:40:23,300 --> 00:40:23,820
Speaker 1: for hours.

755
00:40:23,840 --> 00:40:24,080
Speaker 2: Yeah.

756
00:40:24,219 --> 00:40:26,359
Speaker 3: I don't know what the fuck is my problem because

757
00:40:26,420 --> 00:40:30,580
Speaker 3: I'm with Remy all the time. And we show up

758
00:40:30,680 --> 00:40:33,370
Speaker 3: everywhere at the time. She come to the crib, eat dinner,

759
00:40:33,390 --> 00:40:35,670
Speaker 3: but we never get to talk. The other day, we

760
00:40:35,710 --> 00:40:38,890
Speaker 3: came back from L.A. and we stuck on the flight

761
00:40:38,930 --> 00:40:42,170
Speaker 3: for like five and a half hours. And we just talking.

762
00:40:43,230 --> 00:40:46,140
Speaker 3: And she brought up, why Clever John? And she said, man,

763
00:40:47,200 --> 00:40:49,580
Speaker 3: It was the most beautiful, but the saddest shit I

764
00:40:49,640 --> 00:40:54,600
Speaker 3: ever seen. Big Pun passed away. Wyclef Jean walks up

765
00:40:55,050 --> 00:40:59,109
Speaker 3: in there with the guitar. His own little speaker, he

766
00:40:59,190 --> 00:41:01,790
Speaker 3: plugs it in. Big Pun is there at the funeral.

767
00:41:01,910 --> 00:41:03,930
Speaker 3: I never, let me tell you something. As much as

768
00:41:03,989 --> 00:41:06,070
Speaker 3: I love hip hop, as much as I love music,

769
00:41:08,170 --> 00:41:11,029
Speaker 3: I never experienced that. I never seen nothing like that.

770
00:41:11,190 --> 00:41:13,410
Speaker 3: I don't know if you, they did that in Haiti.

771
00:41:13,469 --> 00:41:15,500
Speaker 3: I don't know if they just do that from real

772
00:41:15,700 --> 00:41:19,840
Speaker 3: artist to artist. Well, he came in and started playing

773
00:41:19,860 --> 00:41:23,430
Speaker 3: the Mariam. It was the saddest Mariamada. And them guys

774
00:41:23,469 --> 00:41:26,550
Speaker 3: were singing, Mariam, remind me of a West Side Story.

775
00:41:26,650 --> 00:41:30,129
Speaker 3: And Big Punz, man, we crying like babies. And he

776
00:41:30,170 --> 00:41:34,370
Speaker 3: starts performing at the, like, what made you think of, like,

777
00:41:34,870 --> 00:41:37,990
Speaker 3: I want you to be purely honest to me. Like,

778
00:41:38,130 --> 00:41:41,339
Speaker 3: honest to me. What made you think of, and we

779
00:41:41,360 --> 00:41:43,900
Speaker 3: were young, we was kids still. Punz died at 27.

780
00:41:43,900 --> 00:41:48,880
Speaker 1: Yeah. Well, I mean, remember, We talked earlier. Who am

781
00:41:48,980 --> 00:41:52,120
Speaker 1: I on the block? I'm the music man. One of

782
00:41:52,200 --> 00:41:53,620
Speaker 1: us go down. What are we going to do?

783
00:41:54,739 --> 00:41:55,000
Speaker 8: Right?

784
00:41:55,420 --> 00:41:58,319
Speaker 3: I just showed up because it was just one of us.

785
00:41:59,140 --> 00:42:02,379
Speaker 3: I know that, but playing music at the... I've never

786
00:42:02,460 --> 00:42:04,480
Speaker 3: seen that before. What made you think, yo, I'm going

787
00:42:04,500 --> 00:42:08,820
Speaker 3: to go show up and play music at Big Pun's funeral?

788
00:42:09,020 --> 00:42:13,069
Speaker 1: Because fam, long before the great pun, when we on

789
00:42:13,090 --> 00:42:18,560
Speaker 1: the block, something happened. Set versus set. I show up

790
00:42:18,600 --> 00:42:21,460
Speaker 1: with my guitar and I'm at the funeral and I'm

791
00:42:21,500 --> 00:42:23,680
Speaker 1: just trying to unify that. You feel what I'm saying?

792
00:42:23,719 --> 00:42:25,840
Speaker 1: So for me, again, I felt like- It's one of

793
00:42:25,880 --> 00:42:28,080
Speaker 1: the illest shits I ever seen in my life.

794
00:42:28,380 --> 00:42:33,790
Speaker 3: It was like the illest shit. I also saw that

795
00:42:34,170 --> 00:42:36,390
Speaker 3: I got to keep it a buck at Prodigy's funeral.

796
00:42:37,250 --> 00:42:39,930
Speaker 1: That, it got to be done, man.

797
00:42:39,969 --> 00:42:42,589
Speaker 3: But you know, we walk in the funeral and they

798
00:42:42,610 --> 00:42:43,660
Speaker 3: playing thum thum.

799
00:42:48,000 --> 00:42:54,970
Speaker 1: Boom, boom, they playing. P's thing was a little different.

800
00:42:56,430 --> 00:42:59,570
Speaker 1: Farrakhan was doing the....

801
00:43:00,810 --> 00:43:06,310
Speaker 3: That shit was crazy. That's nuts, but we appreciate you

802
00:43:06,330 --> 00:43:08,910
Speaker 3: for that, for everything you've done. You know, when I

803
00:43:08,930 --> 00:43:12,549
Speaker 3: think about the Fugees, I think about freedom. You know,

804
00:43:12,969 --> 00:43:14,550
Speaker 3: there was no limitations.

805
00:43:15,200 --> 00:43:15,609
Speaker 1: It was like.

806
00:43:17,390 --> 00:43:20,310
Speaker 3: It's almost sad, man. It's good to be a kid

807
00:43:20,350 --> 00:43:24,959
Speaker 3: with an imagination and nobody stop you and say, yo,

808
00:43:25,000 --> 00:43:25,899
Speaker 3: you can't do that.

809
00:43:26,239 --> 00:43:27,020
Speaker 1: You can't do this.

810
00:43:27,080 --> 00:43:29,020
Speaker 3: When I hear that music and the way y'all was

811
00:43:29,080 --> 00:43:33,859
Speaker 3: flowing and let me get up there on Friday. Y'all

812
00:43:33,880 --> 00:43:35,839
Speaker 3: was just wild and snapping.

813
00:43:36,060 --> 00:43:39,010
Speaker 1: Yeah. What was those sessions like? How did you know

814
00:43:39,050 --> 00:43:41,630
Speaker 1: when you, how did you know when you hit one

815
00:43:41,730 --> 00:43:43,870
Speaker 1: out of the park or when you knew which one

816
00:43:43,910 --> 00:43:44,830
Speaker 1: was it? How did you?

817
00:43:45,610 --> 00:43:45,910
Speaker 2: Yeah. Yeah.

818
00:43:46,210 --> 00:43:48,879
Speaker 1: So in the beginning, I would say early teens, we

819
00:43:48,890 --> 00:43:52,600
Speaker 1: were signed to a production company, Le Jam. And so

820
00:43:52,640 --> 00:43:55,299
Speaker 1: the early mentors was literally, think of like, we were

821
00:43:55,320 --> 00:43:57,600
Speaker 1: signed to Kool and the Gang. Like, just look at it,

822
00:43:57,620 --> 00:43:59,680
Speaker 1: like in the very beginning, it was like Le Jam,

823
00:44:00,140 --> 00:44:03,040
Speaker 1: but it was like Khalees Bayon, who was Kool's brother,

824
00:44:03,100 --> 00:44:05,390
Speaker 1: who created Kool and the Gang. So that was like

825
00:44:05,430 --> 00:44:09,969
Speaker 1: the first production. And when we signed to them, right?

826
00:44:10,710 --> 00:44:14,310
Speaker 1: Cherish the love we have. She's fresh and all of that. Now,

827
00:44:14,969 --> 00:44:18,870
Speaker 1: The genius in there, his name was Khalees Bayon. So

828
00:44:18,989 --> 00:44:21,989
Speaker 1: I learned a lot from him. But in this process,

829
00:44:22,350 --> 00:44:26,410
Speaker 1: in blood and in reality, we're doing this album, Jada.

830
00:44:27,390 --> 00:44:30,969
Speaker 1: But whenever I left this big mansion where we was

831
00:44:30,989 --> 00:44:34,450
Speaker 1: recording at and I went back to East Stormage, New Jersey,

832
00:44:35,800 --> 00:44:40,210
Speaker 1: I didn't hear that. I would hear, you know, the

833
00:44:40,310 --> 00:44:42,990
Speaker 1: energy that was coming from down the hill was like, oh, next,

834
00:44:43,370 --> 00:44:45,710
Speaker 1: all about crime, crime, all of this kind of energy.

835
00:44:46,070 --> 00:44:48,969
Speaker 1: And I was like, what's happening up here is not

836
00:44:49,010 --> 00:44:51,910
Speaker 1: what we want to do, but I couldn't say anything yet. So,

837
00:44:52,350 --> 00:44:55,090
Speaker 1: but what I did was I asked Khalees, I was like, yo,

838
00:44:55,530 --> 00:44:58,739
Speaker 1: I have an idea for a track. But that would

839
00:44:58,760 --> 00:45:00,500
Speaker 1: be like a kid going up to Dr. Dre at

840
00:45:00,540 --> 00:45:02,299
Speaker 1: the time and be like, Dre, you know, I have

841
00:45:02,340 --> 00:45:04,060
Speaker 1: an idea. I know you're producing a whole album. I

842
00:45:04,060 --> 00:45:06,569
Speaker 1: was like, yo, I said, yo, I want to do

843
00:45:06,590 --> 00:45:10,680
Speaker 1: the first acoustic hip hop song with just a guitar

844
00:45:10,719 --> 00:45:14,300
Speaker 1: and a vocal, right? And think about who was thinking

845
00:45:14,340 --> 00:45:17,040
Speaker 1: about that. So he gave me that freedom. Lauren did

846
00:45:17,080 --> 00:45:20,860
Speaker 1: another record, a jazz record, Some Seek Stardom, which went crazy. Now,

847
00:45:21,430 --> 00:45:23,730
Speaker 1: everyone would come to a Fuji show. We was opening

848
00:45:23,750 --> 00:45:27,239
Speaker 1: up for Joe. We was opening up for KRS-One. We

849
00:45:27,260 --> 00:45:30,600
Speaker 1: was notorious for these shows, right? People be like, yo,

850
00:45:30,640 --> 00:45:33,090
Speaker 1: you don't want to play with the Fugees. Nah, y'all

851
00:45:33,110 --> 00:45:37,110
Speaker 1: was body and shit. And no hit song yet. So

852
00:45:37,610 --> 00:45:41,650
Speaker 1: now Sony Music is like, yo, this thing is not working.

853
00:45:42,930 --> 00:45:46,230
Speaker 1: I get with Salaam Remy, right? I go see Salaam.

854
00:45:46,570 --> 00:45:51,160
Speaker 1: So Salaam at the time, everything hot is Salaam. Ghetto

855
00:45:51,200 --> 00:45:55,330
Speaker 1: Red Hot, Super Cat, everything. Everything. Salam Remy is saying,

856
00:45:55,810 --> 00:46:00,400
Speaker 1: Fuji Law was Fat Joe's. The beat. I'm going to

857
00:46:00,410 --> 00:46:02,299
Speaker 1: get to it. I'm going to get to it. I'm

858
00:46:02,320 --> 00:46:03,620
Speaker 1: going to get to it. So, I don't think you

859
00:46:03,640 --> 00:46:04,779
Speaker 1: capped it. I'm going to get to it. One second.

860
00:46:05,460 --> 00:46:08,000
Speaker 1: There you go. There you go, brother. I'm here. I'm

861
00:46:08,040 --> 00:46:11,840
Speaker 1: a witness. I was right there. So, Salam goes.

862
00:46:12,540 --> 00:46:12,600
Speaker 2: Yo.

863
00:46:12,900 --> 00:46:15,939
Speaker 1: Yo, I always remember the session. Salam goes, you know,

864
00:46:16,920 --> 00:46:25,069
Speaker 1: Salam says, you're too talented. y'all got to do some

865
00:46:25,130 --> 00:46:27,779
Speaker 1: knucklehead shit. He said, because they're not going to pay

866
00:46:27,800 --> 00:46:33,279
Speaker 1: attention until y'all just give them some basic bars. And then,

867
00:46:33,340 --> 00:46:35,879
Speaker 1: so we was on our way to Germany. Salon pushed

868
00:46:35,960 --> 00:46:42,750
Speaker 1: on this beat. Ba-ba-ba-ba-da-ding-ding. Salaam still got the 15 minute freestyle.

869
00:46:43,230 --> 00:46:46,149
Speaker 1: So literally we both, each of us went in there

870
00:46:46,250 --> 00:46:48,290
Speaker 1: one at a time. So I go in there first,

871
00:46:48,850 --> 00:46:50,910
Speaker 1: yo Mona Lisa, can I get a date? And that

872
00:46:50,950 --> 00:46:54,049
Speaker 1: hook ain't even come in till like, I think like

873
00:46:54,170 --> 00:46:56,890
Speaker 1: seven minutes in, you know what I'm saying? I was like,

874
00:46:56,930 --> 00:46:59,089
Speaker 1: I got to break up the rhyme a little, you know,

875
00:46:59,110 --> 00:47:01,400
Speaker 1: Salaam got that whole fit. It'd be great if Salaam

876
00:47:01,440 --> 00:47:04,600
Speaker 1: just let that tape go now. And we going, Lauren

877
00:47:04,640 --> 00:47:07,969
Speaker 1: goes in, she goes crazy. Praz goes crazy. fam, we

878
00:47:08,030 --> 00:47:10,510
Speaker 1: take a plane and go to Europe because we opening

879
00:47:10,590 --> 00:47:16,370
Speaker 1: up for DOS effects. Salam is a genius. He takes

880
00:47:16,410 --> 00:47:22,129
Speaker 1: that entire 15, 20 minutes, slices it into what ended

881
00:47:22,170 --> 00:47:28,470
Speaker 1: up becoming Mona Lisa, right? And I'll never forget when

882
00:47:28,489 --> 00:47:31,600
Speaker 1: you were a kid, man, and you'll buy that radio

883
00:47:33,500 --> 00:47:38,189
Speaker 1: and it's hot 97. and you tune into Funkmaster Flex, right?

884
00:47:38,210 --> 00:47:43,370
Speaker 1: Funkmaster Flex. And you just tuned in, right? And you

885
00:47:43,410 --> 00:47:46,430
Speaker 1: just waiting there. You got everyone on the block. We

886
00:47:46,489 --> 00:47:49,350
Speaker 1: all on this one little radio. You just waiting. And

887
00:47:49,370 --> 00:47:52,690
Speaker 1: then Flex just starts it off, right? He just playing

888
00:47:52,710 --> 00:47:55,810
Speaker 1: the bed. I'm just hearing the instrumental in the back.

889
00:47:55,830 --> 00:47:58,730
Speaker 1: He's talking over the instrumental. We're just getting shocked. Oh,

890
00:47:58,750 --> 00:48:02,450
Speaker 1: you ain't in the area. Nah, because he's talking about, yo,

891
00:48:03,520 --> 00:48:06,850
Speaker 1: he let that record go. And now when I tell

892
00:48:06,890 --> 00:48:09,870
Speaker 1: you it was a bliss, it was over because when

893
00:48:09,890 --> 00:48:13,410
Speaker 1: we coming back from Germany, our first show is Jones Beach.

894
00:48:14,270 --> 00:48:17,850
Speaker 1: And we don't even know we got one yet. You

895
00:48:17,870 --> 00:48:20,830
Speaker 1: feel what I'm saying to you? So we were like

896
00:48:20,890 --> 00:48:22,739
Speaker 1: mad nervous. We're like, yeah, we're going to kill this

897
00:48:22,780 --> 00:48:25,940
Speaker 1: show and do boom, boom, boom, boom. Yo Mona Lisa,

898
00:48:26,160 --> 00:48:30,960
Speaker 1: can I get yo, the place erupted. So now I'm charged.

899
00:48:30,980 --> 00:48:36,160
Speaker 1: It's like some fire heartbeat shit, you know? Nice like this. J.D.I.

900
00:48:36,219 --> 00:48:38,819
Speaker 1: slide on out there. And then I'm like, you want

901
00:48:38,860 --> 00:48:43,170
Speaker 1: a battle swing? I'll bring commanding men. Yo, Lauren comes out.

902
00:48:43,330 --> 00:48:44,130
Speaker 5: The place.

903
00:48:45,710 --> 00:48:49,610
Speaker 1: Now, that's the first time. Could you imagine? A song

904
00:48:49,650 --> 00:48:51,830
Speaker 1: is killing New York and you're not even in New

905
00:48:51,870 --> 00:48:56,140
Speaker 1: York to really experience it. And then your first experience

906
00:48:56,160 --> 00:48:59,310
Speaker 1: that the shit is hot happened to be like jones

907
00:48:59,370 --> 00:49:03,180
Speaker 1: beach this was crazy the sessions was all magical it

908
00:49:03,219 --> 00:49:08,180
Speaker 1: was my uncle's basement um jerry's dad so the whole

909
00:49:08,239 --> 00:49:11,520
Speaker 1: thing was his old our og is called ronald duplessy

910
00:49:11,580 --> 00:49:13,120
Speaker 1: you know i'm saying he the one that put in

911
00:49:13,140 --> 00:49:15,270
Speaker 1: the hard work and gave me and my cousin the

912
00:49:15,310 --> 00:49:17,489
Speaker 1: basement so we could stay out of trouble so the

913
00:49:17,530 --> 00:49:19,609
Speaker 1: thing was like the basement was set up just like

914
00:49:19,890 --> 00:49:22,239
Speaker 1: when you look at the NWA movie. So we was

915
00:49:22,280 --> 00:49:25,200
Speaker 1: the Dr. Dre's of our hood. So in that, we

916
00:49:25,219 --> 00:49:28,430
Speaker 1: got an open basement, you know, going to block. I

917
00:49:28,469 --> 00:49:30,950
Speaker 1: would preach the message, yo, you could come to the basement.

918
00:49:30,969 --> 00:49:32,410
Speaker 1: I got the dat. We're going to set you up.

919
00:49:32,410 --> 00:49:34,930
Speaker 1: You're going to do that work. The Outsiders was on

920
00:49:34,969 --> 00:49:39,450
Speaker 1: the other side. the Outsiders had, like, yeah, so you

921
00:49:39,469 --> 00:49:44,549
Speaker 1: had the Outsiders with Eminem, right? Yeah. Yeah, so the

922
00:49:44,650 --> 00:49:48,260
Speaker 1: Outs was, so, so the Outs was on, yeah, so

923
00:49:48,280 --> 00:49:50,480
Speaker 1: the Outs was on, on the other side and the

924
00:49:50,600 --> 00:49:57,220
Speaker 1: Outsiders was, like, like Slang Tongue, Pace One, Young Z,

925
00:49:57,260 --> 00:49:59,299
Speaker 1: they had their own style, sort of like in every

926
00:49:59,380 --> 00:50:01,890
Speaker 1: borough where you got like five or six clicks. So,

927
00:50:02,489 --> 00:50:07,620
Speaker 1: they would come over and then, when I met Akon,

928
00:50:08,640 --> 00:50:14,680
Speaker 1: Akon was a barber. Akon was giving me a fade, right?

929
00:50:16,000 --> 00:50:21,460
Speaker 1: So when I met Khan, but Khan just had a gift, right?

930
00:50:21,500 --> 00:50:25,140
Speaker 1: Because Khan would be that dude, man, like, yo, I'd

931
00:50:25,160 --> 00:50:27,910
Speaker 1: be like, yo, just come to the basement, right? But yo,

932
00:50:27,950 --> 00:50:31,219
Speaker 1: when Akon come to the basement, That nigga be sweaty.

933
00:50:31,760 --> 00:50:35,890
Speaker 1: Like he just ran away from like 30 fucking police, right?

934
00:50:35,989 --> 00:50:38,989
Speaker 1: And I'm like, yo, Khan, you know, this is not

935
00:50:39,010 --> 00:50:40,910
Speaker 1: going to work. Like you got to, you know what

936
00:50:40,930 --> 00:50:43,850
Speaker 1: I'm saying to you? And because the level of talent

937
00:50:43,890 --> 00:50:47,049
Speaker 1: the dude had was just crazy. So when you hit

938
00:50:47,110 --> 00:50:50,190
Speaker 1: a score, the last joint on the score people don't

939
00:50:50,250 --> 00:50:54,670
Speaker 1: even pay attention to is the remix to Fuji La.

940
00:50:55,910 --> 00:51:01,469
Speaker 1: That's Akon. Um, that's Akon going, um, another sound boy

941
00:51:01,530 --> 00:51:05,230
Speaker 1: loses life tonight. I bang that you pray. So this

942
00:51:05,310 --> 00:51:07,569
Speaker 1: was like, so when I, so when we talk about

943
00:51:07,610 --> 00:51:10,000
Speaker 1: like that basement, it was just like a magical place.

944
00:51:10,040 --> 00:51:12,460
Speaker 1: This is like where we all started off like as

945
00:51:12,520 --> 00:51:17,779
Speaker 1: brothers and me, yo, I'd be that dude. Like what

946
00:51:17,820 --> 00:51:20,819
Speaker 1: I saw in Khan, I would be, I would bring

947
00:51:20,860 --> 00:51:21,669
Speaker 1: Khan to a show.

948
00:51:22,050 --> 00:51:22,290
Speaker 2: Right.

949
00:51:22,950 --> 00:51:26,660
Speaker 1: And I'd be like, yo, And I'd be rocking, and

950
00:51:26,680 --> 00:51:28,880
Speaker 1: he'd be watching, and then I'd bring him up. I

951
00:51:28,920 --> 00:51:32,080
Speaker 1: remember Khan was very nervous in the beginning. And then

952
00:51:32,739 --> 00:51:36,839
Speaker 1: years later, I'm just listening to the radio one day,

953
00:51:37,280 --> 00:51:40,750
Speaker 1: and I hear, lock up, they won't let me. I said, blah.

954
00:51:41,350 --> 00:51:44,510
Speaker 1: So that place, and then we got the late John Forte.

955
00:51:44,950 --> 00:51:49,049
Speaker 1: You ever seen that freestyle where it was John Forte, Cannabis,

956
00:51:49,790 --> 00:51:52,589
Speaker 1: Big Pun, all of them, right? So then we had

957
00:51:52,630 --> 00:51:56,150
Speaker 1: John Forte. which I met through Lauren. So this was

958
00:51:56,190 --> 00:51:58,110
Speaker 1: the energy that was going on in the basement and

959
00:51:58,160 --> 00:52:00,960
Speaker 1: a great Jerry Wonder. So it's crazy. That's awesome. It's

960
00:52:01,000 --> 00:52:01,500
Speaker 1: too great.

961
00:52:01,520 --> 00:52:04,259
Speaker 3: But let me tell you, son, one time I was scared,

962
00:52:05,160 --> 00:52:08,819
Speaker 3: you know, to take a flight, you know. I used

963
00:52:08,840 --> 00:52:11,960
Speaker 3: to be scared to take a flight many a.

964
00:52:11,980 --> 00:52:13,020
Speaker 1: Years, you know.

965
00:52:15,320 --> 00:52:17,380
Speaker 3: There was a youth, he go by the name of

966
00:52:17,460 --> 00:52:20,640
Speaker 3: DJ Hallett, you know, he come back from Jamaica with

967
00:52:20,680 --> 00:52:24,960
Speaker 3: the tapes. And he get it started over there and

968
00:52:25,080 --> 00:52:27,460
Speaker 3: fully loaded with Sharon Burke and him.

969
00:52:27,660 --> 00:52:35,390
Speaker 9: And he bring these tapes. And he be like, I

970
00:52:35,430 --> 00:52:42,190
Speaker 9: got to be like Wyclef. And you had the Michael

971
00:52:43,090 --> 00:52:45,320
Speaker 9: Jackson dub play.

972
00:52:45,640 --> 00:52:45,900
Speaker 6: Yeah.

973
00:52:46,380 --> 00:52:48,640
Speaker 1: And so anybody who try to batter you.

974
00:52:52,980 --> 00:52:54,120
Speaker 1: The cheat code was.

975
00:52:55,500 --> 00:52:58,960
Speaker 3: What made you think of doing the dub play Michael Jackson? Like,

976
00:52:59,000 --> 00:53:02,010
Speaker 3: that was just like, there's nothing you could do. Yeah, well,

977
00:53:02,050 --> 00:53:05,350
Speaker 3: the sound system is something that we raised. And I

978
00:53:05,370 --> 00:53:08,069
Speaker 3: started listening to sound systems since I was 13 years old.

979
00:53:08,450 --> 00:53:10,330
Speaker 3: Jerry Wonder bought me my first sound tape.

980
00:53:10,390 --> 00:53:15,010
Speaker 1: It was Stone Love. Jerry Wonder, what's up, brother? Yeah, Jerry. Jerry, legend. Yeah,

981
00:53:15,090 --> 00:53:17,270
Speaker 1: it was Saxon, and it was Stone Love. So I

982
00:53:17,310 --> 00:53:20,620
Speaker 1: was big into the sound system. So literally... The way

983
00:53:20,660 --> 00:53:22,819
Speaker 1: the dub plays work, Jada, is like, think of like

984
00:53:22,860 --> 00:53:25,259
Speaker 1: when the DJs are like, you come up and they

985
00:53:25,280 --> 00:53:27,799
Speaker 1: be like, do a jingle for me, but say my

986
00:53:27,860 --> 00:53:31,530
Speaker 1: name in the jingle. But the dub, the dub even crazier.

987
00:53:31,550 --> 00:53:33,650
Speaker 1: Cause in a dub play, I'd be like, don't just

988
00:53:33,690 --> 00:53:36,029
Speaker 1: say my name. I'm going to battle so-and-so. So I

989
00:53:36,050 --> 00:53:37,770
Speaker 1: need you to do your hit song and diss them

990
00:53:38,450 --> 00:53:42,160
Speaker 1: with the hit song. So, So my thing was like, okay,

991
00:53:42,180 --> 00:53:44,060
Speaker 1: whenever I'm clashing, I'm going to get to- It's.

992
00:53:44,000 --> 00:53:48,859
Speaker 3: All about the Benjamins, baby. DJ something, he's whack, crazy.

993
00:53:49,010 --> 00:53:50,950
Speaker 3: Everybody's bugging out.

994
00:53:50,989 --> 00:53:52,910
Speaker 1: You dissing, right? So if I'm battling him, I get

995
00:53:52,930 --> 00:53:55,669
Speaker 1: you to diss Joe, and I pay you five, right?

996
00:53:55,969 --> 00:53:59,170
Speaker 1: Now Joe hits you up and says, yo, I'm going

997
00:53:59,190 --> 00:54:01,450
Speaker 1: to pay you 10. Tell me what Clef told you,

998
00:54:02,270 --> 00:54:04,509
Speaker 1: and I need Joe going to have a diss record

999
00:54:04,570 --> 00:54:06,660
Speaker 1: on me and hold it until I play mine. I'm

1000
00:54:06,680 --> 00:54:09,560
Speaker 1: going to play them. So the Yod, man, that's how

1001
00:54:09,580 --> 00:54:11,380
Speaker 1: they make money. You feel what I'm saying? So the

1002
00:54:11,420 --> 00:54:13,460
Speaker 1: Yod dudes be kicking up. If you get a hit,

1003
00:54:13,580 --> 00:54:16,880
Speaker 1: that's how it works. So in the studio, I was

1004
00:54:16,900 --> 00:54:20,130
Speaker 1: with Michael Jackson one time. And I was like, yo,

1005
00:54:21,890 --> 00:54:24,610
Speaker 1: I got to get a Michael Jackson dub play. Did

1006
00:54:24,650 --> 00:54:26,709
Speaker 1: he know what the dub play was? Nah, I'm going

1007
00:54:26,770 --> 00:54:29,870
Speaker 1: to explain it to him. Of course not. Of course not.

1008
00:54:29,890 --> 00:54:33,120
Speaker 1: He didn't know what the dub was like. And I

1009
00:54:33,140 --> 00:54:36,480
Speaker 1: was telling Lauren this story. It's funny. So I say, yo, Mike,

1010
00:54:37,969 --> 00:54:39,989
Speaker 1: I got a clash coming up. I'm going to need

1011
00:54:40,170 --> 00:54:42,170
Speaker 1: a dub play, but we can talk. Like we have

1012
00:54:42,310 --> 00:54:48,109
Speaker 1: conversations with musicians. And he says, what's the dub play, Clef? Yeah. Right.

1013
00:54:48,719 --> 00:54:51,440
Speaker 1: And I said, all right, Mike, a dub play, I'm

1014
00:54:51,460 --> 00:54:54,200
Speaker 1: going to have you sing your song, but you're going

1015
00:54:54,300 --> 00:55:00,610
Speaker 1: to murder, you're going to murder the other sound. And

1016
00:55:00,660 --> 00:55:04,980
Speaker 1: Michael says, all right, Clef. you know, I'm all about love.

1017
00:55:05,180 --> 00:55:06,560
Speaker 1: I don't murder nobody.

1018
00:55:06,660 --> 00:55:06,819
Speaker 2: Right?

1019
00:55:07,380 --> 00:55:09,660
Speaker 1: And I was like, nah, I'm like, I ain't saying

1020
00:55:09,700 --> 00:55:13,750
Speaker 1: like murder, murder. Not Ja Rule murder, murder. I said,

1021
00:55:14,090 --> 00:55:18,230
Speaker 1: you gonna like, it's like lyrical murder. So you just

1022
00:55:18,270 --> 00:55:19,910
Speaker 1: gonna like, you know what I'm saying? So I kept

1023
00:55:19,930 --> 00:55:23,170
Speaker 1: massaging it, massaging it. And he says, oh, okay. It's

1024
00:55:23,210 --> 00:55:25,970
Speaker 1: like a battle. Like a dance battle. I said, yeah,

1025
00:55:26,030 --> 00:55:29,410
Speaker 1: but now we're doing it musically. And yo, and Michael

1026
00:55:30,140 --> 00:55:34,310
Speaker 1: cut that freaking... dub play. What was it? What was it?

1027
00:55:35,160 --> 00:55:42,120
Speaker 1: Looking out in Jamaica, no one can touch Kingston city.

1028
00:55:43,030 --> 00:55:47,950
Speaker 1: The refugee sound will kill a sound bar. We gonna

1029
00:55:48,010 --> 00:55:52,030
Speaker 1: murder you, man. Listen, I couldn't even so many gunshots.

1030
00:55:52,050 --> 00:55:55,950
Speaker 1: So I couldn't even, yo, I couldn't even go with

1031
00:55:55,989 --> 00:55:58,660
Speaker 1: the dub once you start. And this is fully loaded. So,

1032
00:55:59,620 --> 00:56:03,339
Speaker 1: It was so crazy that the cops, the way that

1033
00:56:03,560 --> 00:56:08,060
Speaker 1: the machine, the machine guns, the way the machine guns

1034
00:56:08,080 --> 00:56:11,470
Speaker 1: would go. Yo, the way the machine guns, I couldn't

1035
00:56:11,510 --> 00:56:17,370
Speaker 1: even finish the dub. Crazy. And it's the police and

1036
00:56:17,430 --> 00:56:20,130
Speaker 1: I'm shooting in the air. So 21 Gun Salute, for real.

1037
00:56:20,210 --> 00:56:23,709
Speaker 1: Every battle, every battle, they wanted that dub plate. Like

1038
00:56:23,830 --> 00:56:25,049
Speaker 1: they was waiting for that, right?

1039
00:56:25,670 --> 00:56:25,910
Speaker 5: Yes.

1040
00:56:26,150 --> 00:56:28,250
Speaker 1: So the whole thing that, that, that year was me,

1041
00:56:28,310 --> 00:56:31,250
Speaker 1: DJ Khaled, you know, and I'm from the sound system.

1042
00:56:31,290 --> 00:56:35,029
Speaker 1: So like our DJ sound system style, Mighty Crown, the

1043
00:56:35,070 --> 00:56:39,080
Speaker 1: Japanese sound, Tony Maturon. So you got to understand Tony

1044
00:56:39,140 --> 00:56:41,620
Speaker 1: Maturon was the king of it all. You feel me?

1045
00:56:41,640 --> 00:56:43,640
Speaker 1: Like shout out to Tony Maturon. So it was, so

1046
00:56:43,840 --> 00:56:47,100
Speaker 1: this is still the most legendary clash at, at, at,

1047
00:56:47,219 --> 00:56:49,239
Speaker 1: at Fully Loaded. So it's all of us.

1048
00:56:49,320 --> 00:56:49,520
Speaker 2: Right.

1049
00:56:49,820 --> 00:56:53,120
Speaker 1: And you got to think like Khaled, everybody. And, and

1050
00:56:53,160 --> 00:56:56,120
Speaker 1: at the end of the day, So the war was

1051
00:56:56,140 --> 00:56:58,259
Speaker 1: going to be between me and Tony Maturana that year.

1052
00:56:58,540 --> 00:57:01,200
Speaker 1: Cause he's like the man. So the way that Maturana

1053
00:57:01,219 --> 00:57:04,239
Speaker 1: gets you is like, he literally will call out your

1054
00:57:04,320 --> 00:57:06,580
Speaker 1: box before you even play it. He'd be like, ah,

1055
00:57:06,600 --> 00:57:08,080
Speaker 1: the boy is going to come up here and play

1056
00:57:08,120 --> 00:57:11,600
Speaker 1: all these Grammy dub plates. Y'all, you're in dangerous territory,

1057
00:57:11,640 --> 00:57:13,460
Speaker 1: you know. So he already set you up. So in

1058
00:57:13,500 --> 00:57:17,020
Speaker 1: the clash, and then I learned from Tony Maturana. So

1059
00:57:17,040 --> 00:57:27,010
Speaker 1: the thing is, what the way they underestimated me, they

1060
00:57:27,030 --> 00:57:29,810
Speaker 1: didn't know I had already all the locals. So I

1061
00:57:29,850 --> 00:57:31,990
Speaker 1: made sure that I voiced the locals. I ain't played

1062
00:57:32,010 --> 00:57:34,690
Speaker 1: no Michael, none of that. I played all of them.

1063
00:57:34,710 --> 00:57:37,600
Speaker 1: I had the baby Sham when Sham was just killing it.

1064
00:57:37,630 --> 00:57:40,250
Speaker 1: So they thought, so I threw them off. It's like

1065
00:57:40,310 --> 00:57:42,490
Speaker 1: a chess game, what they thought I was coming with. Yo,

1066
00:57:42,530 --> 00:57:45,450
Speaker 1: that Michael and all of that, that's like the hand grenades.

1067
00:57:45,490 --> 00:57:53,140
Speaker 1: You save those for when you like. Exactly. Giant straights. Yo, straight.

1068
00:57:53,280 --> 00:58:10,350
Speaker 3: Man, that's crazy, man. And so we never said the

1069
00:58:10,410 --> 00:58:12,209
Speaker 3: Fuji lot. They made it for me.

1070
00:58:12,310 --> 00:58:14,450
Speaker 1: No, no, no. Fuji lot. Just so we get the

1071
00:58:14,470 --> 00:58:20,070
Speaker 1: story straight. So we go to Salam and now Nappy

1072
00:58:20,090 --> 00:58:22,990
Speaker 1: has his killing it. And when Nappy has his killing it,

1073
00:58:23,350 --> 00:58:25,990
Speaker 1: you know, I go to Salam and I'm like, yo,

1074
00:58:26,030 --> 00:58:29,320
Speaker 1: listen to this. Now it's like, ready or not, I'm

1075
00:58:29,380 --> 00:58:32,720
Speaker 1: cooking from the basement. Wanda, we cooking. Lon, we cooking.

1076
00:58:32,760 --> 00:58:34,120
Speaker 1: I'm like, yo, listen to this. Tell me if I

1077
00:58:34,140 --> 00:58:36,600
Speaker 1: got a change in me. He's like, nah, this is amazing.

1078
00:58:36,620 --> 00:58:40,320
Speaker 1: But he's like, yo, I got this beat. I need

1079
00:58:40,340 --> 00:58:44,990
Speaker 1: y'all to hear this beat. And we go there and

1080
00:58:45,630 --> 00:58:47,610
Speaker 1: I'm hearing the beat and the beat come on like

1081
00:58:47,830 --> 00:58:49,350
Speaker 1: big boy beat. The beat go.

1082
00:58:58,080 --> 00:58:58,320
Speaker 3: Right.

1083
00:58:58,900 --> 00:59:03,570
Speaker 1: And then he goes, yo, this beat is for Fat Joe.

1084
00:59:04,210 --> 00:59:04,470
Speaker 2: Right.

1085
00:59:04,990 --> 00:59:07,830
Speaker 1: And you got to understand the Fat Joe you see

1086
00:59:07,910 --> 00:59:12,230
Speaker 1: now and the other Fat Joe is two different Fat Joes.

1087
00:59:12,930 --> 00:59:15,840
Speaker 1: It's like the dude telling me the beat is for

1088
00:59:15,990 --> 00:59:18,780
Speaker 1: Al Capone. You know what I'm saying to you? And

1089
00:59:18,820 --> 00:59:20,580
Speaker 1: that era, you feel what I'm saying to you? So

1090
00:59:20,660 --> 00:59:25,300
Speaker 1: now I'm like, yo, crazy Haitians. Like, nah, we good, man.

1091
00:59:25,340 --> 00:59:28,780
Speaker 1: Just let us try something on the beat, right? So

1092
00:59:29,240 --> 00:59:31,590
Speaker 1: Salaam starts to play the beat and I go in there.

1093
00:59:31,830 --> 00:59:33,370
Speaker 3: We used to be number 10.

1094
00:59:33,370 --> 00:59:36,950
Speaker 1: Now we permanent one. Boom, Lauren, la, la, la, and

1095
00:59:37,010 --> 00:59:42,310
Speaker 1: does the hook. So the Fuji La beat, that original

1096
00:59:42,430 --> 00:59:47,750
Speaker 1: beat that you hear was straight up a Joey crack

1097
00:59:48,390 --> 00:59:52,660
Speaker 1: beat that the Fugees literally hijacked.

1098
00:59:53,140 --> 00:59:57,640
Speaker 3: So let me tell you, there you go, right? Let

1099
00:59:57,680 --> 01:00:04,270
Speaker 3: me tell you something. The man say, Salon Remy was like, yo,

1100
01:00:04,290 --> 01:00:05,190
Speaker 3: we got a problem.

1101
01:00:05,270 --> 01:00:05,670
Speaker 1: I said, what?

1102
01:00:05,690 --> 01:00:09,110
Speaker 3: Because what you don't know is I went to his

1103
01:00:09,190 --> 01:00:11,410
Speaker 3: apartment and he had a man that sat on the

1104
01:00:11,550 --> 01:00:14,990
Speaker 3: floor with him while he made it. And he made

1105
01:00:15,050 --> 01:00:17,840
Speaker 3: that beat like according to the drums to Flo-Jo.

1106
01:00:18,100 --> 01:00:18,320
Speaker 1: Yeah.

1107
01:00:18,360 --> 01:00:20,590
Speaker 3: So he was like, you want to bust it, check it.

1108
01:00:20,640 --> 01:00:22,340
Speaker 3: That's how he did the drums to that.

1109
01:00:22,440 --> 01:00:22,780
Speaker 1: Yeah.

1110
01:00:23,420 --> 01:00:25,479
Speaker 3: And then he called me and he was like, yo, man,

1111
01:00:26,910 --> 01:00:29,730
Speaker 3: Lauryn Hill ain't giving it up. She said, that's her

1112
01:00:29,810 --> 01:00:34,190
Speaker 3: beat now. I said, Lauryn Hill? He said, Lauryn Hill said,

1113
01:00:34,290 --> 01:00:39,040
Speaker 3: that's her beat. You ever get gangsta'd out by Lauryn Hill?

1114
01:00:39,100 --> 01:00:42,100
Speaker 3: I just said, y'all, y'all, let her have the beat.

1115
01:00:42,880 --> 01:00:45,200
Speaker 3: I don't want no drama, but I would've never did

1116
01:00:45,240 --> 01:00:49,950
Speaker 3: what y'all, y'all immortalized that beat. Like, y'all, like, every

1117
01:00:49,990 --> 01:00:52,690
Speaker 3: time I say this story, I say it to myself,

1118
01:00:52,730 --> 01:00:57,100
Speaker 3: that's one of them. And then, um, Like, Biggie hypnotized.

1119
01:00:57,140 --> 01:01:00,460
Speaker 3: I was in the studio with him. So, like, whenever

1120
01:01:00,520 --> 01:01:03,200
Speaker 3: I hear Biggie hypnotize, I don't give a fuck. I

1121
01:01:03,220 --> 01:01:05,040
Speaker 3: could be in Morocco.

1122
01:01:05,580 --> 01:01:08,100
Speaker 1: The moon, any club.

1123
01:01:08,240 --> 01:01:09,920
Speaker 3: Anytime that shit come on, I be like, yo, you

1124
01:01:09,980 --> 01:01:13,290
Speaker 3: know I was there when Biggie made this shit right here. Like, yo,

1125
01:01:13,390 --> 01:01:17,290
Speaker 3: it's like those two songs give me that same reaction.

1126
01:01:17,310 --> 01:01:19,350
Speaker 1: Was you there when he made it or was you

1127
01:01:19,390 --> 01:01:21,090
Speaker 1: there when he played it? I was there when he

1128
01:01:21,110 --> 01:01:25,930
Speaker 1: made it. Because they played this, that beat first. And

1129
01:01:25,990 --> 01:01:29,550
Speaker 1: then said, you can't have it. What? No, no, I

1130
01:01:29,570 --> 01:01:31,970
Speaker 1: was there when he was writing to that. I'm talking

1131
01:01:32,050 --> 01:01:35,790
Speaker 1: about when they brought the sack of beans to the studio.

1132
01:01:36,870 --> 01:01:38,930
Speaker 4: They let us hear it, got mad gas.

1133
01:01:38,970 --> 01:01:41,710
Speaker 1: He said, this is for beer. Why the fuck you

1134
01:01:41,730 --> 01:01:42,400
Speaker 1: let us hear it?

1135
01:01:42,490 --> 01:01:45,840
Speaker 3: No, I'm in the studio. I'm in the studio with him.

1136
01:01:47,440 --> 01:01:50,980
Speaker 3: And he writing to it. Know what I'm saying?

1137
01:01:51,020 --> 01:01:51,320
Speaker 1: So he.

1138
01:01:53,830 --> 01:01:56,189
Speaker 3: He was writing it to it, too.

1139
01:01:56,230 --> 01:01:57,070
Speaker 4: Yeah, yeah.

1140
01:01:57,190 --> 01:01:59,560
Speaker 1: After they gave it to him, he had to write it.

1141
01:02:00,020 --> 01:02:02,460
Speaker 1: I'm saying I heard it before he heard it.

1142
01:02:03,360 --> 01:02:07,240
Speaker 3: That's crazy. Now, we got a couple of beats like that.

1143
01:02:07,360 --> 01:02:10,590
Speaker 3: You know what I'm saying? I said, we got a track.

1144
01:02:10,950 --> 01:02:14,320
Speaker 1: I think they let us hear it. To make sure

1145
01:02:14,360 --> 01:02:15,900
Speaker 1: it was it. To make sure it was one of

1146
01:02:15,980 --> 01:02:20,220
Speaker 1: them shits. They wanted... I hated that, though. I hate you.

1147
01:02:20,260 --> 01:02:23,410
Speaker 1: You hated that. I hate us. You hated that. I

1148
01:02:23,410 --> 01:02:24,790
Speaker 1: hated that. I know I took your beat, but I

1149
01:02:24,790 --> 01:02:27,690
Speaker 1: still hate that. No, no. No, no, no, no. That

1150
01:02:27,730 --> 01:02:30,510
Speaker 1: was cool. You could take my beat. You did it

1151
01:02:30,570 --> 01:02:33,530
Speaker 1: with consent. Right?

1152
01:02:33,990 --> 01:02:37,730
Speaker 3: I'm... I was with Scott Storch when we made Candy Shop.

1153
01:02:37,810 --> 01:02:40,840
Speaker 3: I gave it the 50 cent. I'm not a hater

1154
01:02:40,880 --> 01:02:44,600
Speaker 3: type of guy. What I hated was, if you remember

1155
01:02:44,780 --> 01:02:48,760
Speaker 3: back in the day, you would have a session, you

1156
01:02:48,800 --> 01:02:51,640
Speaker 3: start a new album, you would have a session, and

1157
01:02:51,680 --> 01:02:56,520
Speaker 3: the greatest producers ever, if it's Alchemist, if it's any

1158
01:02:56,660 --> 01:02:58,720
Speaker 3: one of them, what's my man who do all the

1159
01:02:58,760 --> 01:03:02,890
Speaker 3: beats for... Madden Ref, Rock Wilder.

1160
01:03:03,090 --> 01:03:03,350
Speaker 2: Yeah.

1161
01:03:03,430 --> 01:03:09,270
Speaker 1: They all online. Premier. Not Premier wasn't online. Premier was tailor-made.

1162
01:03:09,390 --> 01:03:11,890
Speaker 1: Premier was like, if we made one for you, you

1163
01:03:11,930 --> 01:03:12,720
Speaker 1: got that one.

1164
01:03:12,760 --> 01:03:13,110
Speaker 2: Yeah.

1165
01:03:13,740 --> 01:03:16,140
Speaker 3: They would play me beats and it'd be like, oh,

1166
01:03:16,200 --> 01:03:22,400
Speaker 3: I can't play that. That's Jay-Z's beat tape. Yo, that's Nas'

1167
01:03:22,480 --> 01:03:24,400
Speaker 3: beat tape. And you'd be like, yo, what the fuck

1168
01:03:24,440 --> 01:03:25,220
Speaker 3: you playing me?

1169
01:03:25,260 --> 01:03:28,950
Speaker 1: The beat? The B-grade beats? Checking your temperature.

1170
01:03:28,970 --> 01:03:33,050
Speaker 3: Yeah, whenever they had the super hot shit, they would

1171
01:03:33,070 --> 01:03:34,970
Speaker 3: never play me the super hot shit.

1172
01:03:35,950 --> 01:03:36,230
Speaker 2: Ever.

1173
01:03:36,250 --> 01:03:40,150
Speaker 3: They'd just be like, yo, got this to Jay- Beyonce's

1174
01:03:40,210 --> 01:03:41,210
Speaker 3: working on a new album.

1175
01:03:41,250 --> 01:03:43,090
Speaker 1: Like, they would not go in that.

1176
01:03:43,830 --> 01:03:45,490
Speaker 3: All of them was guilty of that shit.

1177
01:03:45,510 --> 01:03:46,730
Speaker 1: And I used to be sitting.

1178
01:03:46,470 --> 01:03:50,510
Speaker 3: There, I'd be like, and you know when I finally got, like, like,

1179
01:03:51,000 --> 01:03:53,400
Speaker 3: beats that were, like, automatic hits?

1180
01:03:53,680 --> 01:03:53,840
Speaker 1: Mm-hmm.

1181
01:03:54,100 --> 01:03:56,050
Speaker 3: I said, man, this is the shit they've been doing.

1182
01:03:56,260 --> 01:03:59,790
Speaker 3: They've been giving motherfuckers automatics. All you got to do

1183
01:03:59,850 --> 01:04:01,810
Speaker 3: is spit. When I heard What's Love, I knew it

1184
01:04:01,850 --> 01:04:05,850
Speaker 3: was a hit. I was like, before the verses, I

1185
01:04:05,870 --> 01:04:09,510
Speaker 3: was like, oh, no, this is smash. And, you know,

1186
01:04:09,590 --> 01:04:14,669
Speaker 3: some motherfuckers was delivering smashes. Like, you deliver, oh, my

1187
01:04:14,690 --> 01:04:19,160
Speaker 3: hips don't lie. That shit was just, she's like, Jesus Christ.

1188
01:04:19,240 --> 01:04:21,540
Speaker 1: Like, it's a smash. Vibes.

1189
01:04:21,620 --> 01:04:21,980
Speaker 8: Vibes.

1190
01:04:24,820 --> 01:04:33,920
Speaker 1: Shout out to Shakira, Shakira. What a publisher.

1191
01:04:36,060 --> 01:04:39,240
Speaker 3: You know, Jenny, he better own like seven McDonald's or

1192
01:04:39,260 --> 01:04:42,040
Speaker 3: some shit. I told him, I was like, yo, where

1193
01:04:42,080 --> 01:04:44,300
Speaker 3: you been? He said, y'all got mad McDonald's.

1194
01:04:44,300 --> 01:04:44,520
Speaker 2: 1800.

1195
01:04:44,520 --> 01:04:45,780
Speaker 1: One Leaf Series.

1196
01:04:53,370 --> 01:04:55,230
Speaker 3: We got a joint. What's the name of the joint

1197
01:04:55,250 --> 01:04:57,410
Speaker 3: right here? I think, so this joint right here, we're

1198
01:04:57,430 --> 01:05:00,230
Speaker 3: going to play is Mr. October featuring my little brother,

1199
01:05:00,310 --> 01:05:00,850
Speaker 3: G Herbo.

1200
01:05:01,310 --> 01:05:04,689
Speaker 1: Oh, I love that. Yeah, Chicago meet Haiti. Brain is ill.

1201
01:05:04,730 --> 01:05:09,330
Speaker 1: The way you be combining some incredible shit. 1800. Brand

1202
01:05:09,390 --> 01:05:09,970
Speaker 1: new controls.

1203
01:05:09,990 --> 01:05:10,590
Speaker 2: Smoker.

1204
01:05:39,500 --> 01:05:42,160
Speaker 1: You speak English, right? That's common sense. Me, I had

1205
01:05:42,200 --> 01:05:45,160
Speaker 1: to learn how to speak English for self-defense. Going through

1206
01:05:45,180 --> 01:05:47,800
Speaker 1: them projects, your boy learned the battle rap. The more

1207
01:05:47,820 --> 01:05:50,360
Speaker 1: my punch connected, the less I had to scrap. And

1208
01:05:50,380 --> 01:05:53,680
Speaker 1: that's real rap. I don't talk to connect lines. I

1209
01:05:53,720 --> 01:05:56,680
Speaker 1: really try to be the president. I face the gun line.

1210
01:05:56,720 --> 01:05:59,400
Speaker 1: Two different mindsets. When you was in a gang, I

1211
01:05:59,420 --> 01:06:03,830
Speaker 1: was trying to build a paramilitary out in Port-au-Prince. Now listen,

1212
01:06:04,110 --> 01:06:07,170
Speaker 1: I got a new acquisition. You could go from drug

1213
01:06:07,210 --> 01:06:11,710
Speaker 1: dealing to a corporation. From cooking in the kitchen, boardroom meetings,

1214
01:06:11,730 --> 01:06:15,610
Speaker 1: quarter breaks to quarter reports and rotation. See, I flipped

1215
01:06:15,630 --> 01:06:19,310
Speaker 1: the hustle to world domination. Why sit in a cell

1216
01:06:19,350 --> 01:06:21,700
Speaker 1: when you can sail the ocean? It feel like Fresh

1217
01:06:21,800 --> 01:06:25,780
Speaker 1: Prince with a butler from England. 1996 Bordeaux, see the

1218
01:06:25,840 --> 01:06:29,780
Speaker 1: glass glisten. I'm writing through the mirror, Candyman, Coke, and meth.

1219
01:06:29,820 --> 01:06:33,320
Speaker 1: Shakespearean pen, I knew her fee named McBeth. She giving

1220
01:06:33,620 --> 01:06:36,760
Speaker 1: T-Beth that's head under the project steps. So much potential,

1221
01:06:36,940 --> 01:06:40,460
Speaker 1: but now just to use utensil. Daytona cover, her brother

1222
01:06:40,500 --> 01:06:43,540
Speaker 1: found the needle in her. Suicidal, no time to call

1223
01:06:43,580 --> 01:06:48,040
Speaker 1: her 800 number. A drug dealer, homie turn robber. Reaganomics,

1224
01:06:48,060 --> 01:06:53,880
Speaker 1: started stealing the dope from Noriega. envision a new acquisition

1225
01:06:53,950 --> 01:06:57,320
Speaker 1: you could go from drug dealing to a corporation cooking

1226
01:06:57,380 --> 01:07:00,720
Speaker 1: in the kitchen to a board meeting flip the hustle

1227
01:07:00,740 --> 01:07:04,360
Speaker 1: that was world domination 200k a week i used to

1228
01:07:04,400 --> 01:07:07,780
Speaker 1: spend on jacob 200k a week and now i'm buying

1229
01:07:07,860 --> 01:07:12,860
Speaker 1: acres reggie jackson mr october once i read the liners

1230
01:07:12,880 --> 01:07:14,380
Speaker 1: i'm taking.

1231
01:07:14,020 --> 01:07:17,570
Speaker 8: Over Wrist taker, still on the quest for the paper.

1232
01:07:17,810 --> 01:07:21,710
Speaker 8: A-figure checks, anything less is a caper. I've been oppressed,

1233
01:07:21,770 --> 01:07:22,670
Speaker 8: now I'm back.

1234
01:07:22,490 --> 01:07:23,660
Speaker 1: For my forty-eighths.

1235
01:07:23,720 --> 01:07:26,580
Speaker 8: Feel disrespect, clip it to your chest, get a taper.

1236
01:07:26,840 --> 01:07:30,540
Speaker 8: I've been neglected, hated, my parents separated. Put to the test,

1237
01:07:30,600 --> 01:07:32,890
Speaker 8: I sold crack, but still blessed I made it. The

1238
01:07:32,930 --> 01:07:35,970
Speaker 8: crib stress pops came back, he changed that. A generation

1239
01:07:36,010 --> 01:07:38,030
Speaker 8: full of kids that got whacked, I blame rap.

1240
01:07:38,070 --> 01:07:41,070
Speaker 1: I do vacations to relax, remember days I played the trap.

1241
01:07:41,170 --> 01:07:43,270
Speaker 8: On road trips, I ride the back of the Maybach

1242
01:07:43,310 --> 01:07:44,030
Speaker 8: to take a nap.

1243
01:07:44,070 --> 01:07:47,030
Speaker 1: The Rari top is missing. Before I hit the top spot,

1244
01:07:47,140 --> 01:07:48,300
Speaker 1: I played my position.

1245
01:07:48,540 --> 01:07:51,320
Speaker 8: Got no experience, but lecture me like I should listen.

1246
01:07:51,600 --> 01:07:55,040
Speaker 8: I hit the streets with opportunities and propositions. Drop them

1247
01:07:55,080 --> 01:07:58,420
Speaker 8: switches and go start a business. Accountability go hand in

1248
01:07:58,440 --> 01:08:01,740
Speaker 8: hand with my decisions. Defeated all in competition with no

1249
01:08:01,760 --> 01:08:02,620
Speaker 8: pot to piss in.

1250
01:08:02,790 --> 01:08:03,189
Speaker 2: It's me.

1251
01:08:03,570 --> 01:08:07,450
Speaker 1: Envision a new acquisition. You could go from drug dealing

1252
01:08:07,470 --> 01:08:11,550
Speaker 1: to a corporation. Cooking in the kitchen to a board meeting.

1253
01:08:11,930 --> 01:08:15,919
Speaker 1: Flip the hustle. Now it's world domination. 200K a week.

1254
01:08:15,960 --> 01:08:19,380
Speaker 1: I used to spend on J-Cup. 200k a week.

1255
01:08:19,400 --> 01:08:20,400
Speaker 2: Fire Acres.

1256
01:08:20,960 --> 01:08:21,880
Speaker 1: Reggie Jackson.

1257
01:08:22,240 --> 01:08:22,559
Speaker 2: Mr.

1258
01:08:22,640 --> 01:08:26,970
Speaker 1: October. Once I read the liners, I'm taking over. I

1259
01:08:26,990 --> 01:08:30,310
Speaker 1: know it's hard to freestyle without the teleprompter. But your

1260
01:08:30,350 --> 01:08:35,769
Speaker 1: boy improvise like he Charlie Parker. Firestarter number 23 under pressure.

1261
01:08:36,560 --> 01:08:39,960
Speaker 1: I show up in the fourth quarter. That vibration that

1262
01:08:40,000 --> 01:08:42,260
Speaker 1: you hear from my tune. That's the pain when the

1263
01:08:42,360 --> 01:08:46,160
Speaker 1: king is made from a broken throne Think of a

1264
01:08:46,240 --> 01:08:49,770
Speaker 1: GZ symphony It could go from perfect harmony to drums

1265
01:08:49,820 --> 01:08:52,650
Speaker 1: of agony But these days I read from the book

1266
01:08:52,729 --> 01:08:55,510
Speaker 1: of Timothy Put money on your books and I'm pushing

1267
01:08:55,550 --> 01:09:00,740
Speaker 1: for the clemency Yeah, envision a new acquisition Success the

1268
01:09:00,820 --> 01:09:06,910
Speaker 1: best vengeance for the opposition. Cooking in the kitchen, boardroom meetings. Flippin'

1269
01:09:06,950 --> 01:09:11,650
Speaker 1: the hustle, world domination 10 M's on your boy's wrist

1270
01:09:11,870 --> 01:09:16,400
Speaker 1: But now I reinvest and multiply the risk 100K to 10X,

1271
01:09:16,560 --> 01:09:20,180
Speaker 1: coin-based wallet Real estate out in space, that's my next

1272
01:09:20,260 --> 01:09:24,219
Speaker 1: purchase Real estate out in space.

1273
01:09:24,420 --> 01:09:32,180
Speaker 3: Nigga That shit crazy right there That shit crazy Weirdo.

1274
01:09:35,720 --> 01:09:45,150
Speaker 1: Soul Food. Yeah, that's that shit. That's that shit. That

1275
01:09:45,189 --> 01:09:46,370
Speaker 1: shit incredible, Clef.

1276
01:09:46,830 --> 01:09:47,510
Speaker 5: What's up, man?

1277
01:09:48,030 --> 01:09:51,290
Speaker 1: That's incredible. What's that on? What's the name of the

1278
01:09:51,970 --> 01:09:55,640
Speaker 1: shit where they can get it? Yeah, this is Missed October. Remember,

1279
01:09:55,650 --> 01:09:58,920
Speaker 1: there's seven leaps coming. That's the first one. That's from

1280
01:09:58,979 --> 01:10:01,140
Speaker 1: Clef Notes. We got the jazz one out, too. That's

1281
01:10:01,180 --> 01:10:04,439
Speaker 1: called Q Theory. Next one is the reggae one. One

1282
01:10:04,479 --> 01:10:08,120
Speaker 1: Night in Kingston. So we having fun, man. You see

1283
01:10:08,160 --> 01:10:10,889
Speaker 1: what I'm saying? OG, I got you, man. On them beats, man.

1284
01:10:11,030 --> 01:10:13,110
Speaker 1: I got you. Filming that one, I got you. That

1285
01:10:13,150 --> 01:10:16,550
Speaker 1: shit right there. Two second beat, you know. Beautiful. I

1286
01:10:16,630 --> 01:10:18,030
Speaker 1: know the vibes. I know your energy, man.

1287
01:10:18,130 --> 01:10:21,490
Speaker 6: It's about that time for me to get in there.

1288
01:10:21,520 --> 01:10:25,400
Speaker 1: I got a lot of things to say. You heard

1289
01:10:25,460 --> 01:10:29,500
Speaker 1: it first. This ain't that. That ain't this. It's crack

1290
01:10:29,520 --> 01:10:32,430
Speaker 1: and kiss, God damn it. Make some noise for the big,

1291
01:10:32,810 --> 01:10:36,750
Speaker 1: the greatest. Carnival, you know. Carnival.