Speaker 1: Watch up and welcome back to another episode of No
Speaker 1: Sealer's podcast with your hosts Now fuck That with your
Speaker 1: loaw glasses Malone.
Speaker 2: Well, I didn't know why he wanted to bring us
Speaker 2: back for that because I figured he had something that
Speaker 2: he wanted.
Speaker 3: He just did a great song for us to just
Speaker 3: because Mexican's and hip hop.
Speaker 1: For sure, especially Mexican jay Z fans of hip hop.
Speaker 2: It's dope, though. You made it sound.
Speaker 1: Good, right, No, No, it don't sound good. It doesn't
Speaker 1: sound d It sounds like a pop song. It's cool though,
Speaker 1: but at pop songs, it gotta be leaning like a trollo.
Speaker 2: Good. Well, trying to get to that point, but is that.
Speaker 3: Really trying to get to that point?
Speaker 2: I wouldn't. I wouldn't make it lean like a I
Speaker 2: mean obviously I wouldn't do it the way he did it,
Speaker 2: but I would.
Speaker 1: Find it the way he did it.
Speaker 2: Yeah, I couldn't do it the way he did it.
Speaker 1: Just not that specific like that thing. That's that. That's listen.
Speaker 1: This is the this is the hardest problem. This is
Speaker 1: what Yes, they is same ship. This is the hardest
Speaker 1: thing for Mexicans and hip hop. Right as far as
Speaker 1: the art goes right? Is right? Is you either gotta
Speaker 1: be Mexican or you gotta lean pop? Right, So you
Speaker 1: gotta go what is pop?
Speaker 3: Because he's been having this conversations.
Speaker 1: This is for Theaza, right, is like a Mexican hip
Speaker 1: hop song, or you gotta go lean like a troll o.
Speaker 1: Summer Nice is in the middle, Summer Nights is kind
Speaker 1: of poppy. Fingers did it any of the stuff Fingers did?
Speaker 1: It's pretty poppy.
Speaker 2: That ship was not poppy. That was very cultural. That
Speaker 2: was a very cultural song. We've talked about that because
Speaker 2: of the things he talked about.
Speaker 1: But that's not what makes music music, you know what
Speaker 1: I mean? Like I mean, it could be I'm not
Speaker 1: mad at it. I think you know what I feel
Speaker 1: about Rod Rob is my guy. Is the greatest Mexican.
Speaker 1: I would say more kind of rapper in the history
Speaker 1: of Chicondo rap.
Speaker 2: But I would say, like someone, I would say, I
Speaker 2: would put bash more on the pop side. That's not
Speaker 2: talking shit, but I would put his music okay.
Speaker 1: So but even then, right, songs like Cyclone, yes, but
Speaker 1: not songs like Sugar Sugar.
Speaker 2: So where would you Okay? So that's my question. So
Speaker 2: where would you put Sugar Sugar.
Speaker 1: That's the cornerstone that chacondo hip hop like like NB Riders,
Speaker 1: that's the cornerstone, like those songs about girls. For some reason,
Speaker 1: Mexican people are regarded as super romantic, and I just
Speaker 1: know that that's not true Latin lovers.
Speaker 2: Wait, Mexicans are not super romantic lovers.
Speaker 1: Like that's kind of the regard of it. So when
Speaker 1: y'all like so as a Mexican artist, when you make
Speaker 1: all of the songs about like your girl, people would
Speaker 1: think that y'all treat the women the best. And it's like,
Speaker 1: if you really know, like it's no nonsense and that
Speaker 1: how ain't nobody I.
Speaker 2: Don't think that's That's not what I get what you're saying,
Speaker 2: that's the perception. I think. I think knowing the truth
Speaker 2: what it is about most even Latin men, but I
Speaker 2: won't even.
Speaker 1: Say that man around.
Speaker 2: But definitely definitely Mexican men like is that when we're
Speaker 2: with it chick, if we're messing with her, we're gonna
Speaker 2: treat her like she's our woman, even if she's not.
Speaker 2: Like that's that's pretty much where that comes from.
Speaker 1: Really.
Speaker 2: Yeah, Now you have these new age dudes that talk
Speaker 2: about the skunk guys and the ratchets and they got
Speaker 2: and they take call women bitches and all that. But
Speaker 2: that's why them records ain't work.
Speaker 3: It's kind of hard because as a watermel man, are.
Speaker 1: Are you ever dated a watermelon sister?
Speaker 2: His wife is Mexican, You've been with her twenty six years?
Speaker 3: Water and men are known as cheaters. That's our reputations.
Speaker 2: Central American man, yes.
Speaker 1: Or we're cheaters. Really, we're really.
Speaker 2: Agree But they say that about Central too, So I
Speaker 2: don't know if that's true.
Speaker 1: I think that's about American completely, maybe not Canadians.
Speaker 2: Canadians.
Speaker 1: I don't know what Canadians are, but I'm telling you,
Speaker 1: Mexican men have the same reputation men in America. All
Speaker 1: of us had the same reputation for sure, watermelon for sure, Salvadorians.
Speaker 2: So then why does why do the records work when
Speaker 2: they are romantic? Then because there is a perception of
Speaker 2: it that we are that way though.
Speaker 1: Because I think women digest the belief of love like
Speaker 1: love novels like no velis do little good.
Speaker 2: So how we haven't heard that in a while though,
Speaker 2: Like who's came out with that? Like think about it like,
Speaker 2: remember at one time we had Brown Boy, I could
Speaker 2: be your Superman. You know we have those records. You know,
Speaker 2: for a long time, people didn't know Bash was talking
Speaker 2: about smoking bud. You know. They thought Sugar Sugar was
Speaker 2: about a chick.
Speaker 1: Yeah, I didn't know right now. You fucked me off
Speaker 1: with that.
Speaker 2: Yeah, I know that when it said, you know, it's
Speaker 2: nothing when we roll with Green and raw Hide doing
Speaker 2: what we do.
Speaker 1: I thought he was smoking weed with a girl.
Speaker 2: Maybe he wasn't.
Speaker 1: I don't know that makes sense. Sugar Sugar, How you
Speaker 1: get so flying sugar?
Speaker 2: To me? I thought the whole song was about weed because.
Speaker 1: You got lifted. Wow. Yeah, have to re examine that.
Speaker 2: That's why. That's why I like he always got along
Speaker 2: with probably like all the weed smokers and ships.
Speaker 1: But you know that, I just know that the song
Speaker 1: was about smoking.
Speaker 2: We would have to we have to call it. Call Bash,
Speaker 2: get him on the phone.
Speaker 1: Hold on, let me ask. It's a great question.
Speaker 2: If I'm right or wrong. I thought the record was
Speaker 2: about him smoking weed the whole time, and just how
Speaker 2: much in love he was with weed.
Speaker 1: I don't know. We feel unlike one of the things
Speaker 1: of the world. This is crazy. Hold on, pick up Bass.
Speaker 1: I just talked to Bass too. Pick up. He in Texas,
Speaker 1: so it's what eleven o'clock. He might just be watching
Speaker 1: a fight, so he might be there. It's two hours
Speaker 1: in Texas. See what's going.
Speaker 2: He's not buy it, so he's smoking that.
Speaker 1: No he watching has been forwarded to voicemail.
Speaker 3: The person you're trying to reach is not available at
Speaker 3: the tone.
Speaker 2: Please record your message. When you have finished recording, you
Speaker 2: may hang off.
Speaker 1: Bash. What up? Cut his glasses? Look, my homeboy was
Speaker 1: making accusations that Sugar Sugar is about smoking weed, not
Speaker 1: about a girl. I need you to clarify that for me.
Speaker 1: Call me.
Speaker 2: If he comes back, fucking bash. But yeah, but anyway
Speaker 2: back to that, Like to me, I thought his record
Speaker 2: that was a pop record because you're talking about smoking weed.
Speaker 3: When you say pop, why do you pop? You lure
Speaker 3: or pop genre? Pop genre?
Speaker 2: Pop jo? It's the same, isn't it the same? Ship?
Speaker 2: Or is it?
Speaker 1: Like like Gin and Juice is a popular record, but
Speaker 1: it wasn't a pop record.
Speaker 2: Right, So it's so Sugar Sugar is not a pop record.
Speaker 2: It's just a popular record.
Speaker 1: I would have to think about a little bit more,
Speaker 1: especially if it's about weed. No, it's not a pop
Speaker 1: record if it's about weed, for sure. If it was
Speaker 1: a girl record, we have to re examine if it's
Speaker 1: about weed. And he didn't fool me all this time,
Speaker 1: like you know, then, Nigga, that is pretty impressive hip
Speaker 1: hop record. That's an impressive hip hop record at that point.
Speaker 2: So what was one of his Okay, shorty do was
Speaker 2: that a pop record? That's my show the dude, let's
Speaker 2: bash your second single? So that probably was a probably
Speaker 2: ship was on the radio.
Speaker 1: No sellings, gl my Nigga jazz O? What up? Kay?
Speaker 1: What's up? Brother trash? Once again? Anthony Naudio.
Speaker 3: Mexicans and hip hop?
Speaker 1: So tell me, so what did you want to talk about?
Speaker 1: What was on your mind?
Speaker 2: No, you wanted to talk no means.
Speaker 1: Hit me and was saying he needed to be on
Speaker 1: a discussion because of it, and I didn't know quite
Speaker 1: know why, and he was like, well there was some
Speaker 1: points brought to you, so that's why I was asking
Speaker 1: you on the point.
Speaker 2: I mean, he just called me that day and was like, yeah,
Speaker 2: we're gonna come up there and do this, and I'm like, well, shit,
Speaker 2: I'm not going to be able to go up there
Speaker 2: because I'm not available. No, I don't even think. I
Speaker 2: was just doing some other stuff and uh, it never happened.
Speaker 2: It never happened to like, you know, make it, make
Speaker 2: it here. So I don't know what he wanted to
Speaker 2: talk about. I think I think what he he wanted
Speaker 2: to do was implement his conversation because he basically had
Speaker 2: told me that he had been in cut A Hay
Speaker 2: for X amount of years, and I was like, oh, man,
Speaker 2: I didn't know that. You know what I mean. He
Speaker 2: was telling me that before it was all Mexican that
Speaker 2: because I was like, well, most of those areas were
Speaker 2: all white, and he was like, no, well bothfore, Well
Speaker 2: that's that's what I always stopped. Well, according to him,
Speaker 2: before the Mexicans, it was all black before before something
Speaker 2: to that, except so before before cut of.
Speaker 3: Hay is Southgate, Yeah, Alameda period, the lines from.
Speaker 1: Black to Mexican to white. First.
Speaker 3: At first, Southgate had the spook Hunters, which was the
Speaker 3: KKK of Southgate to keep all blacks from crossing Alameda.
Speaker 3: When I grew up in Southgate in the eighties, majority
Speaker 3: of my neighbors were older white people. To get off
Speaker 3: my grass white people, you know what I'm saying, And
Speaker 3: it changed over the years.
Speaker 1: To Hispanics, especially not cutting hair. Like even when all
Speaker 1: of the black people, all my older homies used to
Speaker 1: go shopping for school in the seventies and eighties, when
Speaker 1: they used to go shopping, they used to go to HP.
Speaker 1: Across Alameda has always been not black. I don't even
Speaker 1: think nothing is black across Alameda until you get to Lynwood,
Speaker 1: and lind Wood is some.
Speaker 2: Shit, right, So I mean, and that's I think why
Speaker 2: he wanted to be here, because he probably wants to
Speaker 2: defend that. I'm assuming because he was basically what he
Speaker 2: was justifying to me from what I was gathering. What
Speaker 2: he was telling me was that he grew up very
Speaker 2: much like me and you did, and that he was
Speaker 2: around black people, and that there were more black people.
Speaker 2: Maybe not all black people. Maybe I worded that wrong,
Speaker 2: but there was definitely a more influx of black people
Speaker 2: in the area that he did grow up with in
Speaker 2: cut A Hay before he became a trollo and got
Speaker 2: into gang bag.
Speaker 1: So well, don't get me wrong to part three. So
Speaker 1: we definitely got to get him in there. But I
Speaker 1: know there were always black people that stayed in Cut
Speaker 1: of Hate. There was always some black people that stayed
Speaker 1: in Southgate. It was always twelve, Yeah, Huntington Park, East
Speaker 1: LA twelve maybe long time ago there with some black
Speaker 1: people in East LA and the projects. That was a
Speaker 1: long time agoit.
Speaker 2: But it's like I tell Jazz and everything, the black
Speaker 2: people that most most black people that come out and
Speaker 2: say that they grew up in those areas are much
Speaker 2: more Mexican than they are Black, like the way that
Speaker 2: they condemned, because.
Speaker 1: Culturally, culturally those places are super you know, the culture
Speaker 1: itself is going to be a lot more Mexican than
Speaker 1: it's gonna be even Los Angeles.
Speaker 2: I remember the first time I met a sister that
Speaker 2: I was talking to. She's bad and she was from
Speaker 2: me Stella and she was like talking like this and
Speaker 2: she had the little accent and I was like, why
Speaker 2: you talk like that? It was the weirdest shit to
Speaker 2: me I had never.
Speaker 1: Because your skin, the root of culture is not your skin.
Speaker 1: In the root of culture is the land that way
Speaker 1: of life you de fans.
Speaker 3: It's like a black kid or a Hispanic kid raised
Speaker 3: in a white neighborhood and you're asking why you talk
Speaker 3: like that because he's not raised. He's not He wasn't
Speaker 3: raised over heres.
Speaker 1: He wasn't raised, he wasn't bathed in flavor like my kids.
Speaker 3: They were raised where they were a Southgate HB as
Speaker 3: opposed to my new baby boy, Kenzo. You're getting raised
Speaker 3: in Critos. So my kids are like, you better never
Speaker 3: act like you was a thug or anything. You was
Speaker 3: a cerrin You are a Crito's baby.
Speaker 2: Even though they got thugs in Critos too, they got
Speaker 2: little hoods. Let's not say that I was telling them
Speaker 2: the story that means there's no hoods. They banged on
Speaker 2: Jay Jay real remember in Cerritos.
Speaker 1: That that happened in Torito's that's Bellflower.
Speaker 3: And on our side where I'm ad at Crito's we
Speaker 3: got norwalks.
Speaker 1: They don't got. You don't have the closest games you
Speaker 1: gonna have. And Toritos will be Asian gangs and I
Speaker 1: don't know them, like they may exist, but I've never
Speaker 1: seen it. But there's no bellflowers. Bellflower got gangs like
Speaker 1: a few gangs, so it's different bellflowering bellflowers when you
Speaker 1: almost in Surritos.
Speaker 2: Is the real deal down he got gangs.
Speaker 1: They used to. But Downey has became the Mexican Beverly Hills.
Speaker 1: That's what that. Ye, so that's changed.
Speaker 2: That's racist.
Speaker 1: No, it's true.
Speaker 2: True. Why calling them like it's whitewashed.
Speaker 1: Okay, no, no it's not. It's not the whitewash. It's
Speaker 1: big money.
Speaker 3: There, success more successful.
Speaker 1: Yeah, it's like you'll meet a lot of successful Mexican
Speaker 1: people down Downey. That's where they live. That's where they
Speaker 1: moved to.
Speaker 3: A lot of construction businesss that own construction company.
Speaker 1: Listen, they got a Bennie Haunas a lot.
Speaker 2: Of those families are also old money of people people
Speaker 2: like Hinted that came over that became gardeners and things
Speaker 2: like that. Bought a property, built the house. Then the
Speaker 2: kids started going to college, you know, high school college,
Speaker 2: made something out of themselves. They stay in the house
Speaker 2: and then they build on the house.
Speaker 3: Of wealth is old money though, yeah, for sure isn't.
Speaker 3: Nobody's really going out and buying a brand new mansion
Speaker 3: and down it has evolved into you've probably been there and.
Speaker 1: That's what you said.
Speaker 2: I'm just clowning. I get it. That's that's that would
Speaker 2: be the equivalent of like Hancock Park and Jewish people
Speaker 2: and how they had like I remember we Beverly Hills too.
Speaker 1: That's passed on for sure. Very few people. My houses
Speaker 1: not new money. I remember money.
Speaker 2: I remember when I drove Uber and I and I
Speaker 2: and I you know, drove some say, man, you got
Speaker 2: a nice house.
Speaker 1: Yeah.
Speaker 2: My this is my great great great great great great
Speaker 2: great great, you know, grandmother's house and it's been passed
Speaker 2: down to generations. I'm not rich. I just live here.
Speaker 2: The house is paid. I told me though.
Speaker 3: And if it's a modern house, it's a house that
Speaker 3: was passed on that the new kid was able to
Speaker 3: afford to modernize the house and make it look new.
Speaker 2: Yeah.
Speaker 1: What's crazy is Pete family. When Pete moved out here,
Speaker 1: Pete moved to His family is originally from Lynnwood for real. Yeah,
Speaker 1: And when everything happened, they moved out right, they moved
Speaker 1: out of Lynnwood and they went and bought a house.
Speaker 1: And uh, they went and bought a house in either HB.
Speaker 1: Huntington Beach or Newport Beach. I forgot where Pete's from.
Speaker 1: But I was actually cheap at the time because it
Speaker 1: was to get like the water property wasn't what everybody
Speaker 1: thought it was back then you kind of didn't want
Speaker 1: to live next to the water, if I remember correctly
Speaker 1: back then. So they bought were ahead. So now the
Speaker 1: property is worth for arm and the legs. So that
Speaker 1: changes the wealth for these families.
Speaker 2: And those those a lot. And that's the thing too, right,
Speaker 2: And that's what you know, we tie it back in
Speaker 2: a lot of I'm gonna just speak for Mexicans from
Speaker 2: from myself, but what I believe is like once a
Speaker 2: lot of Mexicans achieve a certain level of wealth, they
Speaker 2: completely disconnect from whatever they were. That's why I question
Speaker 2: people's hip hop, especially when they Mexicans or their cholos
Speaker 2: or different things, because although I know what hip hop is,
Speaker 2: I go, well, you know, what is your real love
Speaker 2: of the culture of hip hop, of the music, of
Speaker 2: what it really really is? Now to know the music,
Speaker 2: we always say, like we were talking earlier, raps. Not
Speaker 2: necessarily that doesn't make you hip hop because you rap.
Speaker 3: But why do you say disconnect?
Speaker 1: Get money? Money? You get money, and you don't live
Speaker 1: the same where poor people live, no right or eat them.
Speaker 2: But you also addressed but you also stop trying to
Speaker 2: understand what is going on in those areas, So that's
Speaker 2: where you would lose your hip hop at that point.
Speaker 1: But that happens to anybody for the most part, once
Speaker 1: you move away from the ghetto.
Speaker 2: Sure, I get what you're saying, because you're saying it like, Okay,
Speaker 2: let's like hove like jay Z, so jay Z moves,
Speaker 2: he's super disconnected. Doctor Dre is another one that is
Speaker 2: probably very disconnected because they're so rich, right.
Speaker 1: Like why would they know the urban struggle. Don't get
Speaker 1: me wrong, I'm sorry.
Speaker 3: You don't even have to go that big. I get
Speaker 3: called bougie because I live in Sorito's Sure, like Nigga,
Speaker 3: I'm ten minutes literally fifteen minutes away from.
Speaker 1: You, but it's a fucking planet.
Speaker 2: But you don't. But you don't. But you don't lose
Speaker 2: your connection to what developed you, is what I'm saying.
Speaker 2: You're I don't see you losing your connection to what
Speaker 2: developed you. You don't look at people as like huh
Speaker 2: and rasa. Sometimes they get to so no and they
Speaker 2: start looking huh, I ain't better than you left, looking
Speaker 2: at you down down from the end of their nose
Speaker 2: like your less it's miter.
Speaker 1: It's different, right, it's different, right, because jazz is problem.
Speaker 1: Is he a nigga, right, so he still go get
Speaker 1: treated like a nigga. Even in Sorito, it'll be certain
Speaker 1: moments where you'll be like, I know what that's about.
Speaker 1: Like like I told you before in that other podcast, right,
Speaker 1: I was like yo, Like, for the most part, Mexican
Speaker 1: people can assimilate in the white culture and don't have
Speaker 1: a ton of problems until certain places. So they'll forget
Speaker 1: the motherfuckerer, forget like and be around these white folks
Speaker 1: and be good and be treated like it's good till
Speaker 1: certain places. But look, hip hop is street urban culture
Speaker 1: personified through the arts, right, the arts that they call
Speaker 1: the elements. That's what hip hop is. Right. Even past
Speaker 1: that where you know the fashion and stuff that are
Speaker 1: things that are added to it, right, that all becomes
Speaker 1: street urban culture. Right. But we call hip hop the
Speaker 1: version that's personified through the arts. White people identify it's
Speaker 1: everything we do or he dressed, I'm dressed hip hop
Speaker 1: or I'm dancing hip hop, you know what I mean.
Speaker 1: We don't look at it like that. I told my homeboy, like, really,
Speaker 1: I think that's some white people shit to even call
Speaker 1: it hip hop anyway. I know that sound weird, but
Speaker 1: it's like.
Speaker 2: Well, isn't that how it got its name? That was
Speaker 2: part of the conversation. They were called like even though
Speaker 2: it was called the hop, like they the media started
Speaker 2: calling it the hip hop.
Speaker 1: Well, no, I think I think they titled it first,
Speaker 1: but I think they were in reference to a specific party.
Speaker 1: And then this is white people good at labeling some
Speaker 1: shit so they can understand what's going on. Like none
Speaker 1: of us in La, none of the our predecessors, none
Speaker 1: of the people we grew up listening to called a
Speaker 1: gangster rap until they started calling a gangster rap. Then
Speaker 1: they was like, okay, well whatever, just like right now,
Speaker 1: like right now with black people, like black people that
Speaker 1: sing like Jill Scott's R and B sinker for some reason,
Speaker 1: they kep calling her neo soul. She just sings fucking
Speaker 1: R and B. It's not what the fuck is neo soul?
Speaker 2: Is that a way then to call like uh R
Speaker 2: and B for only black people?
Speaker 1: I don't know, but it's their way of getting in
Speaker 1: and making a space for themselves in places that we
Speaker 1: have been banned from or that you know, like like
Speaker 1: little Uzzi, Little UZZI keep telling y'all he a rock star,
Speaker 1: and they like, well, he raps, he's the pop parties, Negro,
Speaker 1: you know what I'm saying.
Speaker 2: So what is post Malone?
Speaker 1: He's a pop singer. Yeah, he's pop.
Speaker 2: So when he did that White Iverson song, like what
Speaker 2: that style of music? What would y'all would label that as.
Speaker 1: Just And see, this is the problem. Anytime you mentioned
Speaker 1: a black person that's popular within culture, you're like, oh,
Speaker 1: they're down. I hate that, you know, I go on
Speaker 1: Instagram nigga like he's invited to the barbecue. Know he not?
Speaker 1: And I'll kick your bitch as South for inviting his
Speaker 1: bitch as. Niggas always thiggas always trying to invite somebody
Speaker 1: to the barbecue.
Speaker 2: If they're cool, or if they think.
Speaker 1: Not even if they core think they cool, if they
Speaker 1: have a hint of fucking flavor, a hint of soul.
Speaker 1: Like if you look at white Iverson cousin he just
Speaker 1: got on then Iverson Jersey and niggas like he like
Speaker 1: al It's like they know that's the easiest door to
Speaker 1: get in invited to the barbecue. If a white person
Speaker 1: said pause, like oh my god, don't let skips say pause,
Speaker 1: pause if they go he's invited to the barbecue. No,
Speaker 1: we not taking his plate. There in your plate, your
Speaker 1: bitch ass out of here.
Speaker 2: Man shout out to Cam and mays bro. That's the
Speaker 2: funniest word in the world. Pause they pause everything.
Speaker 1: We're so easy to be manipulated as far as black
Speaker 1: folks because we're just so desperate for people to be
Speaker 1: down with us, so we like, we'll take anything except
Speaker 1: And all that nigga did was put on the motherfucking
Speaker 1: iverson Jersey and had a fucking foreign car doing donuts.
Speaker 1: Go he with us, and then he came out like
Speaker 1: I don't fuck with you niggas like that?
Speaker 3: So all right, man, put an explorer on twenty two's
Speaker 3: that with zibiting.
Speaker 1: Now he was hip hop too. Machine Gun Kelly is
Speaker 1: the same thing. Machine Gun Kelly east Side to the
Speaker 1: domin the east Side, east Side. Now you're a rock star?
Speaker 1: How you a rock started in if you was with us,
Speaker 1: if you grew up with us, How you all of
Speaker 1: a sudden turn into the whitest white man of how
Speaker 1: we see white people.
Speaker 2: You want to know who he copied? Oh kid rock?
Speaker 1: But the point but it's not no copy. The problem
Speaker 1: is these people be trying to come through our door
Speaker 1: because our door is the easiest door to get.
Speaker 2: In because it's very accepting. I get it, like our doors.
Speaker 2: But it's not though, So speaking of that, Mexicans ain't
Speaker 2: really been able to get through that door because we
Speaker 2: always talk about that, right, because you say that most
Speaker 2: Mexicans that rap and English are looking for the black acceptance,
Speaker 2: which is why it doesn't always work. So earlier you
Speaker 2: were saying that Mexican oh, what's his name, Mexican ot genesis,
Speaker 2: I don't my name Mexicant.
Speaker 1: His name is o T that Mexican.
Speaker 2: Ot, that Mexican old.
Speaker 1: His name is ot.
Speaker 2: You said, you told me a couple of years ago
Speaker 2: that he was up next. So what is making him special?
Speaker 1: Because he's rolling their motherfucking rs. That's what it is,
Speaker 1: the South Side stepping with a big mac of leven
Speaker 1: rolling them oars.
Speaker 2: Bro And that's what makes it. That's what ties him
Speaker 2: into the culture. And people are drawn to that because.
Speaker 1: We mean the and I accepted his own culture. That's
Speaker 1: all he did. It's like I used to tell you
Speaker 1: and means back in the day, we don't want to
Speaker 1: see Mexican people trying to be black. We want to
Speaker 1: see Mexican people being Mexican, then we down. If you
Speaker 1: try to be black, you're gonna do a horrible job.
Speaker 3: He did a freestyle holding a rooster.
Speaker 1: Exactly like why you got a rooster? Why then got
Speaker 1: a hat?
Speaker 2: Household have a rooster?
Speaker 1: Messing the point, But he's showing you I got my rooster.
Speaker 1: It don't matter.
Speaker 2: Yes, the reason why you gotta understand, saying bro, I
Speaker 2: got to push the line with G on this. Other
Speaker 2: Mexicans do the same thing. They don't they do, Yes,
Speaker 2: they do, Little G does. He puts, You're okay, now
Speaker 2: you're talking about Mexican. Okay, so there's a different Mexican. No,
Speaker 2: it's not. So, it's it's there's Mexican that are what
Speaker 2: they're portraying. What he's talking about, the rooster and all
Speaker 2: that is more Mexican from Mexico to Rancho that Texas.
Speaker 2: That's what he's taught Texas. Well, fine, because Mexico is
Speaker 2: right there. Then you have which I said, you shared
Speaker 2: a great article that said Cholos are as American as
Speaker 2: apple pie. So so little G does that Little gis no.
Speaker 1: But but but but.
Speaker 2: He he he holds up the Mexican flag, he plays
Speaker 2: the Charlino at the shows, he represents.
Speaker 1: That's why he be popping with Mexican people.
Speaker 2: So is he okay? But my question is, so, but
Speaker 2: why don't with what they're doing, why won't they Why
Speaker 2: haven't they broken through this thresho whole day you're saying,
Speaker 2: like I'm talking about to stardom, Like because even as
Speaker 2: popular as say little G is right, like when we
Speaker 2: talk about I.
Speaker 3: Know it's more popular than all that, and he doesn't
Speaker 3: get it. But he's Mexican as fuck?
Speaker 1: Who sig jacking?
Speaker 2: Six jacking is different? Six jacking got a cult like
Speaker 2: the Raiders. I don't even know what.
Speaker 1: He's they, that's.
Speaker 2: But he there Again, their music is very like That's
Speaker 2: what I was telling you about, even with Cypress Hill Bro.
Speaker 2: Like when you listen and they're sampling Duke of Earl
Speaker 2: and they're sampling you know, low Rider and all this music.
Speaker 2: Muggs knew what he was doing. This is the things
Speaker 2: that I learned with G and the studio. He would
Speaker 2: teach me and means all this shit means before it did,
Speaker 2: it means Still I don't think fucks with it like that, honestly,
Speaker 2: like he won't go that way whatever I mean, I
Speaker 2: haven't seen him do it anyway. So, but those using
Speaker 2: those styles, and I'm not just talking about the Spanish guitar.
Speaker 2: I'm not just saying, oh, I'm gonna use something that's
Speaker 2: a Spanish I know, something that is culturally from where
Speaker 2: we are, because as a Mexican, Bro, I represent being Mexican.
Speaker 2: But the reality of it is I'm born here. Anytime
Speaker 2: I speak Spanish, they know what's up. Any Mexican here's me.
Speaker 2: They hear my Spanish, even the way I formulate the
Speaker 2: Spanglish rhymes, they're gonna be like, Bro, you're saying that wrong.
Speaker 1: Whatever.
Speaker 2: No, this is how we talk. This is our Spanglish here.
Speaker 2: So my Spanish is not gonna be my Spanish not
Speaker 2: gonna be perfect like when you speak it and you
Speaker 2: talk it. So then again at that point with again
Speaker 2: going back to the Mexican ot, you know, is he
Speaker 2: he's working simply because of the visuals as you're telling me,
Speaker 2: Because when I listen to the music, sure he rolls
Speaker 2: the ours, but none of the music tells me nothing
Speaker 2: about like it doesn't sound like I'm not saying sound
Speaker 2: like Cyprus Hill, but I don't hear the influence like
Speaker 2: I don't.
Speaker 3: Hear any is an influence.
Speaker 2: I'm talking about music.
Speaker 1: Okay, does he have records as big as Insane in
Speaker 1: the membrane? No question answered, And I.
Speaker 3: Was telling him that yesterday. I think Cypress Hill is
Speaker 3: slept on as far as asad as a Latin hip
Speaker 3: hop grew like on the West Coast, even like.
Speaker 1: Period, they're probably the greatest. They're they're pretty much the
Speaker 1: biggest outside.
Speaker 2: Of Yeah Coast. Well, no, but young Young La and
Speaker 2: shout out to Young l A. You know, he made
Speaker 2: a valid point. It's although I think if you really
Speaker 2: go talk to people I'm talking about, like fools that
Speaker 2: grew up in that time, like Chicano's probably who are
Speaker 2: vet that Donald's now, they for sure will name you
Speaker 2: Cypress Hills, guaranteed, you know, along with mister Nightau and
Speaker 2: everybody else that he'll tell you midget local, all of them.
Speaker 2: But I don't know necessarily if guys that grew up
Speaker 2: like us who were more so emulating because our love
Speaker 2: of East Coast hip hop, not that we skip over it.
Speaker 2: It's just well, I guess we skip over it if
Speaker 2: we don't put them in our top. But a lot
Speaker 2: of it has to do with the fact that when
Speaker 2: you looked at them. When I looked at b Bro
Speaker 2: and I used to look at sind Dog as much
Speaker 2: as I thought they were dope, I didn't see myself
Speaker 2: in them. They didn't look like me. And you know
Speaker 2: that's why I never really looked at it like there.
Speaker 1: That's because like you, they sounded like you, and I
Speaker 1: get it. I think because also because you wasn't a tollo.
Speaker 2: Well that's the conversation we've had before. Because I wasn't
Speaker 2: a troll, that's possibly what it was. So then again,
Speaker 2: because I wasn't even accepted or even when let's say
Speaker 2: I tried to kick it with like the Trolos, like
Speaker 2: just to be around, and those would be like, oh no,
Speaker 2: you you don't dress like, you don't talk like us.
Speaker 2: You're English is too too whitewashed, you know what I mean?
Speaker 2: Or you talk like you're Roo or whatever. Yeah, it
Speaker 2: was always something bro like. It was something that when
Speaker 2: we were all the time, bro like, I would have
Speaker 2: and that's why I joke about it now. But Bro,
Speaker 2: I would have fools to be like you know, they're like, no,
Speaker 2: you're not makes they're talking like that. Now, this is
Speaker 2: before you're a sandloud dog. Then I'd be like, you
Speaker 2: know what, Borquso sellout like for chemists, sim I don't
Speaker 2: talk that ship done.
Speaker 1: What because because talking about in certain places, right, Mexican
Speaker 1: and Sola are interchangeable. So Tolo is his own Mexican culture,
Speaker 1: even though it's an American I even though it's an
Speaker 1: American culture. I mean, and we know that now, you
Speaker 1: know that now. But so when you asked me about
Speaker 1: like even when I told you back then that, I
Speaker 1: was like, this is my favorite Mexican rapper right now?
Speaker 1: Right is he gonna be? Is he gonna make records
Speaker 1: as big as Cypress Hill? Probably not Cypress Hills. The
Speaker 1: bad motherfuckers were making records and they knew how to
Speaker 1: embody everything that the struggle of Mexican people in America,
Speaker 1: you know what I mean what they was fucking with
Speaker 1: Duga Rul, certain cuts like low Rider. They was own it.
Speaker 1: They knew it, like fucking uh mugs got busy what
Speaker 1: I'm saying. And it really comes down to record makers.
Speaker 1: But what's working really well for the Mexican otia is
Speaker 1: that you see, he's a Mexican and he's embracing it,
Speaker 1: and it makes me even appreciate niggas holding a rooster.
Speaker 2: So what do you say to the kids who are
Speaker 2: who would tell you and say, glasses, you're wrong, you're
Speaker 2: you don't get it. You got people that are just
Speaker 2: dope and they're popping and you don't think they're popping,
Speaker 2: and they're they're popping, even the bunks, the black, the white,
Speaker 2: the Mexican kids, the Asian kids in o j Z.
Speaker 2: Who's from shore Line Mafia, who's super popular, goes anywhere,
Speaker 2: does an in store, has a line around the corner
Speaker 2: and tells you that you're wrong. What would you tell
Speaker 2: to say that to that kid?
Speaker 1: It's also because it was short Line Mafia.
Speaker 2: Okay, but he's Mexican and he's popping.
Speaker 1: Again he is a part of short Line Mafia.
Speaker 2: Well it was only two of them, right.
Speaker 1: You're missing the point. A movement is completely different than
Speaker 1: him breaking hisself, asking what it looks like now now
Speaker 1: he's hanging on from what he had. He's not gonna
Speaker 1: be popping the same because it's just not it's gonna
Speaker 1: be limited it's gonna get stopped right at the door.
Speaker 1: It's not listen. You can make money in hip hop.
Speaker 1: Anybody can make money with rap music if you just
Speaker 1: do good business. If you know how to do the business,
Speaker 1: you can make money. I will never tell somebody. People
Speaker 1: tell me all the time, Glass, I'm man. I want
Speaker 1: to move my mom out the projects. You need to
Speaker 1: go sell dope.
Speaker 2: Now.
Speaker 1: If you want to make a living, you can do
Speaker 1: it in hip hop. You can do it in hip hop.
Speaker 1: Just do the business. You can find an audience if
Speaker 1: you Culturally, I mean always, Jeez is dope like he does.
Speaker 1: Think he represents a movement of people that's in America
Speaker 1: that is culturally ambiguous. They're just la. But at the
Speaker 1: end of the day, that's not a culture that nobody
Speaker 1: outside of this motherfucker is really gonna represent. The movement
Speaker 1: that was Shoreline Mafia is completely different. That was a
Speaker 1: movement that everybody fucked with. It's a it's a group.
Speaker 1: But if you try to do the same thing on
Speaker 1: your own, you just look crazy.
Speaker 2: So the next artist coming out, you're saying, you wouldn't
Speaker 2: suggest that they go after you know, if they feel
Speaker 2: that they're part of that imagery, Like if you look
Speaker 2: at all the New Mexicans, they all look like that kid.
Speaker 1: Oh geez, you know, I mean they look like black people.
Speaker 2: Is that what we're saying. It's a good conversation, is
Speaker 2: that what we're saying?
Speaker 1: Obviously right? Culturally black people look like the way we dress,
Speaker 1: the way we do our thing, like, the way we talk,
Speaker 1: the lingos.
Speaker 2: That we start, that's what they're doing.
Speaker 1: I mean, would it be fair.
Speaker 3: To say would they be willing to pick up a
Speaker 3: cowboy hatts and boots and hold a rooster?
Speaker 2: Most likely not?
Speaker 1: Or would they be willing to be chicano or solo?
Speaker 1: Most likely not?
Speaker 2: Most likely not because they don't they don't know how
Speaker 2: to The coldest part about like, you know, even these
Speaker 2: records that we've been recording today that you heard, bro like,
Speaker 2: is me trying to figure out how to take everything
Speaker 2: that we've grown up to love about hip hop, from
Speaker 2: let's say East Coast to now g starting to tell
Speaker 2: you never told me no shit like this before. Now
Speaker 2: I have to really go back and I look at like, Okay,
Speaker 2: the West Coast that I listen to, you know, you know,
Speaker 2: if I listen to caution the rascas or whatever, and
Speaker 2: he's telling me, nah, you gotta listen to the godfathers
Speaker 2: of the West Coast, which is like, too.
Speaker 1: Short, that's not hold up, that's not what I'm saying.
Speaker 1: What I'm saying is right that Okay, So there's hip hop,
Speaker 1: street urban culture, the real thing that inspires the arts.
Speaker 1: That's what we're talking about, the thing that inspires the arts. Right.
Speaker 1: So a lot of the kids you're talking about, like
Speaker 1: the Mexican kids coming up rapping, they're inspired by black artists, right.
Speaker 3: Like you say using the word nigga, and a lot
Speaker 3: of the things of it is.
Speaker 1: Yeah, you're inspired by black artists. Now, there are the
Speaker 1: exception of the guys that grew up right where we
Speaker 1: grew up at next to us, and that's how they talk.
Speaker 1: As soon as you step anywhere past the one ten freeway,
Speaker 1: you're gonna start running into kickback because over on that
Speaker 1: side of the freeway, on the west side of the freeway,
Speaker 1: they don't grow up once you pass the hoovers together.
Speaker 1: So culturally we aren't talking the same, you know what
Speaker 1: I mean. Culturally in the sixties is not the same.
Speaker 1: Culturally in the A trades is not the same culturally
Speaker 1: in the thirties is not the same, you know what
Speaker 1: I mean, not as far as Mexicans and blacks. So
Speaker 1: that's where the kickback comes in. Every time you hear
Speaker 1: a Mexican rapper use the N word, you're not gonna
Speaker 1: hear from Glasses because Glasses grew up with one, one,
Speaker 1: sevens and we all talked the same. I've been eating
Speaker 1: savi J since I was seven. It's just certain things
Speaker 1: that we exactly are the same culturally, So they ain't
Speaker 1: gonna have no choice but to talk the way we talk.
Speaker 1: They ain't gonna be able to keep this pure concept
Speaker 1: of solo culture because literally we're exchanging we in the
Speaker 1: mix all the time, and I don't give a fuck.
Speaker 1: You know, you're gonna be getting called a nigga a
Speaker 1: million times, and most likely it could rub off you
Speaker 1: know what I'm saying. But it's gonna be hard for
Speaker 1: other people to accept it once you pass the one
Speaker 1: ten free anyway, let alone, you start getting out of
Speaker 1: this out of the state, you start getting out of state,
Speaker 1: you're gonna have fucking problems. Motherfucker's gonna be like uh uh,
Speaker 1: because that's not their life, got it? You know what
Speaker 1: I'm saying. So that's dope. But if you ask me
Speaker 1: what I think like a Mexican hip hop artist of
Speaker 1: today should do. They gotta do what they do. That's real.
Speaker 1: But but you gotta be mindful of the business, you
Speaker 1: know what I mean. Like there are artists making a living,
Speaker 1: you know, like we was talking about Sweden. It's people
Speaker 1: that's been making a living off of this. Little g
Speaker 1: is doing well, but little Ji is the biggest one
Speaker 1: because he embraces Trolo culture. You I mean, But there
Speaker 1: are the Oasgzi's the outliers, you know what I mean,
Speaker 1: those guys who come apart. But again, when you explain it,
Speaker 1: they're part of other things.
Speaker 2: So let me ask you a question, Jaz, I gotta
Speaker 2: ask them right now that you said that. When you
Speaker 2: look at a little Gene, you look at how he
Speaker 2: dresses and all that's he embodiment oflo Chicano culture or
Speaker 2: is he more or trying to is he also? Like
Speaker 2: I think he's both.
Speaker 3: I think he's found a way to mix both. Because
Speaker 3: I won't forget the letter to doctor Dre. I know
Speaker 3: what you want. I know what you've been wanting. You're
Speaker 3: asking Doctor Dre let me in, so you won in
Speaker 3: on the quote unquote black cultural side of hip hop.
Speaker 1: And rap to be produced by Doctor Dre and to bed,
Speaker 1: which I've always thought that was and not to cut
Speaker 1: you just forgive me. I've always thought that's a mistake
Speaker 1: for them. For these motherfuckers not to be reaching towards
Speaker 1: Mugs is disrespectful.
Speaker 2: Man like Mugs.
Speaker 1: Should have thirty phone calls a day of motherfucker saying
Speaker 1: of Mexican artists coming up in hipologist. No, he does
Speaker 1: not have thirty phone calls. No, he don't know. There's
Speaker 1: no letter to DJ Muggs.
Speaker 2: That's fine, but I'm pretty sure there is definitely line. Now,
Speaker 2: it might not be the artist he wants to work with,
Speaker 2: but I'm pretty sure people like I respect the fuck
Speaker 2: out of Mugs. Yeah, but but but more so over
Speaker 2: the last few years because Yah, eyes.
Speaker 1: What I'm telling you, it's not You don't hear people
Speaker 1: saying as what artists you want to work with? Man
Speaker 1: DJ Mugs, what producers? They're not saying that.
Speaker 2: Well, I'm gonna tell you the bottom line too, and
Speaker 2: this is and this is and we're all a victim
Speaker 2: of this of as far as Mexicans Latinos in hip hop,
Speaker 2: we don't grow up praising our guys enough. And that's
Speaker 2: kind of you know, you know, even getting older, I
Speaker 2: don't care. I'm starting to do that more is like
Speaker 2: you know, you love to Frost, love to fucking Mellow
Speaker 2: Maynase for opening those doors because without them we were
Speaker 2: not here. Bro.
Speaker 3: But so, like you say, so, we're just going part two.
Speaker 3: Mexicans and hip hop mexic is removed, Mugs, Mellow Mayonnase,
Speaker 3: all these people because they're not Mexican. Well, I think,
Speaker 3: what is it that you're asking for as Mexicans and
Speaker 3: hip hop? No ot Mexican ot, he's Mexican, Like, why
Speaker 3: can't he get that recognition.
Speaker 2: Getting the recognition though? So what I'm saying is I
Speaker 2: think the more and more we actually show love to
Speaker 2: one another and respect it, it starts to all come
Speaker 2: together and make sense.
Speaker 3: I think at one point in Mexican hip hop, people
Speaker 3: Forget Mexicans was running Power one oh six, they were
Speaker 3: running radio station Lighter Shade of Browns. All these groups
Speaker 3: had the radio on lock. But like you said, start
Speaker 3: reaching out to people instead of keeping it and reaching
Speaker 3: out to the.
Speaker 1: Mexican, the guys that empower Latin hip hop artists.
Speaker 3: On the web, reaching out out of it again.
Speaker 1: Again, like I said, like letter to doctor Dre is
Speaker 1: adult record because it's like, why haven't you worked with
Speaker 1: a Mexican as doctor Dre. But if you really think
Speaker 1: about it, that letters should probably be to mugs because
Speaker 1: Mugs understands what it takes to move the community. That's representation,
Speaker 1: the representation. He gets it, and that's all doctor Dre
Speaker 1: is known for years. Like doctor Dre's greatest, you know, accomplishment,
Speaker 1: A lot of people could think it's eminem. I don't
Speaker 1: think so. I think doctor Dre's greatest accomplishment is Snoop Dogg.
Speaker 2: I'm gonna tell you something else. Mugs being from the
Speaker 2: East Coast is a big part of what I think.
Speaker 2: Why Mexicans are so are probably not what you're saying
Speaker 2: right now, and why they go after well, no, they
Speaker 2: go after doctor Dre because Doctor Dre and most Chicano's
Speaker 2: mind is going to give them the gangster g funk sound,
Speaker 2: which he never even produced G funk.
Speaker 1: Like that, I don't think to some degree, to some degree,
Speaker 1: but first, well, no, for the first four or five years, Like,
Speaker 1: you can't see me as a G funk song.
Speaker 2: Okay, So that's why they go after a doctor dre
Speaker 2: because they want that sound that they've accustomed to loving
Speaker 2: to hear from Tupac from their favorite artist, to dog
Speaker 2: Pound from Snoop Dogg. So then they go after that.
Speaker 2: Whereas when you look at Mugs, who knows exactly what
Speaker 2: we need because he's shown you by bringing you Cyprus
Speaker 2: Hill and Psycho Realm.
Speaker 1: And why did you say Muggs is not from la
Speaker 1: I didn't get that, if I'm.
Speaker 2: Not mistaken, He's originally from the East Coast.
Speaker 1: But he was, like I think he's been out here
Speaker 1: since he was a little kid.
Speaker 2: No, I know that. But his influence in his sound
Speaker 2: when you listen to it, like for the most probably
Speaker 2: I think people associated with more of that like underground
Speaker 2: hip hop sound, which they associate with the East Coast.
Speaker 1: I don't know if I don't think that's true because
Speaker 1: I don't know. Well, because he had the biggest records
Speaker 1: in the country. Yeah, so he can't be no underground.
Speaker 2: Again, you're saying, why don't you have more Mexican Chicanos doing,
Speaker 2: Like why don't you have the letter to to DJ
Speaker 2: Muggs instead of Doctor Dre. I'm giving you what I think.
Speaker 2: That's what I believe. I'm not saying what you're saying.
Speaker 2: Obviously he's had the biggest records. You know, he's had
Speaker 2: the biggest artist they've had. They you know, cypress Hill
Speaker 2: had a Let's keep it a buck. How long was
Speaker 2: cypres Hill's run? Almost ten years? Fifteen?
Speaker 1: Yehuge records?
Speaker 2: Like they had a solid ten year run for sure. Well,
Speaker 2: I mean like just because from Okay, look it up, Gee,
Speaker 2: because you're always good with that. Like what was their
Speaker 2: first hit record? Was it Killer Man?
Speaker 1: Let Me look hold on Sergey?
Speaker 3: The first one that probably went was off the what
Speaker 3: was the Last Action Hero? They had some some movie
Speaker 3: ones that they came out on movie.
Speaker 1: How I Can Just Kill a Man is nineteen ninety one.
Speaker 2: So what was Okay? When was and when was like being.
Speaker 1: Real Rock super did River Cabino for Miller man Ace
Speaker 1: at eighty nine?
Speaker 3: That's Rock Superstar? Is that from the movie Last Action Hero?
Speaker 2: So that was later, That's what I'm saying. So when
Speaker 2: was when was that one?
Speaker 1: You're sitting there is a nice saying in the membrane.
Speaker 2: When was that that was that was that was way
Speaker 2: earlier because that was closer to Killer Man. That might
Speaker 2: have been like two three years after that, I believe.
Speaker 1: Looking looking looking, hold on, hold.
Speaker 3: On, they have many Doctor Green.
Speaker 1: That Superstar is two thousand, so it's ten years.
Speaker 2: Yeah, yeah, it's like a ten years because to me
Speaker 2: and again they kept going. But I think Rock Rock
Speaker 2: Superstars two thousand wasn't that. The was Doctor Greentham after.
Speaker 3: That, I know my name is doctor.
Speaker 2: That was ninety okay, so it was before that then
Speaker 2: because that one was two thousand.
Speaker 1: Load Riders in two thousand and one.
Speaker 2: Low Rider was two thousand and one.
Speaker 1: Yeah, no, what's your number? Was two thousand and four?
Speaker 2: Which one was that one?
Speaker 1: That was the last one? I think I remember?
Speaker 2: How did that one go.
Speaker 1: All up? But that's my point. At a certain place,
Speaker 1: you gotta go with who's moving the community to some degree,
Speaker 1: and I just think listen, hip hop is a much
Speaker 1: more like you can't have a white approach to hip
Speaker 1: hop and be like, oh this person is this so
Speaker 1: like he's from the West, so this makes it work,
Speaker 1: Like you got to accept that we do have separate
Speaker 1: communities to some degree, like an LA artists can't just
Speaker 1: go like. Don't get me wrong. Q did fantastic with
Speaker 1: the Bomb Squad and people really consider those albums his classic.
Speaker 1: But it was different when he got with DJ Pooh,
Speaker 1: those records start hitting crazy.
Speaker 2: Listen this reator to the news.
Speaker 1: This is what I mean. Today was a good day.
Speaker 2: This is what I'm saying, though, Look like, Okay, when
Speaker 2: I see Little Like when I see Little g Right,
Speaker 2: I see the influence of Tupacs. Is that fair to say?
Speaker 3: The vasace and the whole milk?
Speaker 2: Sure? So my question becomes, why don't or am I
Speaker 2: just not seeing it? Maybe? Am I out the loop?
Speaker 2: You guys can help me with this. I should see
Speaker 2: And this is what I'm saying by us growing as
Speaker 2: a culture in hip hop the way we want to,
Speaker 2: And this is something I wish I would have done,
Speaker 2: Like I should have been looking up to Cypress Hill.
Speaker 1: This is different. You have Frost, you'd have a totally
Speaker 1: different Well, Okay, but.
Speaker 2: If I'm saying I probably would have had a way
Speaker 2: more successful career than if I would have looked up
Speaker 2: to the Mexican artist and take it like Little Rob
Speaker 2: even though he probably looked up to Pok he looked
Speaker 2: up to Frost for sure, I don't care what sure.
Speaker 1: Sure, But hip hop also is not just other musicians.
Speaker 1: It's outside. And that's what I used to tell you
Speaker 1: and means all the time. If you don't make music
Speaker 1: for what's outside your front door, problem one in hip hop,
Speaker 1: that's the cornerstone. Hip hop is making music for what's
Speaker 1: outside your front door. So when you lived in Threst
Speaker 1: says in Englewood, that's the motherfuckers you make mousic If
Speaker 1: you skip them, you asking for a lot. You asking
Speaker 1: for a lot. I mean, only Asian people go to
Speaker 1: other people community and sell fried chicken and ship. That
Speaker 1: is not even normal. You don't see Mexican people going
Speaker 1: to other motherfucker's community selling Italian food. You can go
Speaker 1: to the Italian community. Only Asian people get away with
Speaker 1: going out there open Luisiana.
Speaker 2: That's why stupid young gets away with doing what he's doing.
Speaker 1: Well, he's from Loan Beach To, but he's from Loan
Speaker 1: Beach To and so like where they're from, is they surrounded,
Speaker 1: they bathed in flavor bro like the like they hold
Speaker 1: like again, he's gonna have every time he goes somewhere
Speaker 1: else he's he's gonna have a problem, but he's right.
Speaker 2: But in the city, as an Asian dude, he's them
Speaker 2: fairly well.
Speaker 1: But that's why nobody's gonna give him shipped, like any
Speaker 1: any of us gonna be like he's from you know,
Speaker 1: he's from Asian boys, so we know that's Long Beach
Speaker 1: like them, Loan Beach.
Speaker 2: He goes and tries to perform for somebody in Montabello,
Speaker 2: it might not go over as well.
Speaker 1: Let's find in Montabello he takes ass to Saint Louis.
Speaker 1: They might hang his ass, they might lynch and hangers ass.
Speaker 2: See. And it always makes sense because then you go
Speaker 2: back to someone from the East Coast like Jin, who
Speaker 2: was all, say, the East Coast version of what Super
Speaker 2: Young is.
Speaker 1: To the West. No, no, no, Jin Jin.
Speaker 2: Well, I guess well, what I'm trying to tie into
Speaker 2: is the fact that he was a rapper that was
Speaker 2: accepted for these kind of like real East Coast battle
Speaker 2: rap rhymes. But it never really transcended once he left
Speaker 2: New York. It didn't really work like he did, you know,
Speaker 2: be just.
Speaker 1: To some degree. But I just don't think people looked
Speaker 1: at Jin as a street artist.
Speaker 2: But again.
Speaker 1: You know MCing in General Street in New York.
Speaker 3: You brought up Pitt Boo earlier. And I always say,
Speaker 3: people forget or people don't even know.
Speaker 1: It was a battle. He was a battle and he
Speaker 1: was hellodope.
Speaker 2: Once he did Gulo and he's seen, He's like, oh,
Speaker 2: this is what it is.
Speaker 1: He put that Latin twist on that ship, put that
Speaker 1: Latin flavor on there.
Speaker 2: Look, bro, I've dropped just certain little records here and there,
Speaker 2: like the Mechicano record, which is almost ten years old. Bro,
Speaker 2: people still bring that ship up. That was during that time,
Speaker 2: was when g had already started telling me you need
Speaker 2: to talk to your people. I was at that point.
Speaker 2: I've been trying to figure it out. So the music
Speaker 2: you're hearing now is another evolution. What I do believe
Speaker 2: is when I start dropping this shit, it's going to
Speaker 2: open more eyes. It's it's in more ears, sure, because
Speaker 2: they're gonna be like, what's tras on? Because the reality
Speaker 2: of it is is And that's why he'd be telling
Speaker 2: me you rap too much? Is because I'm still trying
Speaker 2: to find the actual how it's supposed to sound. Because
Speaker 2: I'm still trying to take like Bridge like the hip
Speaker 2: hop with the Chicano. So I'm still trying to.
Speaker 1: And that's business that you didn't realize that Chicano is
Speaker 1: the hip hop.
Speaker 2: The Chicano is the hip hop.
Speaker 1: So he's trying to bridge New York with Chicano and
Speaker 1: the own bridge.
Speaker 2: Yes and again because I'm getting that.
Speaker 1: Well, yeah, because it is a hard because but but
Speaker 1: in his defense, for years, people have thought hip hop
Speaker 1: was the music. So people thought if I listened to
Speaker 1: the music, I am hip hop because that's the nuance
Speaker 1: given off the culture. But it's not. Hip Hop is
Speaker 1: not the fucking music, it's the culture. Like, so he's
Speaker 1: trying to bridge Chicano hip hop, and that's what I
Speaker 1: That's what like when I'm recording, because I'm like, stop
Speaker 1: doing that. Chikano is hip hop, Cholo is hip hop.
Speaker 1: That's why Little Rob is successful. It is hip hop.
Speaker 1: Cripping is hip hop. Snoop didn't have to put no
Speaker 1: New York twists on that shit. Man kick that shit
Speaker 1: the way them Long Beast niggas kicked it. You don't
Speaker 1: got to cut it down Eve forty and had to
Speaker 1: put no New York on that Valayho shit on that
Speaker 1: bay area shit. Serve that shit rock.
Speaker 2: He gave hip hop half of its lingo from the
Speaker 2: East to the West.
Speaker 1: And they don't even have to have respect for him
Speaker 1: out there in New York. They don't fucking too short.
Speaker 1: When you don't got to put no fucking New York
Speaker 1: on your shit, you don't gotta put none of that
Speaker 1: shit on your shit. Serve that shit straight out from
Speaker 1: outside Joe front door. You have success if you serve it.
Speaker 1: If you take out your mom, when you get in
Speaker 1: your mom records and you play this shit she was playing,
Speaker 1: you take you find you a dope break and build
Speaker 1: on that break, and you serve that shit because she
Speaker 1: playing what's outside. You serve that shit up. You don't
Speaker 1: got to put nothing on that No New York season
Speaker 1: is needed. You don't need to. That's the problem. People
Speaker 1: keep looking at hip hop like it's just New York
Speaker 1: and it's not. And that's why the biggest artist that's
Speaker 1: been successful are the ones for different reasons who did
Speaker 1: their own shit. That's why Outcast they went super Southern.
Speaker 1: They pulled back from all them breaks and said we're
Speaker 1: gonna go super Southern with the Dungeon family, gonna make
Speaker 1: these this band type of shit and boom hit boom bone.
Speaker 1: Ain't take nothing from New York. Them niggas, if nothing else.
Speaker 1: They look closer to niggas like out here. But even
Speaker 1: them niggas out there was where work closed dickies. So again,
Speaker 1: their style came from R and B. That shit is
Speaker 1: all at Midwest motown shit. They don't. They don't try
Speaker 1: to be kicking bars and shit. Them niggas be on harmony.
Speaker 2: And again this is something that I'm just gonna hold
Speaker 2: to myself and hold myself accountable. This is what I
Speaker 2: grew up on. So again, what she's saying is also
Speaker 2: an older mentality because when we're talking to young la
Speaker 2: their influence, whether you whether that he wants to admit
Speaker 2: it or not, a lot of these young kids they're
Speaker 2: all trying to sound like the South now because at
Speaker 2: this point people think hip hop is what the South
Speaker 2: is doing. Listen to a lot of the new kids,
Speaker 2: that's what they're trying to sound like.
Speaker 1: I don't think they even look at it like hip
Speaker 1: hop no more. I think they think of success is
Speaker 1: what the sound.
Speaker 2: But that's what we were thinking about it as too.
Speaker 2: It was like the hip hop was coming out of
Speaker 2: the East, so we didn't thought that's what it was.
Speaker 1: Nah, even y'all was still chasing the music. They're chasing success.
Speaker 1: They're not even chasing music no more. They like, Man,
Speaker 1: I don't care if this nigga wear a dress he winning.
Speaker 1: I don't care if this nigga wear a perse hes
Speaker 1: mainking money. I don't care if this nigga paint his
Speaker 1: fingernault policy he rich or at this voice niche. I
Speaker 1: don't care if that nigga told the police that nigga
Speaker 1: is paid. They don't have no morals or nothing. We
Speaker 1: still care, Like I still cared about being solid. They
Speaker 1: don't care. They'll be a bit. That's why I always said,
Speaker 1: Like I remember growing up thinking, I never I'm liberal.
Speaker 1: I'm super liberal, like more liberal than liberals. Like nothing
Speaker 1: about me is nothing else but liberal, right, I believe
Speaker 1: in liberty for real, you know what I mean? Doing
Speaker 1: your thing. I used to never think there was no way,
Speaker 1: like I would never mind like an LGBTQ plus ad
Speaker 1: or film. I'm like, ain't nobody choosing to take dick?
Speaker 1: If you taking dick as a man, you're gay, because
Speaker 1: that's a hell of a commitment. That's a different type
Speaker 1: of pain. That's a different type of suffering. Taking Dick,
Speaker 1: that's gotta be crazy. If you a guy, you know less,
Speaker 1: somebody get behind you and serve you. Oh, I can't
Speaker 1: just see it. It's just not gonna happen. So I
Speaker 1: used to think it's no way possible that you can
Speaker 1: influence somebody to that type of commitment. I am wrong.
Speaker 1: I'm here to tell you a twenty twenty three cuz
Speaker 1: I am wrong. Niggas will do it. They will do it.
Speaker 1: They will fucking do it. Oh, they'll do it.
Speaker 2: They'll fucking do it through influence.
Speaker 1: You're saying, hands down, because if they needed to take
Speaker 1: Dick to get a million followers and to make two
Speaker 1: hundred thousand to be famous, they have a man behind Well.
Speaker 2: That also shows also where this country is at morel
Speaker 2: you know, morality wise as well. It's just kind of
Speaker 2: like it's kind of gone to ship where people are
Speaker 2: so hard pressed to want to fit in and you know,
Speaker 2: live this so called the American dream, which.
Speaker 1: I don't even know if this is American dream no more.
Speaker 1: This shit is way past that. That was simple. That
Speaker 1: was just having a house and taking care of your family. Yeah,
Speaker 1: the door to have attention. They want people to pay attention.
Speaker 1: They want people to be connected to them, they want
Speaker 1: people to care about them. That is nothing to do
Speaker 1: with the American dream. The American dream was super private
Speaker 1: and personal. Every last person today because is about what
Speaker 1: everybody else think. They want to all say the right
Speaker 1: thing because they want everybody to love them. That is Unamerican.
Speaker 1: That is the most wanting everybody to love you is
Speaker 1: the most Unamerican thing of all American things. But it's
Speaker 1: also because we live in a capitalist society where you're
Speaker 1: totally judged bout what kind of paper you make it? Oh,
Speaker 1: do you got it? Do you got it? Do we
Speaker 1: got it? Do we got it? And that's everybody's life
Speaker 1: lying minimal pictures. But hip hop was always special because
Speaker 1: guess what, because it wasn't about having it. It was
Speaker 1: about making do and making that beat a shit. It
Speaker 1: was about making do and making that beat a shit.
Speaker 1: That's what hip hop was about, and that's what made
Speaker 1: it special. And that's what I was telling Traves. It
Speaker 1: wasn't about getting no rare item. It was about nigga
Speaker 1: taking whatever you got and flexing that shit like that
Speaker 1: shit is the shit.
Speaker 3: So be the next or the hot Mexican rapper is
Speaker 3: embracing all the struggles of your culture and community and
Speaker 3: building off of that.
Speaker 1: I would agree and only that this was a big as.
Speaker 3: Sending the water bugs this way.
Speaker 2: Oh okay, I know what was going on. I was like,
Speaker 2: what is he doing?
Speaker 3: And that's what so like jazz, you've been like what
Speaker 3: we're what ge is working on right now?
Speaker 1: With you?
Speaker 3: You you're tapping into less of the East coast rather
Speaker 3: like you said before, you were the sun and the
Speaker 3: moon and the stars and generators.
Speaker 1: This nigga had a song about Obama.
Speaker 2: Said I have it so it's on social fucking all
Speaker 2: listening Platinum.
Speaker 1: That was our first song we did.
Speaker 2: I'm like, please chirk it out. It's called Yes We Can.
Speaker 1: I was like, are you making a song about.
Speaker 2: Uh, Yes we can? Alcatraz featuring g Malone Glasses Malone.
Speaker 1: Then plug that shit, ye and you bring it up.
Speaker 2: I'm gonna talk about it. It's still a record. It
Speaker 2: was something that I did.
Speaker 1: Like, you're a Mexican man making a song about Obama.
Speaker 1: He's like lasting Obama represents hope.
Speaker 2: My thing was was I always felt that I was
Speaker 2: representation of Mexicans that actually, you know, showed his love
Speaker 2: for the people that he fucks with and the people
Speaker 2: that fucked with him. So I fucked with black people.
Speaker 2: I always have. You know, these are things I've always ran.
Speaker 1: Just give us a free taco, Nigga.
Speaker 2: That's cool. I mean, that's raciust but you know, but
Speaker 2: so I would do it music.
Speaker 1: So he don't get what I'm saying.
Speaker 2: No, I get you, give you a free taco. I
Speaker 2: get it. That's what I'm trying to do. So me
Speaker 2: and him had a whole nother project that we had
Speaker 2: worked on. Some stuff happened and they broke into his
Speaker 2: car and some in my gay and they fucking they
Speaker 2: stole like three hours worth of his shit. Okay, so
Speaker 2: we lost that. So in the midst of that, you know, shit,
Speaker 2: he moved. We weren't living as close, so you know,
Speaker 2: I kind of like, kind of through the last couple
Speaker 2: of years, I kind of been fighting with whether I
Speaker 2: wanted to keep going doing this shit. So recently, over
Speaker 2: the last couple of months, me and Lune got together
Speaker 2: and it wasn't that I don't want to do with Gee.
Speaker 2: I said, I know what he's saying, let me try
Speaker 2: to figure this shit out, and I'm just gonna start
Speaker 2: showing him what I'm doing. So now that I'm showing him,
Speaker 2: he's like, you got it. You got it. He's like,
Speaker 2: but we got to work on the delivery of the
Speaker 2: rapping of it, because you know.
Speaker 1: You're still trying to include hip hop mentality of he's
Speaker 1: compromising what it is again him and means cannot understand
Speaker 1: that hip hop as much as his birth in the Bronx,
Speaker 1: it is not all New York. It is not anything
Speaker 1: New York. When you from somewhere else, it's nothing to
Speaker 1: do with New York outside of understanding that the first
Speaker 1: place it was executed was in New York. That's the
Speaker 1: only thing you need to take. Outside of that, you
Speaker 1: take simple foundations and ideas, like I'm telling him, if
Speaker 1: I'm playing him blowjob Betty and blow job Betty come
Speaker 1: four hours away from him. This is before most of
Speaker 1: all the records you were praise. Why you don't know this,
Speaker 1: this is hip hop. No, it don't sound like the Bronx. No,
Speaker 1: it don't sound like Brooklyn. No, it don't sound like Queens.
Speaker 1: Know it, don't sound like Staton Know it don't sound
Speaker 1: like motherfucking Harlem. It sounded like fucking Oakland. You don't
Speaker 1: gotta hip hop is not like you don't mix Chicano
Speaker 1: on hip hop. Being Chicano is hip hop. Here. Being
Speaker 1: a cholo is being hip hop. Here. Being a crip
Speaker 1: like Snoop is being hip hop. Here, Being a skater
Speaker 1: like Tyler the Creator is pop here. You don't need
Speaker 1: to add nothing else. You don't need to add no
Speaker 1: flavors from out the New York cabinet to make it work.
Speaker 1: All you gotta do is find the breaks that come
Speaker 1: out of your mama cabinet, and you take them breaks,
Speaker 1: and you cook that shit up outside of your house
Speaker 1: and watch niggas come by that shit to eat.
Speaker 2: So and for all you dudes that are trying to
Speaker 2: figure out what what I'm struggling with, and you know,
Speaker 2: and I'll put this out there, it's not just you know,
Speaker 2: trying to.
Speaker 1: Figure out what you're struggling with. Huh, nobody figure out
Speaker 1: what you're struggling with. No.
Speaker 2: I'm trying to say to if anyone listening that maybe
Speaker 2: can relate to what I'm saying right now. The struggle
Speaker 2: has been that if when you say Okay, you know,
Speaker 2: don't sound like New York. You can't sound like New York,
Speaker 2: or you can't wrap that way right. So then you
Speaker 2: listen to this music and sonically you know where I'm
Speaker 2: going with it, so lyrically now trying to make it
Speaker 2: sound like what it's supposed to. It's a little bit
Speaker 2: difficult because again the edge that say it, Little Rob
Speaker 2: has is that's really how Little Rob talks. So at
Speaker 2: that point, now when I'm doing English and Spanish, I'm
Speaker 2: trying to I'm doing the Spanish, but I'm trying to
Speaker 2: make it rock to where it's like, Okay, I don't
Speaker 2: want it to sound like I'm trying to stop rapping
Speaker 2: how I was rapping ten years ago.
Speaker 1: You was trying to stop rapping like an East Coast nigga.
Speaker 2: Sure, you know, and I've been trying to do that
Speaker 2: for a while. But again, sometimes you have to hear it.
Speaker 2: We have this conversation all the time that it's easier
Speaker 2: to hear.
Speaker 1: Where do I keep telling him stop rapping? Talk because
Speaker 1: you don't talk like an East Coast nigga. Rap is
Speaker 1: about talking, right, A lot of it. It's not really difficult.
Speaker 1: You're just holding on to things that you know were
Speaker 1: successful in things that you love. It's not really hard
Speaker 1: for you. Yeah, it took me time to break it
Speaker 1: on you. Pause. Uh the first time we was doing
Speaker 1: it right to break you out of it rather forgive
Speaker 1: me break you out of it. It took time, right,
Speaker 1: But that's because you're emulating. Hip hop for sure is
Speaker 1: not about emulating. It's very original, even in the closest
Speaker 1: places like Warren didn't sound like Dog, Nate didn't sound
Speaker 1: like Warren, trade E don't sound like Nate, Dazz don't
Speaker 1: sound like trade E. So y'all could be in the
Speaker 1: same community. But it's how you talk, and once you understand,
Speaker 1: you build rap on how you talk. That's what takes
Speaker 1: it to the next level. That was Dre's thing. Talk
Speaker 1: ain popping out the side of your mouth, talk like
Speaker 1: you talking talk that talk.
Speaker 2: So I've actually grown a lot closer because before even
Speaker 2: the lingo and the terminology I was using was so
Speaker 2: far off because I was emulating something. Yeah, the records
Speaker 2: now today with what you got to see where he's coaching,
Speaker 2: you know, coaching me on in terms of to say
Speaker 2: a certain thing. But the lyrics and the rhymes are there.
Speaker 2: Now like what I'm what I'm talking about, even if
Speaker 2: you don't agree with the topics, say of the song,
Speaker 2: I'm I'm in the ballpark now of okay, this is
Speaker 2: this is how it's, this is the this is the
Speaker 2: lingo of what I'm supposed to be using for this
Speaker 2: kind of music. So now I just have to really
Speaker 2: perfect how I'm saying it. That's that's kind of gonna
Speaker 2: be my last step right now.
Speaker 3: Still you as opposed to creating a new persona like
Speaker 3: he's saying, like you're good.
Speaker 1: Enough, you know what's funny?
Speaker 2: Yeah, but when I hear that music, and I don't
Speaker 2: mean to cut you off, but when I hear that music, see,
Speaker 2: that's the problem. When I hear that music, automatically, I
Speaker 2: start thinking of the guys who have actually came before
Speaker 2: doing that music, which no Little Rob, which is night Owl,
Speaker 2: which is Alt, which is Frost, which is.
Speaker 1: Which I think if you go study those guys, it's
Speaker 1: because you're still not studying them. Right, it works for you,
Speaker 1: But have you ever thought to yourself the reason why
Speaker 1: Mexican people don't work with the other people's because they're
Speaker 1: not funky. That's not their natural nature. Funk don't get
Speaker 1: me wrong. They have some funk, but much more the
Speaker 1: music is soulful or jazzy like. And that's why if
Speaker 1: you look at all of the stuff, it's R and B, right,
Speaker 1: Rob is a ton of R and B. Right, Rob's
Speaker 1: a ton of R and B and D you know
Speaker 1: what I mean. Right, And you look at somebody like
Speaker 1: like Cypress Hills, they're they're much more like pop or classical,
Speaker 1: you know what I mean, some level of rock. If
Speaker 1: you look at all the successful acts, because it's not
Speaker 1: funk is more than just music. It's a get down.
Speaker 1: It's a I used to tell means this. I'm like, bro,
Speaker 1: you're not a funky person, like, you're not a party person,
Speaker 1: wild in there loose like you know, your compact, your discipline,
Speaker 1: your your structured funk is all about being loose. And
Speaker 1: this is the problem when you look at music as
Speaker 1: just music and not really you know, expressions of lifestyle
Speaker 1: and culture and get down. Like look at how Parliament dressed.
Speaker 1: This is not no joke. They created a world mothership connection.
Speaker 1: The song I was playing for you earlier, right, that
Speaker 1: Doctor Dre sample to make let me ride by Parliament? Right,
Speaker 1: It's about getting out of here on a fucking spaceship,
Speaker 1: probably about getting high. The song is swing down, Sweet Chariot,
Speaker 1: stop and let They're talking to a fucking spaceship. You
Speaker 1: know it's not no punk right there. I don't know.
Speaker 1: It could be crack a thousand thing, but I'm telling
Speaker 1: you that Cherry stop the real the chariot, swing down,
Speaker 1: sweet Chariot, and stop, let me ride. It's about a
Speaker 1: fucking spaceship. Like so again, it's when you keep It's
Speaker 1: the hardest part about this shit for people is when
Speaker 1: you don't understand that this is way more than fucking music.
Speaker 1: This ain't just rap, This ain't just fucking music. This
Speaker 1: is really life for people. So it's super important to
Speaker 1: understand that this is life. When you get that part,
Speaker 1: you straight, you stop playing with everything. You stop thinking
Speaker 1: everything could be emulated. You can play with everything. You
Speaker 1: gotta really take it serious.
Speaker 3: So the answer maybe a partial of you said about
Speaker 3: King Little G. You said, he plays the unchettas under this,
Speaker 3: he figured to stop writing the letter to Dre and
Speaker 3: start pushing my Mexican culture more. And like G said,
Speaker 3: and that's why he's.
Speaker 1: And if King Little G is not where like if
Speaker 1: you said where King Little G is now with y G.
Speaker 1: You gotta make a record. That's the difference. You still
Speaker 1: gotta make a record. Still gotta make a record. Bads
Speaker 1: had a lot of them records. You gotta make a record.
Speaker 2: I think we also live in a time where he's
Speaker 2: able to take his brand and.
Speaker 1: I don't give a fuck you asking me why he's
Speaker 1: not where certain people is attcha. Can you make a living?
Speaker 1: This is where you some of the hormies fight. Y'all
Speaker 1: keep trying to get this shit and be like, well,
Speaker 1: I want to make a middle class job so I
Speaker 1: could do what I love and get paid. That's not
Speaker 1: how this shit work. This don't work that way. This
Speaker 1: ain't or I want to get in and make me
Speaker 1: a middle class job and I'll be able to do
Speaker 1: music because I love it. Man, if you ain't in
Speaker 1: this motherfucker for the juggler, you won't get to the
Speaker 1: middle class. Trust me, LEGI, because King Legit the not
Speaker 1: getting this motherfucker to just work and make a living
Speaker 1: to do what he loves. He gotten this motherfucker to
Speaker 1: do some damage. So you getting this motherfucker to do
Speaker 1: some damage, feel me? Then you end up somewhere where
Speaker 1: you can be okay, but you can't get this motherfucker
Speaker 1: trying to make a middle class career out of something
Speaker 1: that's exceptional. This is real, This ain't no.
Speaker 3: Oh.
Speaker 1: People just love me and they want to see me rap,
Speaker 1: so they gonna pay it. And I get paid to
Speaker 1: rap because I like rapping and they like me. Nigga,
Speaker 1: this shit you talking about people life. They live a
Speaker 1: life to this shit. If you don't get that, you
Speaker 1: know what I mean. This is where we have a
Speaker 1: you know, this is where you fall short. You can't
Speaker 1: come in the league like, well, I want to be
Speaker 1: like the twentieth best point guard.
Speaker 2: Well that's what I'll say. I think Little G is
Speaker 2: very influential. I think I've definitely came across a lot
Speaker 2: more young Mexican artists that are that I know want
Speaker 2: they want to be like him. Yeah, but again that's
Speaker 2: a good thing.
Speaker 1: It's not about it if it's bad or good. Right, Listen,
Speaker 1: at the end of the day, an album you want
Speaker 1: to make. First off, if you ain't in this motherfucker
Speaker 1: to make the biggest record in the world and you
Speaker 1: want to and you get a record deal, problem one.
Speaker 1: Problem one. If you get a record deal, and your
Speaker 1: goal ain't to make the biggest record ever. Problem one
Speaker 1: that should be if you get a record deal, if
Speaker 1: you get a deal with a record company, you should
Speaker 1: be aspiring to make a record bigger than Thriller. That way,
Speaker 1: if you make nothing, they go thirty nine on the charts,
Speaker 1: you can look like, well, I accomplished this. But if
Speaker 1: you ain't in this motherfucker to make the biggest record
Speaker 1: with a record deal, you're doing it wrong. Two, if
Speaker 1: you ain't getting this motherfucker to represent it, put on. Quit.
Speaker 1: Hip Hop is all about representing and putting on. That's
Speaker 1: what it's about. There's no confusion for sure, because that's
Speaker 1: what the cornerstone and being the street urban nigga is about.
Speaker 1: It's putting on. You gotta represent and put on. If
Speaker 1: you ain't trying to represent your peoples or whatever people
Speaker 1: you speak for, quit, Those are the two cornerstones.
Speaker 2: And I'm gonna say that's another thing too right now
Speaker 2: that he said that, And that's I think a big
Speaker 2: problem that maybe a lot of artists probably run into,
Speaker 2: especially some of the ones we've talked about. We won't
Speaker 2: mention names, but people who have got who do have
Speaker 2: fan bases, but yet fucking cry about shit?
Speaker 1: Is that?
Speaker 2: A lot of times what I noticed is a Mexican
Speaker 2: artist will get to a certain level, not understand why,
Speaker 2: you know why they're only at a certain level on
Speaker 2: they plateau, and it's because they're not really representing the people.
Speaker 2: But then they will start to represent being Mexican out
Speaker 2: of convenience, so then it's not authentic.
Speaker 1: Sure, they could be like, oh, they not fuck with
Speaker 1: me because I'm asking, you know, but I got y'all, no,
Speaker 1: if you ain't trying to put on, quit if that
Speaker 1: ain't your goal, Trust me. The biggest niggas in the
Speaker 1: world was trying to put on. When Jez he has
Speaker 1: a song called I put On, you know what I'm saying.
Speaker 1: Our cast was told you the South got something to say.
Speaker 1: Ghetto boys was talking at Texas shit. Jay Z was like, Nigga,
Speaker 1: I'll represent the hopes and dream of drug dealers in
Speaker 1: New York and everywhere. Snoop is still a crypt put on.
Speaker 1: If you in hip hop and you trying to do
Speaker 1: this thing, put on and you ain't gonna put on,
Speaker 1: sit the bench. I don't give a fuck if you
Speaker 1: If you want a middle class job, my nigga, go
Speaker 1: to school, go get a trade, don't get up in
Speaker 1: this shit plan. If you get a record deal, want
Speaker 1: to make the biggest record possible. But those is what
Speaker 1: it's about. Records and hip hop, right. Hip hop is
Speaker 1: when you just get in you just want to represents
Speaker 1: what That's what motivated me. People ask me what motivated
Speaker 1: me to make twopoc Musk. I wanted to put on
Speaker 1: for the Los Angeles street urban coach. I want to
Speaker 1: tell our story. I wanted niggas to hear our perspective. Look,
Speaker 1: we all know pop's perspective, pock is fucking pop, but
Speaker 1: I wanted them to hear our perspective, the La street
Speaker 1: nigga and our trials and tribulation that we have to
Speaker 1: overcome in the face of all adversity. That's why it's
Speaker 1: a brick in the pillar that hip hop built. That
Speaker 1: song forever will be in the mind of niggas who
Speaker 1: fuck with hip hop. They'll be talking about that bitch
Speaker 1: for twenty or thirty years. They'll be waiting for somebody
Speaker 1: to have enough heart to make another kind of record
Speaker 1: like that. That's what this shit is about. Putting the
Speaker 1: fuck on putting on you fucking up. That's what you
Speaker 1: gotta get. It ain't about no rap, no fucking music.
Speaker 1: This shit is about the street, urban culture. You get
Speaker 1: a record deal, that's about the record.
Speaker 2: That's it.
Speaker 1: Whoever represents they people the best. It's gonna be the
Speaker 1: most successful as far as hip hop goes. Now, Drake
Speaker 1: is different. Drake is a pop artist. All he gotta
Speaker 1: do is stay popular and make pop records. He don't
Speaker 1: gotta represent nobody but himself. That's it. He can represent
Speaker 1: different niggas on different albums. I represent the New York
Speaker 1: niggas this week. This started from the bottom this week.
Speaker 1: On this album, I'm representing the West Coast. I'ma have
Speaker 1: a low I'm have a low Rider under the Bay Bridge.
Speaker 1: I'm gonna have a fucking Los Angeles, Southern California car
Speaker 1: under the Bay Bridge because I can't separate the two.
Speaker 1: So I'm gonna compact them together like a pop artist
Speaker 1: because I don't get it. And this is the I'm
Speaker 1: putting on for the West Coast. Then I'm gonna put
Speaker 1: it on for Houston. I'ma go down there and on
Speaker 1: I'm gonna go down to the Memphis I'm gonna put it.
Speaker 1: He can go anywhere. That's what he does. You don't
Speaker 1: have the luxury because you bear the burden of street
Speaker 1: urban culture. If you even tried to think you're gonna
Speaker 1: represent niggas, you're gonna have a problem.
Speaker 3: I'm gonna put on a raptor's jersey and take it
Speaker 3: back to Ontario.
Speaker 1: Now he's as a Canadian, right, so again with as
Speaker 1: ber mitzvah exactly. That's that's what the point of this
Speaker 1: shit is. That's what hip hop is all about. You
Speaker 1: can't mix cholo or Chicano and hip hop because Chicano
Speaker 1: and cholo is hip hop. It is street urban culture,
Speaker 1: complete top to bottom, a whole motherfucking culture, and the
Speaker 1: world is intrigued by it. That's why you see movies
Speaker 1: about it. That's why you see people want to know
Speaker 1: what happened with Montana. They waiting on the rapper to
Speaker 1: voice Montana the correct way. They waiting on just like
Speaker 1: Snoop voiced Rocket and Doe Boy as a rapper, he
Speaker 1: voiced those characters, just like jay Z voiced you know,
Speaker 1: Nino Brown. They're waiting on somebody to voice the movies
Speaker 1: that they know they're waiting Solo is a national thing
Speaker 1: in America. Everybody in every state knows about Cholo's how
Speaker 1: big it is. It's different, but every state has probably
Speaker 1: seen Training Day, so they.
Speaker 3: Also now too, Yeah China and China, Yeah in Japan.
Speaker 1: So again they're waiting on somebody to voice it in
Speaker 1: a record, to voice the culture. They're waiting on somebody
Speaker 1: like who is the Smiley? Who's Smiley? They waiting, But
Speaker 1: you gotta make the right fucking record so a record
Speaker 1: company can give you a chance to take that around
Speaker 1: the rest of the world. Snoop, just being a crypt
Speaker 1: would have been nothing without g thing.
Speaker 2: But all these kids, you try to tell them that. Again,
Speaker 2: what I'm saying, I.
Speaker 1: Don't care what an ignorant, dumb ass, fucking kid thing.
Speaker 1: I don't care.
Speaker 2: Well, okay, but I'm saying, so when you're.
Speaker 1: Telling me what a motherfucker who don't know thinks, means
Speaker 1: nothing to me. Imagine you tell your daughter trying to
Speaker 1: tell you something about cars, Daddy, would I'm telling you
Speaker 1: you don't have to put eighty seven. You could mix
Speaker 1: water with your gas. I don't can you you gonna,
Speaker 1: oh you know what, let me mix water my guess
Speaker 1: they don't know. They don't fucking know.
Speaker 2: Well, I'm saying that for the generation to come though.
Speaker 2: If they think that that is something that is outdated,
Speaker 2: even if it's someone older.
Speaker 1: I don't care what they think. You're making a point
Speaker 1: right now, and this is the problem. Culture doesn't outdate.
Speaker 1: Culture is permanent. It's the reason why there ain't no
Speaker 1: more slaves in America? Right for sure? Do we agree
Speaker 1: that there's no more slaves?
Speaker 2: I don't know if that's true.
Speaker 1: Are there a black slave plant? Are they plantations where
Speaker 1: niggas work jazz? This niggas tripping jazz? Do you know
Speaker 1: if any plantation where niggas is picking cotton in America? Today? No? No?
Speaker 1: Is there still soul full fucking restaurants around the fucking country.
Speaker 1: Is It's still plenty of people craving slave fool around.
Speaker 1: You will never fucking change. So I'm not listening to
Speaker 1: no kid that think you need to mix water with
Speaker 1: gas to get better gas mintage. I don't fucking care
Speaker 1: what they think. I'm telling them. I know. That's why
Speaker 1: I speak with this authority. I have paid years my
Speaker 1: youth to know what I know. If you want to
Speaker 1: do it, this is it. You can't point no winners
Speaker 1: to me. You could point a nigga that's doing middle class,
Speaker 1: but you can't point to me the next young thug
Speaker 1: doing it. You can't point to me the next Kendrick
Speaker 1: doing it. You know why Kendrick worked because he's on
Speaker 1: his fucking album Couple with a T shirt. Dickie's in
Speaker 1: a fucking gun.
Speaker 2: It's bottom line. The young Mexican artist that understands.
Speaker 1: Mexican that gotta put on. If they understand that and
Speaker 1: then they have somebody who know how to make records,
Speaker 1: they'll win. They'll have an open lane that nobody's ever had.
Speaker 1: And smoke.
Speaker 3: Sat was doing a podcast the other day and that
Speaker 3: times out and he said, well you said, he said,
Speaker 3: point is is better fucking music. That's it.
Speaker 1: I had the same conversation with Criminal on his podcast.
Speaker 1: He was like, gee, man, all this crazy shit going on.
Speaker 1: I just did a Criminal podcast two weeks ago. She said, man, gee,
Speaker 1: but what do you think man, Like, do you think
Speaker 1: it's because our cultures is out? Dave blah blah blah.
Speaker 1: You know what's the problem, man? You know it was
Speaker 1: just said so and so for Sit, you gotta get better.
Speaker 1: You gotta get better. It's gonna be tough because they've
Speaker 1: been talking about the West Coast for forty years. Colors
Speaker 1: came out in the eighties, them in the eighty fivey six,
Speaker 1: eighty seven, eighty eight, sometimes that's almost forty years ago.
Speaker 1: They've been learning about La Street, urban culture, blood and
Speaker 1: blood out American me. These movies is early nineties. Training
Speaker 1: Day is in the nineties at this point, damn near
Speaker 1: two thousand and some. Shit, this is how long they've
Speaker 1: had Snoop Kid, Frost, Nwa, Easy Ice Tea since the
Speaker 1: fucking eighties. They know, we had movies about multiple drug dealers.
Speaker 1: We had a TV show about a drug dealer. Our
Speaker 1: fucking street gang members that don't have nothing to do
Speaker 1: with nothing are famous. Tooki is famous around the world.
Speaker 1: They was trying to stop his execution in fifty fucking states,
Speaker 1: Like this is how famous La Street urban culture. So yes,
Speaker 1: you got your work cut out because they have been
Speaker 1: a nigga from out of town might think he know
Speaker 1: more about La than you, and you be an LA nigga,
Speaker 1: They be like, well, I know La more than you, nigga,
Speaker 1: because he listened to the music, right, So yes, your
Speaker 1: work is cut out because at the end of the day,
Speaker 1: because they we have been being celebrated for a long time.
Speaker 1: We have been celebrities for a long fucking time. Ice
Speaker 1: Team was a celebrity in eighty five eighty six. Short
Speaker 1: was a celebrity in eighty five eighty six. These niggas
Speaker 1: have been being celebrated for roughly forty years. Ice Tea.
Speaker 3: That's even in the Breakdan Radio.
Speaker 1: So, yes, your work is cut out. It's not gonna
Speaker 1: be easy, but it's already a laying cross to where
Speaker 1: you can get close enough to where if you figure
Speaker 1: out what makes it special, you can go right through
Speaker 1: the door and blow.
Speaker 2: But with what you said with Criminal, would you say
Speaker 2: that the expectation of most Mexican artists is always to
Speaker 2: be as big as the biggest black artist? Is that
Speaker 2: a mistake? Mentality?
Speaker 1: The biggest Black artist is only big because they make
Speaker 1: big records.
Speaker 2: So but do you Okay, But what I'm saying is
Speaker 2: Bash had some pretty big fucking records.
Speaker 3: I believe he's big.
Speaker 1: Is big?
Speaker 2: I agree, That's what I'm saying. But you go ask
Speaker 2: the average Mexican do they do? They do? They admire
Speaker 2: and revere him.
Speaker 1: But why do you why do you keep speaking on
Speaker 1: ignorance as some kind of like reason, as if because.
Speaker 2: Because I'm trying to get to the root of how
Speaker 2: to make the What I would love to do when
Speaker 2: you're talking about put On is to make the younger
Speaker 2: generation understand so that we can have what we've been
Speaker 2: asking for me to be big to be.
Speaker 1: So his thing and means thing is well, the biggest
Speaker 1: Mexican artist is not bigg at the biggest Black artists
Speaker 1: because they don't got the fucking records. But guess what,
Speaker 1: Cypress Hill had records. That's why be Real is a
Speaker 1: global star and that's Cypress Hell.
Speaker 3: Right.
Speaker 1: So now you asking, does be Real have I don't know,
Speaker 1: twenty fucking top forty songs like Doctor, like fucking jay Z.
Speaker 1: Probably not, But if you put him up against an
Speaker 1: artist that has as many top forty songs as he does,
Speaker 1: he'll be as big as that person. Put him on
Speaker 1: the verses, he'll be as big as that person. Because
Speaker 1: this shit is still records. It's at the end of
Speaker 1: the day, you can only go where the records take you.
Speaker 3: There's a lot of people that can sing, some be Real,
Speaker 3: Cypress Hill.
Speaker 1: Songs around the world. They tore around the fucking world,
Speaker 1: the country, the world, they had television shows. They are huge.
Speaker 1: So again I'm not trying to convince people who if
Speaker 1: you just look that success, like if I'm black, I'm successful,
Speaker 1: that's just racist. You're you're that's what You're inherently racist
Speaker 1: if you think jay Z is just big because he's black,
Speaker 1: because there's a lot of niggas that ain't that's black
Speaker 1: and hip hop that ain't big.
Speaker 3: And that's why I was asking what's big because people
Speaker 3: also get the perception when you people say big, that's
Speaker 3: the first name that was jay Z. How many jay
Speaker 3: Z's are there? It's only one jay Z and jay
Speaker 3: Z ain't snoop And we brought up and you said,
Speaker 3: a great woman, I always love bring on E forty
Speaker 3: so underrated as a mother, Like how the fuck this man?
Speaker 3: Y'all drop an album with twelve songs. His niggas drop
Speaker 3: in two double albums.
Speaker 1: At the same time forty and he's not big as
Speaker 1: jay Z. That's fucking unk. Okay's big as jay Z.
Speaker 3: And you said, seventy five percent of hip hop vocabulary
Speaker 3: is E forty base even from you know.
Speaker 1: Too Short came out in the early eighties and he
Speaker 1: not big at dog. It don't work with just being
Speaker 1: being black or being mess can be a Mexican hip
Speaker 1: hop ain't a setback. What's the setback is if you
Speaker 1: don't got the cuts, Because trust me, Eminem got cuts.
Speaker 1: He don't got probably as many. Well, actually he do,
Speaker 1: got a lot of top forty songs. That's why he
Speaker 1: big as a lot of motherfuckers. Now we can't talk
Speaker 1: about how big motherfucking a Yellowolf is. Yellowolf not as
Speaker 1: big as Eminem, or as rappers, as outcasts. It don't matter.
Speaker 1: This is a records business. Our brands and legacy follow records.
Speaker 1: Yesterday's a little different because you could be on Instagram
Speaker 1: and people can see your brand and they could fuck
Speaker 1: with you. But that don't mean when you do a concert,
Speaker 1: niggas is showing up. That's why all these niggas can't
Speaker 1: get out of the festivals. That's why they keep running
Speaker 1: all those adds talk about how the old actes doing
Speaker 1: well and the young actions doing bad. Because at the
Speaker 1: end of the day, you could only fake, thus can
Speaker 1: only fake, thus can only pretend for so long. You
Speaker 1: really gotta go do this shit. Don't you gotta do
Speaker 1: this shit. And it's about records. Being Mexican ain't holding
Speaker 1: nobody back in hip hop is not not having good records.
Speaker 1: It's the only thing gonna hold you back because you
Speaker 1: got some fucking cuts. Trust me, they jamming your shit.
Speaker 1: They gonna jam your shit. But you gotta even know
Speaker 1: what cuts is. And if you don't know what cuts is,
Speaker 1: you think, well, I like my songs. That may not
Speaker 1: be a cut. If you put on your songs, it's
Speaker 1: gonna sut off. The fucking can't say yet if it's not,
Speaker 1: it's the wrong fucking song.
Speaker 3: And you're right, because I'm sure there's as many black
Speaker 3: rappers that is feeling they're not making it either, just
Speaker 3: like a Mexican rapper, but that black rapper just ain't
Speaker 3: making the hits or making the song. They feel they
Speaker 3: shit is super popping, but it's not.
Speaker 2: I appreciate it. Notice I'm sitting back because I'm letting
Speaker 2: y'all get off because motherfuckers need to hear that. Yeah,
Speaker 2: because a lot of motherfuckers really feel that they're just
Speaker 2: not making it because Mexicans are not accepting that's not
Speaker 2: You're just not making the fucking right Mexicans.
Speaker 1: We are not making Mexicans only need to be except
Speaker 1: Mexicans only need to be accepted by Mexican people. If
Speaker 1: you except about Mexican people in America, you're probably the
Speaker 1: biggest artist in fucking America.
Speaker 2: By all Mexicans are majority.
Speaker 1: Yeah, I mean, if you look at that boy, what's
Speaker 1: that boy name? They be kissing all the men.
Speaker 2: Oh bad buddy.
Speaker 1: Yeah, that motherfucking huge and nobody get all them excuses.
Speaker 1: Is fucking for the birds. That shit for the fucking birds.
Speaker 1: I never loved when Nigga did Oh you know, it's
Speaker 1: just it. No, you're joint Saint Jam.
Speaker 3: And like you're saying that too. People talk about like
Speaker 3: the gatekeepers. I've already in my head and this is
Speaker 3: the way I think. I think people that say there's
Speaker 3: gatekeepers on maybe like a lower level, it's because you're
Speaker 3: looking for verification from people that you think that you
Speaker 3: want it from. You're not paying attention to other things.
Speaker 3: You just worried about this platform, or they ain't putting
Speaker 3: me on this platform.
Speaker 1: I told Trash that Trash be talking about if you
Speaker 1: get in hip hop to impress other rappers, you already
Speaker 1: fucked up.
Speaker 3: That's why you have a gatekeeper, cause you this person
Speaker 3: that you want so badly to pay attention to you
Speaker 3: is not paying attention to you. Now you say, oh,
Speaker 3: this motherfucker don't want to let me in. Let this motherfucker.
Speaker 1: It's fans. Although, and what changed is it used to
Speaker 1: be me to fans. That's what everybody asking me, Glass, Well,
Speaker 1: this rapper ain't gonna support you, So what I'm going
Speaker 1: to the fans? Well, Glass, this platform gonna spport you.
Speaker 1: So what I'm going to the fans. All they did
Speaker 1: was become a bridge from me to the fans. My
Speaker 1: job is to figure out how to get over that
Speaker 1: bridge without them. They don't. They don't got the only
Speaker 1: bridge to the fucking audience. It's up to me to
Speaker 1: figure it out. And if I ain't playing ball the
Speaker 1: way they want me to play ball, then I gotta
Speaker 1: do it myself. But it ain't no motherfucking excuses of oh,
Speaker 1: you know what, this is the reason I'm not making it,
Speaker 1: because no, it's because your joints ain't jamming. If you
Speaker 1: may cuts that jam, you'll be in the game.
Speaker 3: Like opening up for an artist. Me. Let's say you
Speaker 3: gotta show right, you're a headliner. I get to open
Speaker 3: up for G.
Speaker 2: You I got.
Speaker 3: There's only one thing two things I could do. Go
Speaker 3: in there and just do what I do, or really
Speaker 3: go in there and be like, I gotta take some
Speaker 3: of GE's fans because.
Speaker 1: And does it fit your audience? Do you make it?
Speaker 1: If a niggas doing certain things, I don't know why
Speaker 1: niggas don't put round pigs around hole.
Speaker 2: I learned that early on with you, exactly when I
Speaker 2: remember with the show that I met him at, even
Speaker 2: though it was a great experience, and I got to me,
Speaker 2: I shouldn't have been opening for DJ Quick, not with
Speaker 2: the music I had now stylistically, if if I was
Speaker 2: doing what I was supposed to, Sure, but is.
Speaker 3: That actually true?
Speaker 2: Hell yeah yeah, because you can't take people's fans that audience.
Speaker 1: Well, you can't take people fans you gain fans you
Speaker 1: don't take. Trust me, they not finna discover you and
Speaker 1: think to themselves like, why ain't fucking Quick no more?
Speaker 1: This nigga is the nigga. No, he'll just add you
Speaker 1: to his music.
Speaker 3: He might well do you hear you on a Tuesday?
Speaker 1: But he've been listening to Quick. He might listen to
Speaker 1: you like he listening to Quick, or he might listen
Speaker 1: to you more than he listening Quick. But just because
Speaker 1: he heard of you, you ain't taking him from Quick.
Speaker 1: So just the mentality, it's just to have exposure with
Speaker 1: fan bases that fit the type of music you make.
Speaker 1: So yes, that's the point. But we just got to
Speaker 1: get to a place to where we stop blaming everything
Speaker 1: but not good music. It ain't the culture. Ain't playing
Speaker 1: that orders played. It ain't no such thing. People eating
Speaker 1: soul fool Slavery's been over two hundred fucking years. People
Speaker 1: still eating soul food right now. They sell it for
Speaker 1: more money than they ever got. Restaurants, clubs. They got
Speaker 1: a hundred dollars soul for playing trucks right now, twenty
Speaker 1: five dollar bowls of fucking soul food. Feel me. Soul
Speaker 1: food is pop and culture never expire. Culture is always
Speaker 1: gonna be something that we remind us of our struggle
Speaker 1: because we love the state as much as humans act
Speaker 1: like they want to deny it. They love. That's why
Speaker 1: them rich ass niggas come join gangs, because they trying
Speaker 1: to stay rooted within the culture and the community of poverty.
Speaker 1: And struggle to remember. They want that respect that we
Speaker 1: create in that environment. Don't nobody want to be up
Speaker 1: there with them white people all that tall, like niggas
Speaker 1: want to be up with the white people's eating that
Speaker 1: fucking shit. No, you don't. You just don't want the
Speaker 1: traumatic experience that came with not having something. That's all
Speaker 1: you really want. But in real life, you would love
Speaker 1: to still be able to walk amongst your peers and
Speaker 1: show love and get gratitude. That's what we all desire
Speaker 1: and nigga. So that's why hip hop, the culture will
Speaker 1: never Nigga Dicky's could never play out because it's always
Speaker 1: a nigga struggling. This is America. Chucks could never play
Speaker 1: out because it's always a nigga struggling and this is America.
Speaker 1: It could never play out. You always want to remember
Speaker 1: because you want to always stay connected to that dirt,
Speaker 1: to that ground, CUD. That's why culture could never play out.
Speaker 1: So I can't argue with kids telling me about culture.
Speaker 1: They don't know shit. Your favorite food is fucking McDonald's.
Speaker 1: You don't know shit. What the fuck I was telling
Speaker 1: Cable either, Well, how do you reach the twins? I'm
Speaker 1: not reaching the twins. They like McDonald's. This is in
Speaker 1: and out. They gonna grow up one day and be like,
Speaker 1: I'm fucking with that. They gonna one day your kid
Speaker 1: gonna wake up trash and be like, I don't want
Speaker 1: that no more. Where you going in and out? I
Speaker 1: want that. That's what I'll make. Drake is trying to
Speaker 1: make McDonald's because he's been having McDonald's for years. Glasses
Speaker 1: is making in and out. This is gonna be with
Speaker 1: you when you get your when you grow some hair
Speaker 1: on your nuts. This is what you want to eat.
Speaker 1: You can eat this forever. That's the thing. You can
Speaker 1: only eat McDonald's till you like fifteen if you got
Speaker 1: a brain, thirteen, if you fourteen, fifteen is pushing it.
Speaker 1: Seventeen eighteen. You just fucked up as a kid. But
Speaker 1: guess what you eat in and out forever? When you
Speaker 1: finally eat that fucking your first double double, McDonald's can't
Speaker 1: give you that no more. And I'll be right here
Speaker 1: to your motherfucking asses eighty twenty to eighty You with me,
Speaker 1: McDonald Drake had have you until you twenty one? All
Speaker 1: that little popcorn bubblegum lie you tell you because all
Speaker 1: that main street popshit, all these niggas tell you y'all
Speaker 1: can have that. But when you ready to get this
Speaker 1: real nourishment, I'm right here waiting for you, Cuz I
Speaker 1: ain't got seven thousand locations across America across the country.
Speaker 1: I ain't got seventeen thousand locations across the world. It's
Speaker 1: about four five hundred of these. Guess what, you're jump
Speaker 1: on a plane to come get this real work. Make
Speaker 1: you feel better, get this work. You're gonna show this
Speaker 1: work to other motherfuckers to say, y'all fuck with in
Speaker 1: and out, because it's that work, and that's what your
Speaker 1: job is, to purify your shit and deliver that. You
Speaker 1: can't wake up one day and make McDonald's. McDonald's a
Speaker 1: full process of a lot of motherfuckers getting beaten fucked over.
Speaker 1: There's a lot of evil in that business. A lot
Speaker 1: of evil in McDonald's. A niggas stole two niggas whole
Speaker 1: ideas and ruin their whole business to put it for everybody.
Speaker 1: And it don't even represent food no more. It represents
Speaker 1: wealth for kids. McDonald's represent wealth for kids. Wherever got
Speaker 1: the happy meal, they're the ones doing good. Addy Murphy
Speaker 1: told you about this in the eighties. Nigga have a
Speaker 1: full beef berger with all kinds of flavors and vestibles,
Speaker 1: extra shit put on there to make it worth a lot.
Speaker 1: But if somebody got McDonald's, he's supposed to be doing better.
Speaker 1: So I don't give a fuck when those little fucking
Speaker 1: kids think card them nigga's ignorant. It's my job to
Speaker 1: teach them. It ain't my job to listen to them
Speaker 1: as far as outside of letting them speak. My job
Speaker 1: is to teach them the truth. This is the facts.
Speaker 1: Good looking out for tuning into the No Seller's Podcast.
Speaker 1: Please do us a favorite, subscribe, rate, comment, and share.
Speaker 1: This episode was recorded right here on the West coast
Speaker 1: of the USA and produced by my homeboy A King,
Speaker 1: for the Black Effect Podcast Network and now heard Radio
Speaker 1: Yeah