Speaker 1: All right, job.
Speaker 2: All across the USC Compton, Watts Bay to LA. Come
Speaker 2: on to California day from out in the valley, we
Speaker 2: represent that Keller County. So if you're keeping it real
Speaker 2: on your side of your town, you tune into Gainst
Speaker 2: the Chronicles coronic goals.
Speaker 3: We gonna tell you how are we goals? If I
Speaker 3: lie my nose will girl like Pinocchio. We're gonna tell
Speaker 3: you the truth and nothing but the choosangs.
Speaker 2: The chronic goals. This is not your average shows. You're
Speaker 2: now tuned into the rail mc ain't, Big Change and
Speaker 2: big steels the streets.
Speaker 1: Hello, Welcome to the gangst the Chronicles podcast, the production
Speaker 1: of iHeartRadio and Black Effect podcast Network. Make sure you
Speaker 1: download the iHeart app and subscribe to Against the Chronicles.
Speaker 1: For my Apple users, hit the Purple Michael on your
Speaker 1: front screen. Subscribed to Against the Chronicles, leave a start
Speaker 1: rating and comment Jill, you know what it is? Another
Speaker 1: episode a gangst the Chronicles. I'm with the homie big
Speaker 1: steal man. Hey, it's been a long time. You just
Speaker 1: came back from from Europe, trouncing all over Europe. Man
Speaker 1: out there killing the shows. I saw everything was sold
Speaker 1: out all the time.
Speaker 3: Yeah, man, it's all good. Man.
Speaker 4: Tell people they treat us a little differently overseas, man.
Speaker 4: Seemed like you get a little more respect overseas, and
Speaker 4: and people really appreciate.
Speaker 3: Where you come from.
Speaker 4: You know, how long you've been putting in uh work,
Speaker 4: trying to represent whatever form of hip hop you may
Speaker 4: call your shit, you know, just to be able to
Speaker 4: go outside of the States and see that, at least
Speaker 4: what I've been able to do, uh is greatly appreciate it.
Speaker 4: When you got sold out shows in different countries and
Speaker 4: people can barely speak English but they know your motherfucking
Speaker 4: song's word for word. That's that's just appreciation, you feel me.
Speaker 1: Yeah, it's appreciated for sure.
Speaker 3: Man.
Speaker 1: I noticed that too when I went over to Japan.
Speaker 1: Over in Japan you get Michael Jackson treatment, England you
Speaker 1: get Michael Jackson treatment. Germany you get Michael Jackson treatment,
Speaker 1: and over here it's kind of just like, oh, what's up, man,
Speaker 1: because everybody over here is a rapper, Everybody over here
Speaker 1: got a podcast, everybody over here actor, everybody got something
Speaker 1: going on. But it's all good though. Ate you a legend, man.
Speaker 4: I think it's just different levels of you know, you know,
Speaker 4: it's it's a little difficult you know in some in
Speaker 4: some places, and all just depends on how people received
Speaker 4: you when it comes to over here. You know, we
Speaker 4: got a lot of different artists, a lot of different
Speaker 4: territories and boundaries and ship like that. So a lot
Speaker 4: of that tends to play a part and your acceptance
Speaker 4: from a lot of niggas, you know, which is unfortunate
Speaker 4: because I never gotten the music to try to glorify
Speaker 4: a certain aspect of uh, where I came from or
Speaker 4: what we was banging or whatever. You know, niggas knew
Speaker 4: that because we was doing that before we started rapping. Uh,
Speaker 4: it wasn't like a lot of trendy ship today where
Speaker 4: you know, it's cool to gang bang now it's cool
Speaker 4: to no, it's cool to claim the hood and territories
Speaker 4: and ship, you know, I you know today ship I
Speaker 4: could grow up in in in fucking Pittsburgh and say
Speaker 4: I'm from a neighborhood in Campton.
Speaker 3: You know.
Speaker 4: Uh that's how it works today, which is you know,
Speaker 4: no disrespect. Because a lot of niggas died and UH
Speaker 4: got locked away for trying to be true to the
Speaker 4: to the the hood life. But uh, you know, it's
Speaker 4: a it's a give and take, you know what I'm saying,
Speaker 4: especially when you come from the from the streets and
Speaker 4: you are the artists. Uh you Like I said, I
Speaker 4: never got into it to glorify one side. I was
Speaker 4: just making music because niggas was struggling, you feel me.
Speaker 4: That was crip's bloods essays niggas in Texas, New York, Chicago,
Speaker 4: Saint Louis. That's what I made music for because I
Speaker 4: looked at it like shit.
Speaker 1: It's almost like this, you know, which is a good
Speaker 1: segue and the introduce him to Night's guests. He's the
Speaker 1: program director from ninety five ninety seven, from nineteen ninety
Speaker 1: seven on up to two thousand and five. Two thousand
Speaker 1: and six, that one of the biggest. It was the
Speaker 1: number one radio station in the country at his time
Speaker 1: under his regime, and I think it was Power one
Speaker 1: oh six was number one and Hot ninety seven was
Speaker 1: number two.
Speaker 3: Well, I mean both were number one in their respective markets,
Speaker 3: but I oversaw Power one o six and then I
Speaker 3: spent a lot of time at Hot ninety seven, and
Speaker 3: then I had thirty two stations in the metal.
Speaker 1: That's right, you worrying charge of hot ninety seven four
Speaker 1: a minute. Tom Yep added.
Speaker 3: Two of the little chem shooting they called me in
Speaker 3: the comments, and you know.
Speaker 1: He shouldn't need an introduction, but this is Damian Young,
Speaker 1: and he's pretty much the one that's responsible for bringing
Speaker 1: Gangster rapped to the rhythmic format because you came right
Speaker 1: in during the time the whole death row thing jumped off,
Speaker 1: whole defferent thing jumped off. And that's why when I
Speaker 1: was asking eight if he had mixed, because I.
Speaker 3: Just knew you knew him that we never met before.
Speaker 3: I just knew him all day because I just knew.
Speaker 1: I said at that time, he was like, you know,
Speaker 1: as far as Gangster rep go, Eight was like, you know.
Speaker 3: God out here, I definitely knew who was the records
Speaker 3: to us.
Speaker 1: Yeah, that's that's maybe some of that disrespect you was
Speaker 1: talk about, I said, and I thought about it. I said,
Speaker 1: eight didn't have a lot of records on power.
Speaker 4: I didn't have a lot of records on the radio period,
Speaker 4: you know, Not that I didn't see radio as valuable too,
Speaker 4: I just I just I never geared my music towards radio.
Speaker 4: And that goes back to when when I started rapping
Speaker 4: in the garage with the homie making tapes. You know,
Speaker 4: I always saw music as a struggle. Everybody did different shit,
Speaker 4: you get me. We had the niggas who would get
Speaker 4: you in the party and shake you up. We had
Speaker 4: the motherfuckers who you know, had the danceable.
Speaker 3: Tunes and all of that. I was.
Speaker 4: I always considered my music, uh, the score for the neighborhood.
Speaker 4: So you know, all those stories and all those ship
Speaker 4: that we saw, I wanted to put a sinister soundtrack
Speaker 4: to that shit.
Speaker 3: That's why I don't know.
Speaker 4: I never thought about making club friendly songs or uh
Speaker 4: songs that that that's that Epic could go, you know,
Speaker 4: pursue on the radio or whatever. I never thought of it.
Speaker 4: And then the crazy shit about it was the label
Speaker 4: never asked me to do that type of ship. They
Speaker 4: didn't have touch me for a radio friendly songs.
Speaker 1: Did you know how valuable you were to the Epic system?
Speaker 1: Think about this, They was gonna get a gold or
Speaker 1: playing them album all you ever hear it didn't have
Speaker 1: to spend no money on radio.
Speaker 4: I thought, honestly, I was probably a write off to
Speaker 4: Epic because I mean, should Epic had Michael Jackson at
Speaker 4: the time, they had Pearl Jam, they had shaw Day,
Speaker 4: you know they I just.
Speaker 3: Thought about that. You never try to get a record
Speaker 3: with shut out. I mean Epic Records.
Speaker 4: Many they were distributing Death Champan Sony Sony was distributed.
Speaker 3: But like me at Epic, I mean, who could you do?
Speaker 4: Like again, they had at the time when I signed
Speaker 4: to Epic Records, they had Michael Jackson who had just
Speaker 4: came off a thriller.
Speaker 3: They had Pearl.
Speaker 4: Jamm, who was one of the biggest motherfucking rock bands
Speaker 4: at the time, and they had shaw Day. So that's
Speaker 4: cole Ros was a write off. Nigga, shit hit. I
Speaker 4: wasn't those significant. I didn't get no I didn't get
Speaker 4: no significant. They Epic didn't know what to do with
Speaker 4: rap music back then. They had no idea what to
Speaker 4: do with it. Because, like I said, when you look
Speaker 4: at those three artists, nigga, they was selling the label,
Speaker 4: you're getting so doubt. It was one of those things
Speaker 4: where they was like, man, we got some money to
Speaker 4: fuck off or throw away everybody doing this rap thing
Speaker 4: right now, so fuck it, let's go grab us up.
Speaker 4: Some artists know every artist that they had up until
Speaker 4: I came along.
Speaker 3: They didn't know what the fuck to do it.
Speaker 1: And you was different ten years right.
Speaker 3: I was at Epic from.
Speaker 4: I want to say, about ninety one ninety two till
Speaker 4: about ninety seven, see that.
Speaker 3: And I came in at ninety seven.
Speaker 1: Yeah, you came in ninety seven.
Speaker 4: So yeah, I left Epic right at the like you said,
Speaker 4: at the height of death row and whatever. But I
Speaker 4: left Epic because everybody got fired. They brought in a game,
Speaker 4: the new motherfuckers. I think they had brought in Ron
Speaker 4: Sweeney and a couple of motherfuckers and they didn't know
Speaker 4: what they was doing beforehand. So I just decided to
Speaker 4: say fuck it and did my last record, and I
Speaker 4: was it.
Speaker 1: Yeah, before we before we go into this conversation with
Speaker 1: my men and the music, because we got a lot
Speaker 1: to talk about, bro, I gotta, you know, we gotta
Speaker 1: dig in the trash can a little bit and talk
Speaker 1: about the news and goings on and the musics of
Speaker 1: what's going on the internet land right now. You know.
Speaker 1: When I was on my way up here, my phone
Speaker 1: was blowing up. The people was telling me, Man, did
Speaker 1: you see the stuff with Diddy? You know, did you
Speaker 1: see the stuff that's going on with Diddy Man? I said, wow,
Speaker 1: Now they don't trug meet Mills all up in this
Speaker 1: mess man and talking about him, Usher and Usher and
Speaker 1: they got a thing to where some dude that's suing
Speaker 1: them from a lessener. Mm hmm if I'm if I'm
Speaker 1: not mistaken, it's just like, man.
Speaker 3: Yeah, I have no idea. What. Yeah, I know you
Speaker 3: don't do it try to. I believe that motherfucker is innocent,
Speaker 3: proven guilty, and and and and I'm with all of
Speaker 3: that ship too.
Speaker 4: But I've learned right now to just stay the fuck
Speaker 4: off my phone when it comes to looking for you know,
Speaker 4: because man, when I was in when I was overseas, man,
Speaker 4: it's just.
Speaker 1: They don't do all that over there do that.
Speaker 4: Motherfuckers wasn't on their phone and worried about Instagram and
Speaker 4: and and social media and all that shit, and it
Speaker 4: just you know, I got time to not have to
Speaker 4: fuck with it because everybody knew I was overseas on tour.
Speaker 4: So it's just crazy how every time you can go
Speaker 4: on your phone, it's just some shit. That's that's what
Speaker 4: kind of fucked me up and wore me down because
Speaker 4: it's just like everybody is on some shit man, just
Speaker 4: like and it like no, no bullshit, like everybody is
Speaker 4: on some ship to where I'd be trying to look
Speaker 4: for a little sense of normalcy with motherfuckers, Like it
Speaker 4: is a nigga just gonna be normal today. You know,
Speaker 4: can can a nigga wake up today and not see
Speaker 4: this nigga talk about this nigga or this nigga exposed
Speaker 4: this nigga or this don happen or that that like
Speaker 4: and I'm.
Speaker 1: Gonna tell you the say it. That's part about it, man.
Speaker 1: Like the whole thing with Benzeno, you have people away.
Speaker 3: You see what I'm saying. It's just shit, man, It's
Speaker 3: just it's just a g shit.
Speaker 1: Say was this right? The stuff with Bzino, This grown
Speaker 1: man is on their crime and people think this is
Speaker 1: a joke. I'm like, man, a lot of these dudes
Speaker 1: got mental stuff going on. Man, They need some help.
Speaker 1: Like my boy, my man Benzino shut off to Benzino.
Speaker 1: He a friend of the show. He's been on here before.
Speaker 1: You know, you had Benzeno, you had the stuff with Kodak.
Speaker 4: Talked to Benzino not even like maybe a month ago,
Speaker 4: like you know so that I mean, not like whatever,
Speaker 4: but it's just like it's just a gang of shit man,
Speaker 4: And I don't know like the end game is it
Speaker 4: for is it for money? Is it for popularity? Is
Speaker 4: it to is it the bush your status?
Speaker 1: You know what I think? Though, bro, me and you,
Speaker 1: now we coming here and we do this show faithfully
Speaker 1: every week. You've always shown up unless it's just like
Speaker 1: an act of God. That's the one way we ain't
Speaker 1: here right right. We just had us some time off
Speaker 1: because we always take time off from the last season.
Speaker 1: This season, people you know, hit me up online when
Speaker 1: the show coming back. It's like, damn, I'm not a machine.
Speaker 1: I need I'm an actual human being. Me and eight
Speaker 1: are human beings. We need a break sometimes.
Speaker 4: Oh yeah, you know said I was gonna come in
Speaker 4: last week. I was fresh off the plane. Man, I
Speaker 4: was gonna come in. But you know you gotta take
Speaker 4: a little time, yeah, you.
Speaker 1: Know, cause I was like I was on my death
Speaker 1: bed last week though. I was as sick as a dog.
Speaker 3: You know.
Speaker 1: So it's like you look at this and this is
Speaker 1: what I want to go back to segway into this
Speaker 1: today in today's market, like we were talking about the
Speaker 1: beginning of the show. Prior to the show starting, everybody
Speaker 1: has a podcast. Nowadays it's everything. Yeah, everybody was starting
Speaker 1: to wrap around ninety seven. Rapping to me felt like
Speaker 1: a thing that was special. Everybody didn't try to do
Speaker 1: it back in the day. You know, it wasn't a
Speaker 1: million people rapping. But then once people saw that there
Speaker 1: was some monetary value in becoming a rapper, you had everybody.
Speaker 1: Everybody wanted to become a rapper. I ain't gonna say
Speaker 1: an MC because MC is MC. You were m C eight.
Speaker 1: Here's your name, MC eight. You know you were MC.
Speaker 1: You're a storyteller.
Speaker 4: Yeah, we took pride and creating stories, you know, from
Speaker 4: youth life or or just from what the shit we
Speaker 4: seen as kids, because shit was valued differently when I
Speaker 4: grew up, you know, five six seven years old.
Speaker 3: Times were different. Was it gang banging and shit?
Speaker 1: Yeah?
Speaker 3: Was it niggas selling dope and going to jail and shit? Yeah?
Speaker 4: But man, man, did these cameras and these phones and
Speaker 4: these social media stages made and have get like like
Speaker 4: you said, like it used to be like nigga. I know,
Speaker 4: I knew I wasn't finna be no basketball player. You
Speaker 4: get me, But now you can't. You can't do that.
Speaker 4: You feel me. Now, today you got a thousand motherfuckers
Speaker 4: finna sign their kids up for basketball knowing damn well,
Speaker 4: Nigga shouldn't be playing back.
Speaker 3: They're doing it for the wrong reasons. You get me,
Speaker 3: Fuck it.
Speaker 4: All you gotta do is put in the motherfucking laptop,
Speaker 4: a couple of little speakers in the microphone in the
Speaker 4: corner in your kitchen.
Speaker 3: Everybody's a rapper, now, you get me. Fuck it.
Speaker 4: I'm gonna find a beat program on fucking Internet and
Speaker 4: start doing some one two one two beats. Everybody a
Speaker 4: producer now, Like I knew what position to play, I
Speaker 4: knew I could MC, but Nigga ain't finna get up
Speaker 4: there and try to DJ just because we got speakers
Speaker 4: here and I mean turntables and ship and I'm nigga
Speaker 4: fucked that. I'm DJ eight now, Nigga, I couldn't motherfucking
Speaker 4: scratch a record or transform and do none of that
Speaker 4: ship and I'm not gonna fake the funk to do.
Speaker 3: You get me.
Speaker 4: I'm gonna play my position today. Motherfuckers don't know that.
Speaker 4: Like I tell you, every time we get on here,
Speaker 4: some people have people today have a problem with being
Speaker 4: just normal, problem with that. I fucked that. I can't
Speaker 4: be nigga. I'm finna be the next this, next that
Speaker 4: or next that. When you could just be your motherfucker itself.
Speaker 1: And this man when he came in, he pretty much
Speaker 1: because you gotta remember, prior to miser remember we was clowning.
Speaker 1: We was paving fun with the lines. I'll talk about
Speaker 1: the then and then then then then everything sounded like
Speaker 1: a planet of rock beat.
Speaker 3: Everything was techno for everything.
Speaker 1: Was techno, and this man came in and it started
Speaker 1: getting a little gangster. So we gonna go. We're gonna
Speaker 1: go from the We're gonna go from the beginning is
Speaker 1: but I got a Tolka's part was such a big
Speaker 1: part of your life? Right when did you come in
Speaker 1: and decided it was time to shake shit up?
Speaker 3: Second I walked in the door, what did you see?
Speaker 1: Because La had you know, eight had his own theory
Speaker 1: about La real. He said, man, it was what.
Speaker 3: Well, I mean, it was wide open, like I would
Speaker 3: you know. I was always somebody who just loved music.
Speaker 3: So I loved rap music, so I loved Doctor Dre
Speaker 3: the chronic. I loved uh you know, Snoop Dog. I
Speaker 3: loved all the easye I loved I drive up and
Speaker 3: listen to Julio G and kDa, you know, and Tony
Speaker 3: G and the Mixed Masters and you know, all battle
Speaker 3: Cat and all of those guys. And you know, when
Speaker 3: I got there, that was my goal was to emulate kDa,
Speaker 3: but bring it back on that level and make hip
Speaker 3: hop the number one format in the world. Because they
Speaker 3: just said we couldn't do that. So I was just like,
Speaker 3: fuck you, of course we could, you know, because if
Speaker 3: you go anywhere anywhere where, you'd hear rap in the streets.
Speaker 3: Like for instance, you know, when I first played Ain't
Speaker 3: No Fun in Morning Drive, people had a coronary, you
Speaker 3: know what I mean. Management freaked out, So I literally
Speaker 3: had to put it in our research to show them
Speaker 3: that it would test more than our current records.
Speaker 1: And that was a like record to me, you know,
Speaker 1: even though they subject matter, you know, Ain't no Fun
Speaker 1: if the homies can't have nothing, Yeah, but that was
Speaker 1: a fun record. That's not like a record that should
Speaker 1: have been on the regular to me.
Speaker 3: Well, but the thing was is it was it wasn't
Speaker 3: really sensorable, you know what I mean. Like even when
Speaker 3: you muted the stuff, you knew what they was saying. Definitely,
Speaker 3: you know what I mean. So, I mean I had
Speaker 3: some barriers to overcome, but I proved them each time.
Speaker 3: And like, for instance, I put Dray and Snoop together
Speaker 3: for two thousand and one. It wasn't for two thousand
Speaker 3: and one. It was because I wanted to see the show.
Speaker 3: So we did it in Hawaii and did a whole
Speaker 3: contest around it so that literally I could see the show.
Speaker 1: This is dope, man, you know. So you just pretty
Speaker 1: much got the have your own party like so you said,
Speaker 1: I'm gonna do this, so you just like you power.
Speaker 3: Was my personality. Sorry, it's all good.
Speaker 1: So you just like like you programming your own playlist
Speaker 1: on the iPhone right now. You said, I want to
Speaker 1: see this and this, let's put this together.
Speaker 3: If you let the ultimate rap fan into a building
Speaker 3: and said you have a transmitter, that's what it was.
Speaker 1: That's what it was. So so tell me. So when
Speaker 1: you first came in, you said you started right off
Speaker 1: the rip, like we go shake some stuff up. Oh yeah,
Speaker 1: And then you had this monster of a record label
Speaker 1: which was deaf ro. Did you hear about the ass
Speaker 1: whoopers and everything that was going on? Hell?
Speaker 3: Yeah, I was friends with Johnny J. Johnny J was
Speaker 3: my first mentor in production. Yeah, resk in peace Johnny J. Yeah,
Speaker 3: rec Johnny J. And Ronnie King. Shout out to Ronnie King,
Speaker 3: and you know, those were like the first people that
Speaker 3: I met when I came to LA. So you know,
Speaker 3: it was right as you know all that was going on,
Speaker 3: and Johnny actually gave me unconditional love by Tupac and
Speaker 3: it was exclusive content for us, but it made death
Speaker 3: throw a little mad. Yeah, yeah, so they I ended
Speaker 3: up getting notes on my car and all this stuff.
Speaker 3: But I ended up meeting Sugar and I just found
Speaker 3: out if you treat people with respect or get respect.
Speaker 3: So that was that.
Speaker 1: Now, your first interaction with Shug, how was that? Because
Speaker 1: I'm pretty sure you the radio dudes, so I'm pretty
Speaker 1: sure he was freaking you nice. And just for the record,
Speaker 1: Shug wasn't out here whooping on everybody. Now like some
Speaker 1: of that stuff was kind of blew up. He was
Speaker 1: whooping some asss, but everybody wouldn't get in the ass
Speaker 1: whooped them.
Speaker 3: Well, he he had just gotten out of jail, and
Speaker 3: the Anaheim Police Department came to me. We had a
Speaker 3: powerhouse and they came to me and they said, we're
Speaker 3: gonna shut your powerhouse down. We hear Sugar Knights coming.
Speaker 3: Because I had Snoop, I had Corrupt, I had Nate,
Speaker 3: I had you know what I mean, I had everybody
Speaker 3: that used to be on his label. So they said,
Speaker 3: you know we're gonna shut it down. I said, well,
Speaker 3: why isn't somebody just call him and invite him. Then
Speaker 3: we'll know where he's at. And they said, great, go ahead,
Speaker 3: and I was like me and so I ended up
Speaker 3: calling death Row. And the first time I called, I
Speaker 3: remember Cedric who picked up the phone hung up on me,
Speaker 3: didn't believe it was me from power calling for Shug.
Speaker 3: And then I called back again and he's like, dude,
Speaker 3: people just don't call her here for Sugar a lot,
Speaker 3: you know what I mean. And he's like, he's at home.
Speaker 3: So Sug got on the phone and I said, yeah,
Speaker 3: I hear you're coming to powerhouse and he said what's powerhouse?
Speaker 3: I said, come on, man, no fuck with me, and
Speaker 3: he was just like, okay, you know you're funny. D
Speaker 3: I was like yeah, so come be my guest, come
Speaker 3: to my suite and all this kind of stuff. He's like, Wow,
Speaker 3: no one's ever really invited me to something.
Speaker 1: That's what it is. Sometimes that's all it take, because
Speaker 1: I'm gonna tell you something.
Speaker 3: And he was cool as shit. He partied in the
Speaker 3: thing and had a blast. And I'll tell you the
Speaker 3: funny thing, though, is the next morning I didn't realize
Speaker 3: that he had all those Compton police officers with him,
Speaker 3: you know what I mean, like during that era. So
Speaker 3: the next morning, Sunday morning, was a knock at my
Speaker 3: door and I walked downstairs. I opened the door and
Speaker 3: there's a basket there with a bottle of champagne and
Speaker 3: all this kind of shit, and it said my with compliments,
Speaker 3: sug night. I never give that motherfucking my address, you
Speaker 3: know what I.
Speaker 1: Mean exactly, But he obviously, see what should you never know?
Speaker 1: It could be too fold. Yeah, he was just showing
Speaker 1: you he appreciated you. But in the same tone, he'd
Speaker 1: let you know I could find your ass his need
Speaker 1: be so you better keep this nice guy and stuff
Speaker 1: going on.
Speaker 3: But but he always was, you know what, He never
Speaker 3: gave me an excuse. I was always honest with him,
Speaker 3: you know what I mean, if there was a record
Speaker 3: he wanted to play that, he'd say, come up. You know.
Speaker 3: One time I remember he wanted to come up and
Speaker 3: play the Crooked Eye single and uh and I said, well,
Speaker 3: if I tell the mixes that you're coming, they're not
Speaker 3: going to show up. So we surprised the mixers and
Speaker 3: when he walked in, they all hit the back wall, like,
Speaker 3: they all got up, and I'm like.
Speaker 1: He's not going to kill you. Like see, that's kind
Speaker 1: of like you know yea.
Speaker 3: And Jimmy Steele, the program director by the way, when
Speaker 3: he was smoking his cigard and there, I said, sure,
Speaker 3: you can't smoke in here, and he put you put
Speaker 3: the thing out. He's like, I'm sorry, mis and my
Speaker 3: program director literally shit himself, Like I mean, it was
Speaker 3: just like, dude, what are you into? How are you?
Speaker 1: That's the thing though, man, And this is what I'm
Speaker 1: gonna say about that. You can't you can't do your business,
Speaker 1: make black culture your business, but be scared to deal
Speaker 1: with the people.
Speaker 4: Well that's because you know the image that you know
Speaker 4: that was put off by past you know, past situations
Speaker 4: or you know.
Speaker 3: What you hear a word of mouth that scared some motherfuckers.
Speaker 4: You know, you hear a motherfucker and hung a nigga
Speaker 4: off a balcony, or you hear a motherfucker and had
Speaker 4: motherfucker's asses whooped in a private room in the red room,
Speaker 4: or niggas hear stories so and especially at the executive level,
Speaker 4: that's scared of shit out of motherfuckers. When niggas got
Speaker 4: to the point to where they start walking in labels
Speaker 4: and offices with baseball bats and ready to beat motherfucker's
Speaker 4: ass over records and songs played, that changed a lot
Speaker 4: of error for motherfuckers.
Speaker 1: Yeah, but you know what the thing is though, Miser
Speaker 1: made it cool for everybody to come to the station, though,
Speaker 1: because you just didn't extend that treatment to Shug. Yeah,
Speaker 1: I guarantee you eight, because you was on priority around
Speaker 1: that time, ninety seven, right ninety eight, ninety eight, I
Speaker 1: guarantee you. If somebody could have connected y'all too, just
Speaker 1: took the time, just did their job and just say, hey,
Speaker 1: eight is coming out with a record. Because that album,
Speaker 1: you had some joints that could have played on Power.
Speaker 4: Yeah, we kind of switched it up a little bit
Speaker 4: when I got the Priority through Mac ten through Who Banging?
Speaker 3: So was that the Mark Benisher? I think Mark was.
Speaker 4: There's a few dudes there. It was a few dudes
Speaker 4: there at probably already at the time when Mac t
Speaker 4: and that Who Banging?
Speaker 3: Master P was the same thing. I mean, he had
Speaker 3: that or whatever of you know, don't fuck with him,
Speaker 3: you know what I mean? Like, but you know, the
Speaker 3: thing was is like what because Mark Benniss was a
Speaker 3: was a big influence on me, and he taught me
Speaker 3: just kind of how to deal with people, you know
Speaker 3: what I mean, It's like you're gonna experience this. And
Speaker 3: he actually put me in a room with P and
Speaker 3: Boz to see if they could intimidate me and kind
Speaker 3: of thing, you know what I mean. And I was
Speaker 3: just like it is what it is.
Speaker 1: That's the one thing I could say about you was this.
Speaker 1: You definitely was fucking with everybody. That's why when they
Speaker 1: told me he had mixed, I was like shop that.
Speaker 1: Let me know. The Priority just dropped the ball like
Speaker 1: a motherfucker, you know what I mean.
Speaker 3: Yeah, And then like I said, I was I've never
Speaker 3: been a.
Speaker 4: Nigga who quest for you know that type of shit,
Speaker 4: you know, And there's people out there, you know, like
Speaker 4: or we need to get with the we need to
Speaker 4: get with the program director, and we need to do this,
Speaker 4: and when you know, managers and all that shit. I
Speaker 4: never had that be getting.
Speaker 1: You can see that ain't necessarily your job.
Speaker 3: But on who banging, I mean, i had such a
Speaker 3: great relationship with mac Tenna.
Speaker 4: I'm just surprised that, yeah, because I didn't. Again I was.
Speaker 4: I've always been sort of lone wolf type of motherfucking artists.
Speaker 4: When when the work is done at the studio, nigga,
Speaker 4: I'm out of here and I'm going on the other
Speaker 4: side of the motherfucking planet, and you probably ain't gonna
Speaker 4: see me until it's time to do something. I wasn't
Speaker 4: a nigga who just hung out like a lot of people,
Speaker 4: you know, were active in the community. We're gonna go
Speaker 4: to concerts, We're gonna go. I never did that ship. Yeah,
Speaker 4: I would never see eight around. I never was around.
Speaker 3: That's why we never met. You know, he wouldn't going
Speaker 3: to hang out type of guy. I just do the clubs.
Speaker 4: I didn't do the radio station functions, the powers and
Speaker 4: the big cons.
Speaker 3: I didn't do that shit.
Speaker 1: Well, I told you. When we first came in and
Speaker 1: men was sitting here talking and we was talking about you,
Speaker 1: and I said, Man, to be honest with you, I
Speaker 1: love doing the show with eight because Eight is really
Speaker 1: no nonsense, Like you always gonna know what it deals
Speaker 1: with him, but it ain't no ulterior motives, it ain't
Speaker 1: no bullshit. He gonna tell you what he thinks on
Speaker 1: his mind and that's it. And I told him, I said, well, man,
Speaker 1: the first year we did the show, I said, man,
Speaker 1: I might talk to Eight five minutes outside the show
Speaker 1: every week, and I was kind of worried. I ain't
Speaker 1: gonna lie. I can say it now. I was like, man,
Speaker 1: this dude don't talk. I said, how are we gonna
Speaker 1: do this show together? Especially when all the other stuff
Speaker 1: started coming up. And then once he got the he
Speaker 1: a dude, that trust is earned with him. You have
Speaker 1: to earn your way in with him. He's not gonna
Speaker 1: give you the Hollywood political phony shit. He just gonna
Speaker 1: give it to you raw and none cut.
Speaker 4: Yeah, it's enough niggas for that. It's enough niggas to
Speaker 4: play that position.
Speaker 3: I don't. I don't.
Speaker 4: I'm not gonna play that position. So you just have
Speaker 4: to know what it is.
Speaker 3: Man.
Speaker 4: I'm a simple motherfucker. But like you said, I don't
Speaker 4: like the bullshit around because there's a lot of When
Speaker 4: you've been in this radio music shit, man, you.
Speaker 3: See a lot of fucking bullshit.
Speaker 4: Ye, And you see a lot of motherfuckers that you
Speaker 4: think are one way.
Speaker 3: Motherfuckers really ain't authentic. Man.
Speaker 4: You know, some niggas is cutthroat, some niggas don't give
Speaker 4: a fuck about shit, and so that make you really
Speaker 4: you know, you gotta stand with your back against the
Speaker 4: wall and just watch motherfuckers coming and feel.
Speaker 1: With him saying that niss you was in a real
Speaker 1: pivotal time. Man, it was dangerous. It's still dangerous on
Speaker 1: the West Coast, but it was dangerous as the motherfucker
Speaker 1: bet Yeah, especially if you had something that somebody wanted
Speaker 1: and as soon as somebody see you, they just see Man,
Speaker 1: this dude can change my life. He could play my record.
Speaker 1: Knowing how the industry work, he can play my records
Speaker 1: one hundred times a day if he wants to. And
Speaker 1: every you guys have a playlist, correct, there's a playlist,
Speaker 1: and is that playlist is based on research that they
Speaker 1: actually do call out and see what people are fucking with.
Speaker 1: So they got to play with that because the average
Speaker 1: person that listen to radio, and this is some game
Speaker 1: out there for y'all rappers that think that radio is
Speaker 1: hating on you, August I had to go get educated
Speaker 1: on it. It's based on what call out says. Correct.
Speaker 1: If it ain't nobody, there's no demand for your record,
Speaker 1: ain't no demand for it.
Speaker 3: And the average.
Speaker 1: Motherfucker that listening to radio only listen to it for
Speaker 1: fifteen minutes at a time, Am I correct? Is the
Speaker 1: fifteen minutes y? They only listen to it for fifteen
Speaker 1: minutes at a time. So what they're trying to do
Speaker 1: when people wonder why they're hearing the same damn record
Speaker 1: all the time, is because that record shows test good
Speaker 1: and call out and they trying to catch it. So
Speaker 1: when eight getting his car driving back to BFE, they
Speaker 1: can hear the records that hit, records that they like
Speaker 1: and make their trip listen. Yeah WL correct.
Speaker 3: Yeah. In fifteen minutes, you want to have like the
Speaker 3: hottest record in the world, the one classic that makes
Speaker 3: you go oh wow, and one that's like either coming
Speaker 3: down or coming up kind of thing. So I mean
Speaker 3: you want to keep people's attention as long as possible.
Speaker 3: You're fighting for quarter hours is really what it is
Speaker 3: the fifteen minutes, and the more fifteen minutes you get,
Speaker 3: the higher the ratings go. So every fifteen minutes a
Speaker 3: million people would tune in. But how did you how
Speaker 3: long did they stay? And my thing was, yeah, the
Speaker 3: records were one thing, but we were. What I was
Speaker 3: trying to get was the passion records. You know, all
Speaker 3: about you, you know, ain't no fun all the records
Speaker 3: that were never on the radio before. That would make
Speaker 3: people go, oh shit, that's on the radio. You know
Speaker 3: what I mean? Because I was just a fan of it.
Speaker 3: So that's what I wanted to hear on the radio,
Speaker 3: the shit that I never heard on the radio before.
Speaker 1: And that's dope and it actually worked. Now did you
Speaker 1: ever have those moments? Is like say, it was a
Speaker 1: real dangerous ear? Fuck?
Speaker 3: Yes? Did you?
Speaker 1: Some NIX you can talk about what's the most tripped
Speaker 1: where artists really just just trip you up? What artists
Speaker 1: aren't anybody manager whoever?
Speaker 3: I mean, I've had you know, people pull out guns,
Speaker 3: I've had people offer money. I've had rappers that I
Speaker 3: did favors for it, and they didn't understand why I
Speaker 3: did it, or offered me guns, bring me backpacks and
Speaker 3: hear them clank, and it's like, you know, I was like,
Speaker 3: that's not what I'm doing this for. If it was
Speaker 3: right for my radio station, I fucking did it. So
Speaker 3: I mean, how long did I spend with you still?
Speaker 3: I mean explaining everything?
Speaker 1: Man, he broke it down. I mean, you know, I
Speaker 1: was ourtist. I was young at one time. Everybody you know,
Speaker 1: and so I'm artist, and so I'm like everybody else.
Speaker 1: I'm kind of ignorant at that time, because you know
Speaker 1: how you in that young mode, you think everybody hate
Speaker 1: you know you're right. So I came up there with
Speaker 1: the intention of not liking this motherfucker. You stopped me
Speaker 1: from getting what I need. Once he broke it down
Speaker 1: to me, I was glad he did it because it
Speaker 1: changed the whole way I made music, and it changed
Speaker 1: my whole direction kind of. And I felt like a
Speaker 1: dumb ass.
Speaker 3: Well, and it only took a couple of those type
Speaker 3: of meetings before everybody kind of got it. You know
Speaker 3: what I'm saying. The dude's not an asshole. He'll either
Speaker 3: play your record if it's right for the radio station,
Speaker 3: or he'll tell you why he can't. Eventually got a
Speaker 3: record that was playing. I got.
Speaker 1: I had a couple of records that was played.
Speaker 3: I got a good story for you.
Speaker 1: The tribe in Hawaii, Okay, what.
Speaker 3: Happened with so I should send the Buya tribe to
Speaker 3: Hawaii to uh disrupt the uh the reunion with Drey
Speaker 3: and Snoop, and Snoop came out and he's like, the
Speaker 3: Buja tribes downstairs. You know we're gonna go down in this.
Speaker 3: I said, hold on, I'll take care of it. All
Speaker 3: the white bore. You're gonna handle this. I said, don't
Speaker 3: worry about it. I got it. So I went down
Speaker 3: there and first thing I said was back up before
Speaker 3: I knock you out. And they all looked at me, like,
Speaker 3: that's this muff right, And I said, look, I've known
Speaker 3: you guys since back in EYC and when you guys
Speaker 3: were making YC records on MCA, and if you guys
Speaker 3: ever want to get your records, there's a way to
Speaker 3: do it. You guys are gonna come in and join
Speaker 3: the party, or you're gonna fuck up the party. Which
Speaker 3: way you want to do it? And Godfather rest Is.
Speaker 3: So they just sat there and we talked and the
Speaker 3: next thing, you know, I mean to this day, I
Speaker 3: talked to Goddy all the time, Giant all the time,
Speaker 3: Cobra every once in a while, you know. I mean,
Speaker 3: I love those.
Speaker 1: Guys and the boot Yo. That could have went bad,
Speaker 1: it's real bad.
Speaker 3: But you know, at the time, I really, you know,
Speaker 3: I was in. I just didn't give a fuck. I
Speaker 3: was the happiest night of my life. I got the
Speaker 3: concert done, you know, this kind of stuff. I was
Speaker 3: gonna let.
Speaker 1: Somebody, you know, so you knew though, you knew in
Speaker 1: the history that should hand with him, because when Drey
Speaker 1: left Death Rope, there was some you know, oh yeah,
Speaker 1: it was some shit behind it.
Speaker 3: It wasn't no easy shit, you know well, And he
Speaker 3: dropped the Aftermath album and then he dropped the Firm album.
Speaker 3: So when I went on the air with the promotion,
Speaker 3: I got a call from Jimmy Iaven saying, what are
Speaker 3: you doing? Why do I have a two hundred and
Speaker 3: fifty thousand dollars bill on my desk for a producer
Speaker 3: who does and produce out Who's label? I'm just about
Speaker 3: to try to sell like he was ready to sell
Speaker 3: the label and take it into receivership or something. I mean,
Speaker 3: he was, He's like Anna rapper I haven't seen since
Speaker 3: Death Row, you know what I mean, Like, what are
Speaker 3: you doing? You're responsible for this? If this shit doesn't work,
Speaker 3: and I'm like, fuck it, let's party. You're gonna get
Speaker 3: a record.
Speaker 1: And so you you was responsible for putting me in
Speaker 1: and go do their record. Well.
Speaker 3: I put them together for the show, and then when
Speaker 3: they licked, when they clicked up, then the conversation started.
Speaker 3: You know. DJ Jam was really a big instrumental person
Speaker 3: in that as well. Like we I invited them both
Speaker 3: to Powerhouse first and Snoop was performing, and I somehow
Speaker 3: talked Dre into coming and I handed him a mic
Speaker 3: and I had Jam ready and I you know, when
Speaker 3: he when he first showed up, I switched the names
Speaker 3: on the door so that he'd walk into snoops dressing
Speaker 3: room think it was his. Yeah, and they bumped in.
Speaker 1: Started that they wound up bumping each other man, And
Speaker 1: I know that you changed the whole dynamic of how
Speaker 1: the West Coast was getting down. I'm talking about not
Speaker 1: just not just in LA radio, but what they was
Speaker 1: doing up in the Bay because power was so big
Speaker 1: at that time. And I remember going to one of
Speaker 1: the That was the one good thing about that era, right,
Speaker 1: just the concerts they used to have, right, And I
Speaker 1: remember I got to go up there, man, because I
Speaker 1: was running with Igh seeing them at the time. And
Speaker 1: I remember gott to go up there, man, and seeing
Speaker 1: Nate dogg just turn the whole summer jam out just new.
Speaker 3: Or nothing but hooks.
Speaker 1: It was the craziest it was. It was the craziest
Speaker 1: shit ever. So what do you think the hardest aspect
Speaker 1: of that job was, man, as far as you dealing
Speaker 1: with so many personalities in LA. Was the gang shit
Speaker 1: a big because you because you was pushing gangs the rep.
Speaker 3: Oh yeah it was. I mean, you know, you can't
Speaker 3: deal and to wrap without dealing with gangs. And there
Speaker 3: was some pressure and things like that at times. But
Speaker 3: I mean, everybody, you know, if you're just cool, just
Speaker 3: explain it out people. You know, when you said like,
Speaker 3: there ain't no normal motherfuckers around, right, like, we was
Speaker 3: just normal motherfuckers. So if you came up and you
Speaker 3: kicked it, you realize that we're just real. It's just
Speaker 3: now radio has got this funny shit, you know, and
Speaker 3: just people in general. After the COVID and the zoom
Speaker 3: shit and all this kind of shit, nobody fucks with anybody,
Speaker 3: so they don't communicate and the shit gets fucked up.
Speaker 3: You know what you were saying earlier about Another thing
Speaker 3: that I'd like to just say is the storytelling and
Speaker 3: the songwriting fucking sucks these days, you know what I mean. Like,
Speaker 3: it's like I would listen to some of the stuff,
Speaker 3: I'm like, well, what the fuck would I play? You
Speaker 3: know what I mean? Because it's like, you got verses
Speaker 3: that don't have nothing to do with the hooks. You
Speaker 3: have hooks that have nothing to do with the verses.
Speaker 3: You have two verses on some songs one verse. I
Speaker 3: mean it.
Speaker 1: You know what that is to me? Man?
Speaker 3: Is that bad mentorship?
Speaker 1: Yeah? Bad mentorship? And nobody is actually being produced today. Yeah,
Speaker 1: Because what happened is you get a dude to buy
Speaker 1: a beat online and that beat may already have a
Speaker 1: hook on it. They just think the hook soundfly. They
Speaker 1: not gonna try to write around a hook or nothing
Speaker 1: like that. They just go throw a verse. They gonna
Speaker 1: email it and get they homie on there. They gonna
Speaker 1: bug the shout of eight. See if they can get
Speaker 1: a verse from him on there. And it's just like
Speaker 1: there's no continuity to the records anymore.
Speaker 3: I asked the new artists. And this will blow you away.
Speaker 3: I asked the new artists the other day, has anyone
Speaker 3: ever vocal produced you? And he said, what's vocal production?
Speaker 3: M you know what I mean?
Speaker 1: Like it don't sound you know what it is? Man?
Speaker 1: Today it's like this. See hey, you know how you
Speaker 1: talk about nobody want to be the normal motherfucker. And
Speaker 1: this is the biggest thing I saw, man, Cause you know,
Speaker 1: I went after I stopped, you know, doing music, which
Speaker 1: I never really did. I went, I gotta putublishing deal
Speaker 1: and so I was working as a A and R. They
Speaker 1: wound up behind me as A and R for the
Speaker 1: publishing company. And the biggest thing I learned is that
Speaker 1: people want to be famous. Right. I would meet a
Speaker 1: lot of groups because you know, when you could give deals,
Speaker 1: it's a difference. It's a headache. Man. I would get
Speaker 1: people coming to the office, right. And when I first
Speaker 1: got the job, I would really entertain all that, you
Speaker 1: know what I mean. I thought, it's my job, right,
Speaker 1: So I'm listening to everybody. I would meet somebody in
Speaker 1: the manager, I'd be thinking, Damn, the manager should be
Speaker 1: the rapper. He just got more of that, you know
Speaker 1: what I'm saying, the swagger you meet the rapper. The
Speaker 1: rappers sometimes sometimes horrible. Sometimes they got some good shit,
Speaker 1: they got some bad shit. So what I started doing
Speaker 1: is I started really telling motherfucker's the truth.
Speaker 3: Dog.
Speaker 1: It don't make you popular, but I wouldn't go waste
Speaker 1: no more of my time. I'd tell him, man, this
Speaker 1: ain't it, this ain't it. And it would be times
Speaker 1: to where I did get some I would be mining
Speaker 1: for gold and find some stuff. That's how I found
Speaker 1: a kid from Dallas to did ice cream paint job,
Speaker 1: you know, And that wound up he and my first
Speaker 1: platinum record, you know, because it was like I had
Speaker 1: a dude that sends demos into some beats, right, and
Speaker 1: he had this one kick. I forget that, I forget
Speaker 1: that Doro. He was making some records with this kid
Speaker 1: named Doro in his apartment down in Dallas, and so
Speaker 1: I was like, I flew him out of here, and
Speaker 1: we wound up being able to do a deal, and
Speaker 1: it wound up blowing up becoming one of the biggest
Speaker 1: songs in the country, wound up becoming one of the
Speaker 1: biggest things in the country. But I think there's definitely nowadays, Man.
Speaker 3: It's some selfish motherfuckers. Now, I'm just saying that. I mean,
Speaker 3: people just don't give people shots like that.
Speaker 1: Well, you know what, I didn't know no better back
Speaker 1: then that shit giving people's shots eventually want to have cast.
Speaker 3: Me My damn job, I did that ship all day.
Speaker 1: You feel what I'm saying?
Speaker 4: So music, I know you hold yeah that, but the
Speaker 4: times was different, you get me. Uh, giving a giving
Speaker 4: a motherfucker's shot back in on time was a motherfucker
Speaker 4: who was really you know, going to a studio and
Speaker 4: getting and getting molded and crafted and being able to
Speaker 4: follow niggas like eight or Snoop or Dre or or
Speaker 4: the forefathers before him.
Speaker 3: You said the keyword craft.
Speaker 4: I mean, today motherfuckers are just trendy. They want to
Speaker 4: do whatever is trendy or whatever think whatever they feel
Speaker 4: is gonna get them a lot of clicks or a
Speaker 4: lot of streams. And you know, I can't go buy
Speaker 4: me a hundred thousand dollars chain, and you know a
Speaker 4: lot of niggas. You know, the subject matters became one sided.
Speaker 3: Nigga.
Speaker 4: I'm talking about hustling some money, popping some pills, and
Speaker 4: fucking some bitches. And the younger generation got a hold
Speaker 4: of that and it was like, Oh, we're finna run
Speaker 4: with this shit. Fuck it good nigga money, my bentley,
Speaker 4: my nigga, we pour or whatever we drinking, and your
Speaker 4: bitch or your nigga, you get me. That's what rap became.
Speaker 4: Like you said, there was no there's no substance.
Speaker 3: You get me.
Speaker 4: Motherfuckers might hate on a run DMC or or a
Speaker 4: slick rick and shit, but you get songs. And that's
Speaker 4: the difference today. I said, motherfuckers don't Yeah, you can rap, motherfucker,
Speaker 4: but can you make a song?
Speaker 1: Well, you know, the biggest thing you said, though, eight,
Speaker 1: is that you stayed in your own lane. That was
Speaker 1: one of the things I respected about certain I got,
Speaker 1: like a I got a certain group of artists that
Speaker 1: I hold up there like it's the kind of like
Speaker 1: the Pantheon. It's scarface, Yeah, it's MC eight, it's cool
Speaker 1: g rap and it's kind of like a toss up
Speaker 1: between the mother two. I got like probably like two
Speaker 1: or three more? Is the dude from the roots? What's
Speaker 1: my boy? Thought? Like, No, from the roots. I got
Speaker 1: crooked eye up there, you know, to esteem to certain
Speaker 1: people that I don't want to hear commercial stuff from.
Speaker 1: I just want to hear them do what they do.
Speaker 3: You feel what I mean?
Speaker 1: Do you think that in this era it seems like
Speaker 1: guys like they can kind of flourish. Do you think
Speaker 1: it's actually a need for radio nowadays?
Speaker 3: I think radio is all fucked up. I think it
Speaker 3: hasn't evolved, you know what I mean? Like so, I mean,
Speaker 3: as it stands right now, it's the only media that
Speaker 3: has not made the jump to the phone. There's no
Speaker 3: app it's not you know, iHeart needs to be completely
Speaker 3: I mean, the redundant costs in iHeart is what's killing iHeart.
Speaker 3: I mean they spend what eight billion to make to
Speaker 3: you know, some weird stuff like that. I mean, there's
Speaker 3: there's ways to evolve it and it just hasn't been
Speaker 3: done yet.
Speaker 1: Yeah, you give me an eight just fucked off. Sorry, no,
Speaker 1: it's all good man, But that's what we do.
Speaker 3: We talk.
Speaker 1: We don't do no sensorship. Sorry, no, tell the true
Speaker 1: We don't sensor nothing, man, because but I just I've.
Speaker 3: Always thought differently, you know what I mean. So I'm
Speaker 3: not saying it's right or wrong, but you know, I mean,
Speaker 3: I made gangster rap the pop, do you know what
Speaker 3: I mean? I know what works and what doesn't.
Speaker 1: Because because being from LA, right, me and Glass has
Speaker 1: had this conversation all the time, Glasses, you know, on
Speaker 1: the West Coast, gang banging is a part of the coach.
Speaker 3: It's just what it is, you know.
Speaker 1: You know, when I first came out here, I found
Speaker 1: out I had certain friends who's like uncles, mama, everybody
Speaker 1: from the same neighborhood. They were always from the same
Speaker 1: you know. They It's like a family tradition almost right.
Speaker 1: And you would never know as you look at this
Speaker 1: dude's mom like nights older lady, and she used to
Speaker 1: be you know, she from the hood though, from the neighborhood.
Speaker 1: And Glasses told me one day, it's almost impossible for
Speaker 1: someone from LA to make it as a rapper that
Speaker 1: don't belong to somewhere, And he said, that's why you
Speaker 1: see so many people that that's not necessarily orientated, but
Speaker 1: they've lagged one as somebody or somebody don't lag stone
Speaker 1: them and now they kind of claiming that, but it's
Speaker 1: almost on some almost on some acting shit.
Speaker 3: Well, rap is a street based artist expression, thang. I
Speaker 3: mean it's it's it comes from that. So if it's
Speaker 3: not organic from that and people don't co sign it
Speaker 3: and say what he's saying is real and accurate, then
Speaker 3: it doesn't grow. And that's what where radio is fucked
Speaker 3: up right now is all these programmers and everybody, they
Speaker 3: don't have any connection to the street. They don't have
Speaker 3: little homies, they don't have all of these things around
Speaker 3: them to where where they can hear what's coming up.
Speaker 3: You know, they're just figuring out right now, there's a
Speaker 3: lefty gun play. Well eight months ago BAMS was listening
Speaker 3: to the Lefty gun Play and I could have told
Speaker 3: you that shit was a hit.
Speaker 1: Even what they're doing with the Chicano Brothers now right,
Speaker 1: with the Mexican on it. Right, they want to have
Speaker 1: a representation up there, but it's none of it is authentic.
Speaker 1: Everything is so plastic and phony to where they almost
Speaker 1: go get the Sacarin version of this. I'm gonna go
Speaker 1: get the Sacraine version of that, and I think it's
Speaker 1: a travesty dog outside a Big Boy, there are no
Speaker 1: other black people in radio.
Speaker 3: Now, ned Lae. Unless I'm missing something, well, I mean
Speaker 3: that hadn't I questioned that a lot too, to be.
Speaker 4: A place where the and like I said, not to
Speaker 4: be discriminating against the Essays or the Asians or whoever
Speaker 4: participates in this thing we call hip hop. But it
Speaker 4: was a foundational it was it was a black foundation
Speaker 4: for hip hop when it started here.
Speaker 3: With KD.
Speaker 4: Greg Like you said, Uncle Jam's Army. Uh, that was
Speaker 4: the foundation of West Coat music. And it's it's crazy
Speaker 4: that out of all these decades of great black hip
Speaker 4: hop artists that we don't have but big Boy on
Speaker 4: the radio representing, especially for a place like Kday.
Speaker 1: And you know what's funny about it, big Boy, big
Speaker 1: Boy is the face, right, he's the face. He don't
Speaker 1: really break no records, as crazy as that sound of
Speaker 1: my correct.
Speaker 3: Well, but the head of the iHeart out here is
Speaker 3: doc and Docor is black.
Speaker 1: Yeah I know that, but a lot of people don't
Speaker 1: know that. What I'm told about, it's people that you
Speaker 1: can actually see.
Speaker 3: Oh okay, people, I don't know if you when the
Speaker 3: artists have access to doctor now.
Speaker 1: You know, people that you can actually see, you know,
Speaker 1: the average person out here that ain't in the business.
Speaker 1: I don't even know who the fuck doctor is. Shut
Speaker 1: out to doc, you know what I mean exactly, but
Speaker 1: they probably don't know who he is what I'm talking about, man.
Speaker 1: And even for the because I can't speak for the
Speaker 1: Mexican people, right, but even for them, there's so many
Speaker 1: dope ass Mexican artists that don't get played because they're
Speaker 1: giving them a saccharin version of it. I even think
Speaker 1: that the ship that kool Aid had back in the
Speaker 1: day was dope. The vocals pited local ship. That ship
Speaker 1: was dope because it was authentic, it was real, right,
Speaker 1: And to be real with you, I don't even know
Speaker 1: why we got.
Speaker 3: To have classifications and ship like that just put music
Speaker 3: out there. I think.
Speaker 1: I think once you start getting once you start classifying
Speaker 1: ship as something, that's when you open up the room
Speaker 1: for bullshit. How come? Because I'm pretty sure because I
Speaker 1: got a lot of essay partner rappers like you do too,
Speaker 1: eight right, I guarantee you if you hit mister kriminald
Speaker 1: Lefty gun Play that they want to be identified as
Speaker 1: just a rapper.
Speaker 3: Let me just be a rapper. Why they gotta be
Speaker 3: a Mexican rapper and get you can't get me started
Speaker 3: on a whole man, let's get stuff when I got
Speaker 3: you set sunk? Am I being honest, my man?
Speaker 4: But I think that I don't like I said, I
Speaker 4: they you know, sometimes they want to be identified as
Speaker 4: you know, like I don't know if just just saying
Speaker 4: I'm a rapper, because just saying I'm a rapper like
Speaker 4: that puts you in the category of all the other
Speaker 4: sorry motherfuckers who ain't rapping good. That to me puts
Speaker 4: you in a you know, like we representing or you get.
Speaker 3: Me, and that's dope.
Speaker 1: Ain't nothing wrong with See, I'm not talking about the
Speaker 1: cultural representation, right, I'm talking about just the whole thing. Right,
Speaker 1: we just only go play y'all in this time slot
Speaker 1: or doing this thing. I think it's dope. I remember
Speaker 1: when Little Rob came with Summer Nights. Look, that was
Speaker 1: a smash record across every motherfucking thing it is. I
Speaker 1: didn't give a fuck who you was. You couldn't hate
Speaker 1: on that record I brought.
Speaker 3: I broke that.
Speaker 1: Yeah, that's what I mean. But but you feel what
Speaker 1: I'm saying. It's like let's just have it somehow, because
Speaker 1: to me, I'm not talking about the cultural I think
Speaker 1: you supposed to represent your culture with Ladousa, you know,
Speaker 1: with all that shit.
Speaker 3: But I eight hit it on the head. It was
Speaker 3: when we started this thing or back then, it was
Speaker 3: for the love of the music, and it was the craft,
Speaker 3: and it was it wasn't the biggest thing in the world.
Speaker 3: So all of these white executives and Wall Street and
Speaker 3: all that kind of stuff, we're't in our mix. Now.
Speaker 3: All these publicly traded companies own all the radio stations,
Speaker 3: own all the record companies, the liquor company, Seagrams. When
Speaker 3: they bought Universal was the beginning of the end of music.
Speaker 3: People in music. It became corporate, you know what I'm saying.
Speaker 3: So you know, now you've got all these white executives
Speaker 3: running radio that have been living off what we did
Speaker 3: twenty years ago, you know what I mean. And the
Speaker 3: gas tank is empty.
Speaker 1: And that's what I mean right there. But you just
Speaker 1: said it right there. You know, it's time. I don't
Speaker 1: got nothing against Jimmy Steele hit, but it's time for
Speaker 1: them to go. After a while. Man, change is always necessary.
Speaker 1: Missing change is always necessary.
Speaker 3: But does it happen though? What happened?
Speaker 4: You have when you have somebody in that position, just
Speaker 4: just like with everything you get me. Of course, change
Speaker 4: should happen, and there should be more black NFL football coaches,
Speaker 4: and there should be.
Speaker 3: But at the end of the day, does it really
Speaker 3: and it don't happen? Ates it ain't gonna be Jimmy Steele.
Speaker 1: And I'm gonna tell you the talent and I'm gonna
Speaker 1: tell you this right here, right I don't give a
Speaker 1: fuck if a motherfucker's black, green or whatever, as long
Speaker 1: as they from the culture, bro, as long as the
Speaker 1: motherfucker is at least from the culture that have enough
Speaker 1: common sense to say, Okay, I'm gonna play this little
Speaker 1: rod record, Okay, I'm gonna invite shug up to the
Speaker 1: you know, just shit this common sense, because when.
Speaker 3: You're not from culture, you're not from the coach. You
Speaker 3: not go exercise and com center like shit.
Speaker 4: When back in my days when Kid Frost came out,
Speaker 4: I didn't go or nigga that's a Mexican rapper.
Speaker 3: I just went that nigga hard, That's what I'm saying.
Speaker 4: Cyprus, he came out exactly, I said, Man, that ship
Speaker 4: is hard, you get so to me at all, it's
Speaker 4: to me, it's all about the music you put out,
Speaker 4: whether you black, whether you whatever. Shit you can be white.
Speaker 4: I mean shit, if you just put out some good, hard,
Speaker 4: decent ship, we don't categorize it as oh, that's a
Speaker 4: white motherfucker or that's a black motherfucker.
Speaker 3: Them niggas is niggas go nigga. That record hard is
Speaker 3: a motherfucker. That's what I go. Now, shit is mediocre.
Speaker 3: It's just mediocre, Yeah it is. You can't do shit
Speaker 3: about that. But there is a double standard though, definitely
Speaker 3: there is a double standard. Trust me speak it well.
Speaker 3: I mean, because it's like, you know, the way that
Speaker 3: the game works sometimes is the people that end up
Speaker 3: that you end up helping and they get into these positions,
Speaker 3: they they'll turn around and hate on you, you know
Speaker 3: what I mean, like to try to like hold on
Speaker 3: to their little spot. But you're not a threat to them.
Speaker 3: You put them there. You don't want to destroy their brand.
Speaker 3: You want to help them. They're not doing well. It's like,
Speaker 3: let me help. You know, you're a threat to me
Speaker 3: because you're gonna bring someone new in because I was
Speaker 3: new and you put me on. Do you know what
Speaker 3: I'm saying, Like, I'm trying to revitalize your brand, not
Speaker 3: fuck you up.
Speaker 1: Recently, Power was just let go, let Philly fail, go
Speaker 1: right Philly. Phil has been around almost since the beginning. Yeah,
Speaker 1: did you bring Philly in? No, Jimmy brought him in.
Speaker 1: But I'm the one that hooked him, you know what
Speaker 1: I mean.
Speaker 3: He was coming from Texas and he had some second
Speaker 3: thoughts and Jimmy had me call him and.
Speaker 1: Philly, you know, and you look at stuff like that.
Speaker 1: Philly was a dude that was at their radio station
Speaker 1: for twenty years and the way they fired him was
Speaker 1: fucked up. Twenty years man, and you know, Philly.
Speaker 3: Didn't even let him finish the sh grab a box
Speaker 3: and we're gonna walk you out. Shit.
Speaker 1: You know. The thing with Phailly I Philly had a
Speaker 1: love you know, Philly helped people, kissed people off too.
Speaker 1: You ain't gonna be able to make everybody have you
Speaker 1: but for the most day, yeah, But for the most part,
Speaker 1: Philly was a good dude. And if you brought him
Speaker 1: a record that he liked, he was gonna try to
Speaker 1: break it. He was gonna break it. Phay help break
Speaker 1: a couple of my records. But the thing you used
Speaker 1: to do with motherfucker like that dog that that's been
Speaker 1: around you so long, Like, hey, how would you feel
Speaker 1: if you showed up to this motherfucker one day, right
Speaker 1: and I didn't call you or nobody calls you to
Speaker 1: take you out to lunch and you just show up
Speaker 1: here and you just gone.
Speaker 3: They're like, that's it, the ride is over.
Speaker 1: You gotta treat motherfuckers better than that, though, Dog.
Speaker 4: You expect for motherfuckers to treat people better than that.
Speaker 4: But in this shrewd world of money and business and
Speaker 4: there's somebody above you, I mean, some motherfuckers just ain't
Speaker 4: gonna give you the motherfucking dignity tea you deserve. You
Speaker 4: get me, and this is Hollywood. Yeah, you know what
Speaker 4: I mean for that shit all day. Nigga's been doing
Speaker 4: shit for twenty thirty years and we still trying to
Speaker 4: get respect for motherfuckers to be considered. Like Nigga, I'm
Speaker 4: just like you don't that's all you want, a decency.
Speaker 4: You treat me with respect and don't lie to me.
Speaker 1: Because see, I'm not mad about the thing about him
Speaker 1: getting fired. That's just business.
Speaker 3: Right.
Speaker 1: But to me, especially if motherfucker, like if it's a
Speaker 1: dude that's been up there for six months, you don't
Speaker 1: know if he gonna cuts everybody out on an air
Speaker 1: or whatever like that. Somebody like Philly give him a
Speaker 1: chance to say bye.
Speaker 3: And he's a good guy. You know, he's not gonna
Speaker 3: do some bullshit. But you pull him off the air
Speaker 3: before the end of his shift and start. I mean, dude,
Speaker 3: it's obvious that Morello, god bless him, is being fooled
Speaker 3: by these people, you know what I mean, the consultants
Speaker 3: and all this kind of stuff, because how do you
Speaker 3: tank all of these stations still have a job.
Speaker 1: They're trying to keep thy check going, That's what I'm saying.
Speaker 3: They're trying to.
Speaker 1: Keep thy check going, you know. And I don't want
Speaker 1: to stay on color all night, man, because it's not important.
Speaker 1: When do you think they decided to where this is
Speaker 1: how we go roll with things in what contact like
Speaker 1: you know, with these consultants that you talk about the
Speaker 1: after run the station, right, I've never known no business
Speaker 1: to offerate in that pretense to where if you not
Speaker 1: getting the numbers, everything's supposed to be based off analytics, right,
Speaker 1: if you're a rapper, you're not selling no records, they
Speaker 1: will tell you, hey man, it's right here and last
Speaker 1: two albums don't tank.
Speaker 3: Numbers don't like people do.
Speaker 1: Everything should be based off analytics. If you're holding your
Speaker 1: shit down, you keep your job, everybody happy. If you're
Speaker 1: not holding it down, you gotta go. It ain't nothing personal,
Speaker 1: it's just what it is, right, It's.
Speaker 3: Just what it is. So and you go down for
Speaker 3: twenty years and everybody is really I mean, they don't
Speaker 3: have a program director. Everybody has has refused the job.
Speaker 3: Why because they don't want to work for those with
Speaker 3: those three motherfuckers that are in charge. You know what
Speaker 3: I mean, like to you have somebody over there, I
Speaker 3: mean the owner of the station, but they, I mean
Speaker 3: obviously haven't got the picture that there's something rotten and
Speaker 3: you know, your trash can and starting to smell.
Speaker 1: Yeah, you know, you had a lot of motherfuckers hating
Speaker 1: on YouTube all they still doing. You had a whole
Speaker 1: bunch of and you came out. Yeah you know what
Speaker 1: I remember, I didn't know you did to save Seiche
Speaker 1: record at first, and that.
Speaker 3: Was which record got fucked up about. That is shade
Speaker 3: Schist was signed to MS Broadcasting and the first million
Speaker 3: dollar check was not to fifty cent. It was too
Speaker 3: MS Broadcasting for Shade Shist.
Speaker 1: Oh so Shade was actually signed to the radio.
Speaker 3: Stat was signed to the radio station. It was my
Speaker 3: job to do it.
Speaker 1: Oh wow, you see you open up. We're breaking news
Speaker 1: on here. Now you remember that record eight?
Speaker 3: Yeah, I remember that, but it was EMIS's artist.
Speaker 1: Okay.
Speaker 3: So so when it all hell broke loose, they threw
Speaker 3: it on me. They were supposed to play the records,
Speaker 3: but I went through FCC. That's why I never got busted,
Speaker 3: because I went through FCC attorneys and knew corporate was
Speaker 3: gonna fuck me at some point.
Speaker 1: Let me ask you this, how do a motherfucker get
Speaker 1: signed to the radio sh ain't it?
Speaker 3: Well?
Speaker 2: What happened?
Speaker 3: Well, it's kind of a long story, but I mean,
Speaker 3: Shade was a friend of mine and I played a
Speaker 3: demo of it. They said, because of the ratings and
Speaker 3: all this kind of stuff, and they saw me producing
Speaker 3: records from Riot Carey and all these other people. They said,
Speaker 3: we want some of that money, so produce some records
Speaker 3: for us and we'll play the records. We'll give you
Speaker 3: a salary. I got a million dollar deal out of
Speaker 3: the gate for them, and they didn't play the record.
Speaker 3: Power played the records, but not their other stations. You
Speaker 3: think that was because they was hating Oh hell yes.
Speaker 3: And then she said to those stations to fix them
Speaker 3: when they fucked up.
Speaker 1: So you had to go down there and tell them
Speaker 1: because that was a big ass record.
Speaker 3: They sent me to Hot ninety seven to fix Hot
Speaker 3: ninety seven when Little Kim shot it up. And then
Speaker 3: they had the game thing. They had jay Z going
Speaker 3: to Power one on five and the Breakfast Club and
Speaker 3: all this kind of stuff. Who you think they sent
Speaker 3: to New York.
Speaker 1: You had to go out there and hold it down.
Speaker 3: I had to go pull jay Z off the competition.
Speaker 3: I had to go clean up the Atlantic Low Kim mess,
Speaker 3: you know, and do all of that. I mean, because
Speaker 3: people didn't look it's the same thing now that it
Speaker 3: was then. They didn't know the people to have the
Speaker 3: conversation to squash the ship.
Speaker 1: Yeah, you got a relationship with everybody. And how did
Speaker 1: you start producing from Ariah here?
Speaker 3: She came into the station one night and we just
Speaker 3: hit it off, and she she just asked, what else
Speaker 3: I do? I said, oh, I've been making beats. She said,
Speaker 3: let me hear something. And then she heard that Willie
Speaker 3: Wonker ship and said, oh, that can be the remix
Speaker 3: for I still believe. And that's how that started.
Speaker 1: That's how that started. And you had actually pretty good
Speaker 1: friendship with her too.
Speaker 3: Yeah, we were cool, said we were cool. It was cool.
Speaker 1: Give me that smile, was cool. Miss You smiled like
Speaker 1: you hit that or something. My friend, you smiled like
Speaker 1: you tapped that as.
Speaker 3: She was. She was a wonderful person.
Speaker 1: He's a wonderful person, though she's a bad motherfucker. Nick Cannon,
Speaker 1: never get any people you over. I have nothing against
Speaker 1: neck Next. I'm glad they had a good run. They
Speaker 1: had a good man. You produced on some big ass records, man,
Speaker 1: and you was fucking with everybody at that time many,
Speaker 1: I mean everybody. So with the shade shy ship, man,
Speaker 1: that's a trip. You never found out the truth about
Speaker 1: shipped later on was every boy and their mama swarping
Speaker 1: down that that was you, the de of that deal.
Speaker 3: You know what what's fucked up is I get blamed
Speaker 3: for a lot of shit and people take the credit
Speaker 3: for a lot of shit that I did. You know,
Speaker 3: what I mean, I just never felt like, you know,
Speaker 3: I just stay quiet, you know, like like with you,
Speaker 3: you never addressed beef. No, you know what I'm saying,
Speaker 3: Like throughout your career you have been a gentleman about
Speaker 3: that shit, like you just try to stay out the fray, I.
Speaker 4: Mean, because motherfucker's gonna have their opinions. And you know,
Speaker 4: my my beef thing went as far as it did
Speaker 4: over really just neighborhood gang shit.
Speaker 3: And then once I was able to you know, I
Speaker 3: ain't like on that page.
Speaker 4: No, you know, I ain't riding around in the hood
Speaker 4: with the strap, you know, with the rag down my pocket.
Speaker 4: You know, I'm fucking out and went from that to
Speaker 4: a different level. So once that happened, like I'm beef
Speaker 4: with niggas.
Speaker 1: Beef for what like, Yeah, it shouldn't be especially assually
Speaker 1: in some rap shit, beef with no rap nigga.
Speaker 3: You hit me.
Speaker 1: Especially at this time, And you know what, mss, It's
Speaker 1: almost like you was just born to do radio. You've
Speaker 1: been working in the radio since I was twelve years old. Yeah,
Speaker 1: how to fuck do a twelve year old kid get
Speaker 1: a job?
Speaker 3: He carefully?
Speaker 4: Shit, I was a I was a fourteen, fifteen year
Speaker 4: old kid hanging around. You know, got introduced to a
Speaker 4: nigga who was a beat maker and the DJ at clubs, and.
Speaker 3: He took me and Chill under his wing.
Speaker 4: Nigga, and we was we was young niggas going to
Speaker 4: club I mean we wasn't we was starting on a
Speaker 4: rap career.
Speaker 3: I was mentorship.
Speaker 4: But exactly, Nigga. We go to the clubs, nigga, and
Speaker 4: we was too young to get in. But shit, nigga,
Speaker 4: we still be hiding out behind the DJs because we
Speaker 4: get there early, unload the trucks with the crates and
Speaker 4: all the records, and so by time the club get
Speaker 4: to going, nigga, we already in.
Speaker 1: That. That was the same you know, check this out though,
Speaker 1: but the same producer that you took you under his
Speaker 1: wing as a little here you use.
Speaker 3: The remainder of your career pretty much. Oh yeah, Slip did.
Speaker 4: Slipp did ninety percent of my my production throughout my
Speaker 4: mc ACMDUB career.
Speaker 3: That's yeah, that's just that's just like intorship, loyalty, keep going. Slip.
Speaker 3: Slip was Slip was a nigga who was he was
Speaker 3: you yit me? He was there.
Speaker 4: He was known La Sound Control Mob. He knew Lonzo Unknown.
Speaker 4: His pops had a business where they supplied all the
Speaker 4: speakers for all the concerts at World on wheels or
Speaker 4: the Convention Center and shit. So when I got introduced
Speaker 4: to Slip, he was already in the world of hip hop.
Speaker 3: You know. He was a producer.
Speaker 4: He had done a lot of techno records, so, and
Speaker 4: he was a DJ, and he was looking at JO
Speaker 4: clubs like Water to Bush, Paradise, all that type of ship.
Speaker 4: I got to hang out a ship like that as
Speaker 4: a young kid, and.
Speaker 1: They got coached the fuck up. That's what they signed was.
Speaker 4: Published trying to you, trying to trans trying to transition
Speaker 4: from because nigga I was still in the hood, you know.
Speaker 3: That.
Speaker 4: That is what made me go, oh, instead of catching
Speaker 4: the bus to the hood today, I catch the bus
Speaker 4: over here to Guardena and go chill with the niggas.
Speaker 4: They had a fox track in the studio and nothing
Speaker 4: but a gang of speakers and DJ equipment.
Speaker 3: To me, I was fascinated by that ship. It didn't
Speaker 3: it didn't mean ship.
Speaker 4: When we was up at three o'clock in the morning
Speaker 4: wrapping up cords and ship and then we stop at
Speaker 4: Tommy Berger's Downtown LA and slipped by everybody Burgers and
Speaker 4: ship to the nigga. That shit was everything. And I
Speaker 4: was a young kid, didn't want to go to school,
Speaker 4: none of that shit. Same shit, miss it. You know
Speaker 4: some of this business be talking. That's a movie I
Speaker 4: want to do dog sure, I want to do that.
Speaker 4: I want to do the Cem dub story. And I really,
Speaker 4: I'm really on my one of my missions for twenty
Speaker 4: twenty four back. I shared something with y'all and it
Speaker 4: just kind of just hit me again. Last week. You know,
Speaker 4: I was in the hospital. Last week I talked to you.
Speaker 4: We supposed to do this interview last week. We supposed
Speaker 4: to start the season up. Last week I couldn't even
Speaker 4: physically call ating them and tell him I wasn't coming.
Speaker 1: I was so bad. I had to you know, shoot
Speaker 1: a text start and say, man, like I can't. I
Speaker 1: can't do it. You know, I'm in the hospital. But
Speaker 1: it made me realize we need to take control of
Speaker 1: our own stories, man, and we need to tell our
Speaker 1: own stories so people not written out of history, because
Speaker 1: a story should be written from a factual standpoint, like
Speaker 1: when they wrote like if somebody ever writes a story
Speaker 1: about the gangst the chronicles, I want every part of
Speaker 1: it too, the good, the bad, you know, like everything.
Speaker 3: Well part of part of the reason. Or how I
Speaker 3: was I've I've just can't come back on social media,
Speaker 3: and you know, over the last couple of weeks, you know,
Speaker 3: I've hit about a million people. And how I did
Speaker 3: it was I was watching the what's that Doctor Dre
Speaker 3: movie with Jimmy Iveen, the whatever I forgot the name
Speaker 3: of it, but whatever it is, and they were telling
Speaker 3: the story, Oh yeah, the Defiant One, the Defiant Ones,
Speaker 3: and I'm like, oh shit, that's how that happened. And
Speaker 3: I'm like, well they should missing a lot of ship,
Speaker 3: you know what I mean.
Speaker 1: People have a tendency to rewrite history.
Speaker 3: And rewriting the narrative. And what keeps us, what keeps
Speaker 3: rap legendary, has always been the narrative. You know what
Speaker 3: I'm saying, It's a story, you know what I mean,
Speaker 3: what you're saying about the beginning, middle and in well,
Speaker 3: they what they do is cut out everybody else and
Speaker 3: say we did this ourselves so that they can keep
Speaker 3: the narrative on themselves. They're not gonna tell you that
Speaker 3: Jimmy called me and said, hey, you know what I mean.
Speaker 1: Don't do this.
Speaker 3: You know what I mean? But what would have happened
Speaker 3: to Dre's career if I would have taken that call?
Speaker 3: Is that? Where would Dre and Snoopy right now? Ain't
Speaker 3: how much made so much money off of that? How
Speaker 3: many jobs did that create?
Speaker 1: Exactly? Now? You think about doctor Dre right, how many
Speaker 1: artists he don't work with? That he just don't work
Speaker 1: with no more? And they wherever they yet, I don't
Speaker 1: know their personal relationships or whatever like that, but they
Speaker 1: could have stayed not talking to each other.
Speaker 3: And that was the thing he said when I first
Speaker 3: went to him and said, would you work with Snoop again? Well,
Speaker 3: I just haven't talked to him in a long time,
Speaker 3: but I put that motherfucker back on him. And then
Speaker 3: Snoop said the exact same thing about Dre. So I
Speaker 3: just put him in the room together. Because it always
Speaker 3: comes down to some ego shit, this Hollywood bullshit of
Speaker 3: oh I love you, I love you, but I won't
Speaker 3: return your call because I don't want to have it.
Speaker 3: It's that bullshit because they're guilty. They feel guilt because
Speaker 3: you did so much shit for them. They don't know
Speaker 3: how to say thank you, but they're being assholes. So
Speaker 3: what do I say? Sorry? Do I say I love you?
Speaker 3: You know what I mean? Like, and it turns into
Speaker 3: some bullshit and it's just like, get over it, you
Speaker 3: know what I'm saying, Like, I'm not here for that ship.
Speaker 3: Let's work, Let's get some shit done. Hip hop fucked
Speaker 3: up for really.
Speaker 4: A lot of that, A lot of that goes back
Speaker 4: to again, Uh, the egos of the walks of life
Speaker 4: that you walk came from you know, niggas feeling like,
Speaker 4: you know, I got to represent a certain a certain
Speaker 4: gangsterism or hardness too as something that's simple with Yeah,
Speaker 4: tell a nigga to call.
Speaker 3: Me, you get me. It's a lot of how he's
Speaker 3: doing let me get Really, it'd be just the ego of.
Speaker 4: Really our downfall was really because of something else outside
Speaker 4: of it was nothing really personal. So well, you know,
Speaker 4: we all make mistakes, we all say stupid shit, we
Speaker 4: all do dumb things sometimes, but you know, it is
Speaker 4: what it is.
Speaker 3: Get over it, you know what I mean? Like, I
Speaker 3: know I have ship.
Speaker 1: Yeah, let me ask you this. I have a question.
Speaker 1: Man from the audience. You and Nocturnal, y'all had an affair.
Speaker 1: You was taking care of Nocturnal.
Speaker 3: Nocturnal is a good friend of mine to this day.
Speaker 1: That's scared. At the beginning of the West Side Connection,
Speaker 1: that was a joke, wasn't it.
Speaker 3: Yes, I was the fucking producer. I could have muted it.
Speaker 3: You can't smoke none of my weed, drink dumb on
Speaker 3: on my hand fucked him, is it? I was a producer.
Speaker 3: I could have mute. I thought it was funny. He
Speaker 3: said take it out. We were actually testing the mic.
Speaker 3: That was a first take, and I just kept it.
Speaker 1: Yeah, you know what I forgot about that record means
Speaker 1: you got some production critics like a motherfucker, And.
Speaker 3: I'm gonna tell you all, no, definitely.
Speaker 1: Them placements didn't have nothing to do with him his
Speaker 1: position up at Paul either, because I think at that
Speaker 1: point she was going already with you.
Speaker 3: Well, I mean it was around, there was, it was before,
Speaker 3: during and after. You know, I was always doing that.
Speaker 3: But you know, but when I when I was doing
Speaker 3: radio that, you know, they said I couldn't do production,
Speaker 3: you know what I mean. I even put out cruising
Speaker 3: and I wrapped on it. You know what I mean, Like, God,
Speaker 3: they hated that one, you know what I mean, But
Speaker 3: it's like, who gives a fuck? This is hip hop?
Speaker 1: Yeah you should happen.
Speaker 4: Why was the masses upset that you were producing records
Speaker 4: because they were getting played play your position Like I
Speaker 4: don't I don't understand that, just like okay, I'm I'm
Speaker 4: the program director or whatever, but.
Speaker 3: That's not fair. You have to produce. I produced, Like
Speaker 3: I don't understand.
Speaker 4: Yeah anything, that's just like you know, that's just like,
Speaker 4: you know, we got the show, and then I turned
Speaker 4: around and go, shit, I'm gonna go do me a show.
Speaker 4: And the next thing you know, I started getting calls
Speaker 4: from from you know, other motherfucker like, oh, you can't
Speaker 4: do your own show?
Speaker 3: Like what do you mean?
Speaker 1: Shit? I would love who's the one to be telling
Speaker 1: you that you need to be doing the show.
Speaker 3: Yeah you know what I'm saying, Like when you stop
Speaker 3: doing for them and you do for yourself, then they say,
Speaker 3: wait a minute, that's my spot. Okay.
Speaker 4: So they wanted the records or they wanted those they
Speaker 4: wanted those records.
Speaker 3: Yes, like you see y'all so well I can look
Speaker 3: at this. I could see there.
Speaker 4: I could see their sabotaging ways with you know, we
Speaker 4: got a program director who's going out here producing all
Speaker 4: these records for Shade, Schie and Mariah.
Speaker 3: And so and so, and they're not are records, and
Speaker 3: you didn't clear them through us. Why would I have
Speaker 3: to control I'm the one to put them on I'm
Speaker 3: not I'm I'm a program director here. I'm not signed
Speaker 3: to you as an artist or producer. So but I
Speaker 3: could see the workings of that.
Speaker 4: You give me jealous motherfuckers and haters are gonna hate because, Okay,
Speaker 4: this nigga working for us as a radio programmer, but
Speaker 4: he's got hit records out here on the other late
Speaker 4: and to them, they feeling like, well, we want to
Speaker 4: get into that game, So why aren't you bringing those
Speaker 4: records here?
Speaker 3: And you can still bring them a million dollar check?
Speaker 3: And they're still gonna hate on.
Speaker 1: You and trust and believing what I know about artists,
Speaker 1: ain't no artists out there. I don't give a fuck
Speaker 1: who you is. Ain't no artists, not no major artists.
Speaker 1: Ain't nobody go fuck up their reputation. They project their career,
Speaker 1: always just saying well, I'm gonna get a radio dude
Speaker 1: a beat and you know, get a beat for the
Speaker 1: radio due to Hopeully play it because theyn't believe me.
Speaker 1: Mariah Carey, you need Joel for lifting at that time, No,
Speaker 1: and you don't bet.
Speaker 3: That's what was so great about Power one on six
Speaker 3: and all of the power that we have was we
Speaker 3: were kind of an r in the records too, Like
Speaker 3: I put jay Z and Mariah Carey together, which helped
Speaker 3: jay Z get into uh, you know, the Philippines and
Speaker 3: other markets. And I introduced him to eminem and I
Speaker 3: gave him The Watcher part two. I think I pretty
Speaker 3: much introduced him to Dre like you know what I
Speaker 3: mean at the powerhouses, you know what I mean, Like I.
Speaker 1: Don't know you for a long time, Malcolm. You never
Speaker 1: told me no this shit. You just humble motherfucker.
Speaker 3: A lot of people. It's my job. I never looked
Speaker 3: at it. It's anything fucking special.
Speaker 4: And then I don't want my helpens to think that
Speaker 4: I'm trying to use that as a as a status
Speaker 4: or stepping stone. A lot of shit just be kept
Speaker 4: quiet because people look at shit differently. You know, I
Speaker 4: gotta gotta keep shit quiet sometimes because like you said once,
Speaker 4: motherfuckers find out, some motherfuckers turned envious.
Speaker 1: And you motherfucker miss it. Let me ask, because you
Speaker 1: never a motherfucker.
Speaker 4: You're all motherfucker gonna call you a liar, Yeah right, nigga,
Speaker 4: yeah right, yeah right, you did.
Speaker 3: Sure you did, Sure you introduced so and so or whatever.
Speaker 1: You know, by you being a single man, man and
Speaker 1: you being around all of these fine as artists, man,
Speaker 1: these females. Man, how much pussy did you get? How
Speaker 1: much superstar pussy did you get back? How much I
Speaker 1: still get? You know, when doctor Dre said I'm not
Speaker 1: done spending n w a money, apply it man, it's
Speaker 1: just ain't it ain't too much. It ain't too much
Speaker 1: that can excite you.
Speaker 3: Then, you know, when you've seen it all and done
Speaker 3: it all, it's just kind of like you kind of
Speaker 3: just and you know the amount of bullshit that I
Speaker 3: had to deal with and I still deal with it's
Speaker 3: like you know, like you know, yeah, keep it.
Speaker 1: Is.
Speaker 3: They're always after something. There's nobody that's just your you
Speaker 3: know what I mean, people that say, oh, I'm your friend,
Speaker 3: I love you. Da da da da dah. Yeah, motherfucker,
Speaker 3: you ain't call me in you know, what I mean,
Speaker 3: like where my grammar died. It was like, yeah, you know,
Speaker 3: we'll post all this stuff on Instagram, but I won't
Speaker 3: call you, you know what I mean, Like the real
Speaker 3: ones picked up the phone and callon. This is a
Speaker 3: This is a treacherous game. And if you if you
Speaker 3: have been able to withstand.
Speaker 4: A lot of the potholes in the road on your journey,
Speaker 4: once you get to a part of the road where
Speaker 4: for you it's smooth, I'm I'm cool. I don't want
Speaker 4: to pick up no hit hikers. I don't want to
Speaker 4: stop and look at now, no new cars. I don't
Speaker 4: want to Oh man, I could do this, so no,
Speaker 4: my ship running fine, it's smooth selling and I don't
Speaker 4: want no detours.
Speaker 3: You get me. I don't need to try to take
Speaker 3: the high road to get there faster. You give me.
Speaker 4: At this point, I'm the on crew controlling. I can
Speaker 4: just sit back because Nigga dons seen so much bullshit
Speaker 4: and had to dodge so many curves and obstacles, and
Speaker 4: then you know, motherfuckers say they gonna you know what
Speaker 4: I'm saying, And the next thing you know, you stop
Speaker 4: at a Nigga gas station for some repairs and nigga,
Speaker 4: don took your rims off, you pull off your ship
Speaker 4: and just making a noise right now and backfiring and shit.
Speaker 4: So nigga once when you take that long journey and
Speaker 4: you get to a point to where a nigga right now, nigga,
Speaker 4: I'm cruising.
Speaker 1: Well. You know, the biggest thing I do on Experienced
Speaker 1: eight is you could be everybody's best friend. I'm gonna
Speaker 1: tell you a powerful word the first time you say
Speaker 1: as long as you saying oh, yeah, I could do it,
Speaker 1: no matter how much it is hurting you, no matter
Speaker 1: if people don't give a fuck about this, the rest
Speaker 1: it may be putting you under.
Speaker 3: As long as you keep saying yeah to him.
Speaker 1: The moment you say no, you ain't shit, that's when
Speaker 1: you find out how you I didn't really feel about you, you.
Speaker 3: Know what I mean? Your question and still you saw it.
Speaker 3: How many people did I make rich? Made a whole
Speaker 3: bunch of motherfuckers very wealthy. I haven't heard from nobody
Speaker 3: since I left Power one six. Not one person nobody
Speaker 3: let me except for except for joh Rule and Nerve Gotty.
Speaker 3: That the people from my own coast don't even give
Speaker 3: me the credit, but IRV Goody and jo Rule every
Speaker 3: time I drink Champs anything like that, they mentioned me
Speaker 3: thank you for doing what you did.
Speaker 1: That's crazy, man, that nutty. That's real crazy.
Speaker 3: That's what you're saying is there'll be your friend when
Speaker 3: you can do something. They're not your friend when they
Speaker 3: do whatever.
Speaker 4: And then to be motherfucker's writing your own backyard who
Speaker 4: it's always the closest.
Speaker 1: Let me ask you this. Let me ask you this.
Speaker 1: Miss you got into the radio game. You were twelve
Speaker 1: years old, right as a twelve year old kid from
Speaker 1: Oxen Art. Did you ever a Santa Barbara as a
Speaker 1: twelve year old five as a twelve year old kid
Speaker 1: from Santa Barbara, did you ever a imagine that you
Speaker 1: would have the career that you do, all the stuff
Speaker 1: that you've done.
Speaker 3: I don't know, dude. When I saw that I was
Speaker 3: number four and the Source Power thirty, I shipped myself
Speaker 3: like I was like, there's no way this is me,
Speaker 3: Like this is Source magazine, Like there's no way. When
Speaker 3: I read the review of Nate Dogg's music in Me,
Speaker 3: the title track, I was just like there's no way,
Speaker 3: Like there's just who are you? Right? Now and you did.
Speaker 3: You're living in your dream.
Speaker 1: You know it's you did it, So you look go back.
Speaker 3: That trip me off.
Speaker 1: So you and eat Man don't talk all the time, No,
Speaker 1: with all, just with.
Speaker 3: All trying to talk about the number one hater on
Speaker 3: the planet is the man Man for those who don't know,
Speaker 3: you've been saying ship for years, but God bless him.
Speaker 1: Yeah, Man is the it was he the associopedi. He's
Speaker 1: the director of power. Yeah.
Speaker 3: Whatever, do you ever think we will see you back
Speaker 3: on power or radio? Not with the people that are running.
Speaker 1: And now what would it take for you to come back?
Speaker 3: Either buy that motherfucker got it? If I tell you this,
Speaker 3: I'll make that motherfucker number one faster than you could
Speaker 3: shake a stick at it.
Speaker 1: Oh for sure. With us, you know, were about to
Speaker 1: shut this down, but may gouts some other stuff to
Speaker 1: talk to you about.
Speaker 3: Man.
Speaker 1: We appreciate you guys tuning in with us this evening. Well,
Speaker 1: that concludes another episode of the Gainst the Chronicles podcast.
Speaker 1: Be sure to download the iHeart app and subscribe to
Speaker 1: the Gangst the Chronicles podcast For Apple users. Find a
Speaker 1: purple mica on the front of your screen. Subscribe to
Speaker 1: the show, leave a comment and rating. Executive producers for
Speaker 1: The Gangster Chronicles podcasts of Norman Steel Aaron m c
Speaker 1: a Tyler. Our visual media director is Brian Wyatt, and
Speaker 1: the audio editors tell It Hayes. The Gangster Chronicles is
Speaker 1: a production of iHeart Media Network and the Black Effect
Speaker 1: Podcast Network. For more podcasts from iHeart Radio, visit the
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