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Speaker 1: The volume. All my mind was that I'm gonna make

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Speaker 1: this record with jay Z. That's all I was thinking about.

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Speaker 1: I'm gonna make this record with jay Z. I ain't

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Speaker 1: know what the record's gonna be, but I'm like, I'm

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Speaker 1: gonna make this record with jay Z. And long story short,

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Speaker 1: he came to Atlanta and I went to pick him up.

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Speaker 1: And when I'm when I'm driving to the airport to

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Speaker 1: pick him up, I'm listening to he Can't Knocked the Hustle.

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Speaker 1: And when he say deep in the South kicking up

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Speaker 1: top game, I'm like, he's talking about me? Who is

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Speaker 1: he talking about? I'm rying, I'm thinking he talking about me.

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Speaker 1: And he says, switching frow lane. I'm switching them. By

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Speaker 1: the way, I'm in a I'm in a Bentley. So

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Speaker 1: as soon as he come out of the airport, I say, oh,

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Speaker 1: I'm a sample this part. This is gonna be our song.

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Speaker 2: And he was like, all right, it's Joe Crack the

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Speaker 2: motherfucking Dawn shr boy kiss you know what it is?

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Speaker 3: Did Joe and Jada show this is a special edition

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Speaker 3: right here?

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Speaker 1: He got an historic.

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Speaker 3: Legendary hip hop pillar in the building with no further

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Speaker 3: ado ladies and gentlemen, make some noise for my brother

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Speaker 3: Jermaine Duprix.

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Speaker 4: Hold up, hold up, because this ain't a regular show, guys.

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Speaker 4: This is royalty. This is not even this. This this

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Speaker 4: is a fucking pyramid. You know what I'm saying. It's

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Speaker 4: a whole pyramid of Egypt sitting. I'm telling you the truth.

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Speaker 4: I ain't say one night. I couldn't sleep last night,

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Speaker 4: you know what I'm saying because I was so excited.

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Speaker 4: I mean, we love all our guests, but this is

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Speaker 4: a different He's got the blue Lee roy gloss.

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Speaker 1: This is royalty. This is royalty right here.

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Speaker 4: So you know, JD, it's an honor to have you

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Speaker 4: on the Joe and Jadas show taking the chance with

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Speaker 4: our little podcast. You know, we the rookies of the

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Speaker 4: year most likely to succeed. But thank you for coming up.

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Speaker 3: Shit, my brother, you already know we we're gonna We're

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Speaker 3: gonna give a little We're gonna go on a little

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Speaker 3: time cat absolution for the people that might not know,

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Speaker 3: because you know, were living in a time where you

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Speaker 3: have knowledge right in your hand. But some people prefer

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Speaker 3: to look up shoes and look up some bullshit instead

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Speaker 3: of getting some knowledge from now you stopped attending school

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Speaker 3: in middle school to go on tour, Just talk a

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Speaker 3: little bit about what that experience was like for some

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Speaker 3: people that might not know what going on tour is

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Speaker 3: and for just a young ass kid stop in middle

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Speaker 3: school to go on toll what what was that even like.

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Speaker 1: I mean, i't actually know that's what was happening. Let

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Speaker 1: me just just was going like I was dancing. So,

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Speaker 1: you know, the fresh Fest was the first time they

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Speaker 1: ever had a fresh Fest anywhere. That was in Atlanta,

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Speaker 1: and they had run DMC and all of them. This

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Speaker 1: is the first shows on Atlanta. Shout out to Ricky Walker.

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Speaker 1: He was a person who actually created the fresh fan.

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Speaker 1: Fresh Fest is obviously that boys Wi Curtis Blow, Grandma

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Speaker 1: Aster Flash.

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Speaker 4: This was the first rap to appearance the Goldens. It

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Speaker 4: has never been an error better than this, according to me.

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Speaker 4: But I mean, just my opinion. I always feel like,

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Speaker 4: you know, when people start these debates, I'll be like, yo,

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Speaker 4: that is it.

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Speaker 1: Those are the pioneers there. But Dad, you you was

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Speaker 1: a dancing you made it on tour. Yeah, so they

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Speaker 1: had they also had a you know, the Dynamic Breakers,

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Speaker 1: the New York City breakers. They had all these breaking

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Speaker 1: crews on there as well, so it's like dancing and rapping.

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Speaker 1: But they needed an opener. This was at a time

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Speaker 1: when you know they need an opener. You don't get

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Speaker 1: no money. You just go out and waist and spurning

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Speaker 1: the time off. It was still like that in ninety three.

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Speaker 1: Ahead that's so so I'm like cool, I ain't tripping.

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Speaker 1: I'm like, I'm twelve years old, so I don't care.

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Speaker 1: I'm going on stage. This is the first time I

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Speaker 1: ever seen this many people in the arena. They gave

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Speaker 1: me opportunity to go out there and do like probably

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Speaker 1: had like three minutes just me dancing. That's a long time,

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Speaker 1: by the way, dancing. You ain't got no routine.

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Speaker 4: You just like I can't believe they had cameras back then,

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Speaker 4: Like they got you dancing in some of them ships,

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Speaker 4: like on the camera.

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Speaker 1: You know how fight who that ship is right now? BC,

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Speaker 1: I've seen you.

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Speaker 4: Dancing, I've seen you personally. But hip hop? How would

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Speaker 4: you get hip hop in Atlanta? Because he in New

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Speaker 4: York it was it was only not even it was

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Speaker 4: it was regular once a week and missed the magic

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Speaker 4: and then awesome too.

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Speaker 1: Overnight.

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Speaker 4: How do you get the new ship? How did you

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Speaker 4: get the new music, the new hip hop that was

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Speaker 4: coming down? How did it get to the atl Well, it.

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Speaker 1: Wasn't there when I said this was this was this

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Speaker 1: was prey all at you know what I mean. So

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Speaker 1: how you dancing? Like how you know them? I mean

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Speaker 1: breaking anywhere? Yeah? Breaking was, well, you're watching Breaking, You're

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Speaker 1: watching you know, B Street streeting these movies. But I

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Speaker 1: was doing talent shows, you know what I mean. So

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Speaker 1: I started doing talent shows. I was doing Michael Jackson

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Speaker 1: and the talent shows. So Michael Jackson routine be like

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Speaker 1: two men that you could do two man of Michael

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Speaker 1: Jacksonville team. I started doing Michael Jackson and then I

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Speaker 1: started paying attention to hip hop and I seen like,

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Speaker 1: oh I can add this, I can add this. I

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Speaker 1: just started learning things, but I still won't like great.

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Speaker 1: I just was good because I was twelve, right, you know,

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Speaker 1: little kids, they get away with it past right, the

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Speaker 1: go ahead, He's like a clown at the circus, you

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Speaker 1: know what I mean, Like, go ahead and do what

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Speaker 1: you gotta do. So I was winning talent shows and

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Speaker 1: that's what happens. So I started winning all these little

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Speaker 1: talent shows around my you know, around Atlanta, or I

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Speaker 1: come in second place or whatever it is. And so

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Speaker 1: they was like, you know, it's like yo, let him.

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Speaker 1: Let him go out there and do what you gotta do.

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Speaker 1: So I went up on the stage and I did

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Speaker 1: my perfect little time. I got off. I wasn't tripping,

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Speaker 1: you know what I mean. They made him hit their time,

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Speaker 1: and they was like, you know what, we need to

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Speaker 1: keep somebody to do this, and I'm like, you know

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Speaker 1: what I mean? And I wasn't even paying attention to

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Speaker 1: everything they came with it because I didn't I didn't

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Speaker 1: know nothing about me getting out of school and all this.

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Speaker 1: I tried to do the right way, but this was

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Speaker 1: so early in life. Atlanta had never had an artist

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Speaker 1: that would go on tour at twelve years old, so

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Speaker 1: we didn't even have a school system thing that was

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Speaker 1: set up where they could take my grades and while

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Speaker 1: I was on the road and count them as credits.

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Speaker 1: I mean, I did all the work, and I had

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Speaker 1: a tutor, and we tried to do it. But when

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Speaker 1: I came back, they was like, we can't accept this.

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Speaker 1: You gotta do it. You got to do that grade again.

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Speaker 1: I'm like, oh nah no. And after that I had

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Speaker 1: already been to fifty cities at twelve, so I was like,

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Speaker 1: oh no, I'm done. I'm done. I got I gotta

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Speaker 1: figure this out. I gotta figure it out. So then

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Speaker 1: the second year I wasn't in the Fresh festal three years,

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Speaker 1: eighty forty five and eighty six and then eighty six

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Speaker 1: is when I started rapping. I added a rapping to it.

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Speaker 1: And by then it was a guy in a Lanta

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Speaker 1: named Shadi who was actually from the Bronx, who was

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Speaker 1: actually he came to Atlanta.

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Speaker 4: He started bringing he's got mad. Every time they mention

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Speaker 4: the Bronx on the show. He might be a slight

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Speaker 4: it might be a slight.

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Speaker 3: Hand, just anything for the bro stool was from the Bronx.

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Speaker 1: And you guys, what do you want me to do?

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Speaker 1: Was from the Bronx. Yes, so he you know, so

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Speaker 1: so shot. He came. He started, you know, he introduced

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Speaker 1: me to what the Zulu Nation was, all of this,

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Speaker 1: you know hip hop, right, but I couldn't wrap. I

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Speaker 1: still couldn't do it. But he's taught me how to

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Speaker 1: like write my rap. So he wrote my first rap

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Speaker 1: when I was on the on the fresh face, and

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Speaker 1: I started doing the rap and performing, you know, performing

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Speaker 1: a rap. And then that's when the you know the

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Speaker 1: rest of the guys, who Denny and all of them,

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Speaker 1: they start seeing that I was more into that than dancing.

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Speaker 1: So then Jamster J taught me how to DJ like real,

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Speaker 1: like really hands on. You heard that, Yeah, And then

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Speaker 1: m Grandmaster D starts showing me tricks, and I just

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Speaker 1: started learning from the best, like, you know, jam Master J. Man,

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Speaker 1: he taught me a lot, you know.

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Speaker 4: And when I was coming up and you know, I

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Speaker 4: had a little flow Joor, I ain't never want to

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Speaker 4: lead the Bronx, And he kept talking to me, Yo,

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Speaker 4: you ever been to Detroit?

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Speaker 1: You ever been in Chicago? You ever been?

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Speaker 4: He was trying to tell you need to get out

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Speaker 4: there at Jose. You only want to be in the

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Speaker 4: Bronx and so rest in peace. Yeah, man's the Jay.

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Speaker 4: So I wanted to get back to this one thing

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Speaker 4: when hip hop came to Atlanta.

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Speaker 1: How did he get to Atlanta?

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Speaker 4: The migration the migration of Almos from Texas, and Premo

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Speaker 4: said his cousins used to drive over there with take

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Speaker 4: to mister Magic and Red Alurn I'm just trying.

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Speaker 1: To it's not so Yeah. Basically, it was like the

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Speaker 1: migration of a lot of New Yorkers start coming to Atlanta.

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Speaker 1: Like I said, Shadias from New York. So it seemed

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Speaker 1: like more and more New Yorkers start coming to Atlanta.

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Speaker 1: And then you start seeing like little parties and these

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Speaker 1: pop up that was like, oh, this is hip hop.

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Speaker 1: But then it was also like the artist was coming, right,

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Speaker 1: the artists were coming. More and more artists was coming

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Speaker 1: to Atlanta. Then they had a dance show in Atlanta

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Speaker 1: that was only our local dance show, right, and it

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Speaker 1: just you know how it was coming in. And we

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Speaker 1: still only had a radio station, which was V one

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Speaker 1: of three days only.

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Speaker 3: Rapped there Jack the Rap. That's the first time I

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Speaker 3: ever been in any ship like that.

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Speaker 1: So we have, you know, once the station they only

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Speaker 1: play hip hop on Friday night for an hour. Yeah

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Speaker 1: that's how I go So on that Friday night and

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Speaker 1: that hour, I was right there.

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Speaker 4: Like they don't understand. They got the ship on their

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Speaker 4: phone like like water.

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Speaker 1: You used to have to stay up, you used to

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Speaker 1: have to be on point there rap. I'll never forget

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Speaker 1: how Cali dropped Wow. Wow, wow.

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Speaker 4: On the Thursday Friday, I was like in Paris somewhere

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Speaker 4: at the show and they threw that ship on in

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Speaker 4: the whole crowd.

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Speaker 1: I was like wow, wow, Wow.

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Speaker 4: I was like, you know, it makes you think about

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Speaker 4: what you only heard hip hop on a Friday and Saturday.

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Speaker 1: And I was like, ship, this ship across the world

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Speaker 1: in one day.

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Speaker 3: But at that time we have to look for it, right,

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Speaker 3: the tissue and the tape over the cassette.

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Speaker 1: Oh then.

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Speaker 4: You know me, You know, I grew up in the

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Speaker 4: Bronx and so you know my guys man, you know

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Speaker 4: my guys. We had like a public phone in front

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Speaker 4: of the building, and they used to break the public

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Speaker 4: phone and use electricity to put the boombox. So the

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Speaker 4: bigger guys shout out to a j GP Craig o

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Speaker 4: rest in peace, my brother. They used to put the

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Speaker 4: boom box up and then they played an awesome two

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Speaker 4: that was at four in the morning.

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Speaker 1: Ship like that.

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Speaker 4: So I would be a kid out the window listening

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Speaker 4: to the ship overnight. Like they would play whole other

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Speaker 4: kind of music, underground music that they wouldn't played with

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Speaker 4: Red Alert. So they was like mister before yes, they

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Speaker 4: were Yes, they were.

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Speaker 1: And then so see I so in eighty six I

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Speaker 1: met Chad Elliott. Chad Elliott was part of Charles Steller cruise.

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Speaker 1: And when when when the Fat Boys won that contest

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Speaker 1: and Crush Groove, Chad came in second place. Yep, he

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Speaker 1: came in second place, right, So they put so Chad

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Speaker 1: st I mean, Chad Steller was like, we need to

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Speaker 1: put this kid on the two of y'all, Jermaine on

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Speaker 1: the tour, right, So then they worked out for Chad

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Speaker 1: to get on the tour as well. So then me

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Speaker 1: and Chad met and we you know what I mean,

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Speaker 1: we hit it off and then we started hanging out.

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Speaker 1: And then I moved to Brooklyn with him and stayed

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Speaker 1: at his house on Eastern Parkway. And that's when I started,

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Speaker 1: like the page caught.

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Speaker 4: You know, I was a kid, Uh, I never forget

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Speaker 4: I was a kid. And my aunt, my grand my godmother,

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Speaker 4: she lived in Brooklyn on the East New York and Summit.

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Speaker 4: She had a little house. But I remember the kids.

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Speaker 4: I used to spend all summers in Brooklyn and the

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Speaker 4: kids was like, yo, come and we went to the projects.

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Speaker 1: And they had a jam and they played this record

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Speaker 1: and I guess I grew up. I just didn't know, right.

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Speaker 4: But but they played this record where I actually walked

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Speaker 4: up to the DJ and what and it was so

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Speaker 4: os man, it.

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Speaker 1: Was baby, we can do it. It's a good time.

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Speaker 4: And I was just like that ship must have hit

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Speaker 4: every endorphin and those like I was like a kid,

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Speaker 4: but I was like, yo, what the fuck is this?

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Speaker 4: Like this ship is crazy. I felt like it was

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Speaker 4: only a Brooklyn thing, right, But you and Brooklyn, you

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Speaker 4: caught everything.

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Speaker 1: You was here, you called it and I learned. I learned,

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Speaker 1: like what was the difference between where I where I,

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Speaker 1: you know, in Atlanta and New York. Immediately they was

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Speaker 1: breaking me with everything I had on you know what

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Speaker 1: I mean. They was telling me I was looking like

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Speaker 1: a country boone. There was you know, niggas in East

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Speaker 1: New York. Was saying, well, they don't care, and I

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Speaker 1: was going to do the same way. They don't give

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Speaker 1: a fuck. They talk about your mom's walking in and

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Speaker 1: I got chased by theseptics and all that. So you

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Speaker 1: was outside outside. He was fast too. If you have

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Speaker 1: to get away from.

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Speaker 4: The thing, yeah, at what point, uh it goes down?

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Speaker 4: Because me personally, right this is something I'm gonna go

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Speaker 4: to my my deathbed with.

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Speaker 1: Uh.

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Speaker 4: Twenty something years ago, I moved to Miami right and

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Speaker 4: every time I go to ATL I argue with myself

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Speaker 4: that I make the right thing. Should I have moved

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Speaker 4: to the ATL. I feel so at home in the atl.

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Speaker 1: They mus got a lot of restaurants.

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Speaker 4: Nah, we love the restaurants. It's just, you know, I

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Speaker 4: love black people. I love the entrepreneurism. I love that

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Speaker 4: they all just help each other. The vibe is great,

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Speaker 4: you know, the weather's everything. Just every time I go

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Speaker 4: to Ato, I argue with.

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Speaker 1: Myself, like I just be like, damn, I was off

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Speaker 1: for me here. Huh, it's hard for you. I keep

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Speaker 1: it standing in my stage at me when I forever.

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Speaker 3: You see what I'm saying, too more ags, you need

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Speaker 3: too more as That makes me think I should fucking

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Speaker 3: got a outeam.

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Speaker 1: What's up? Y'all? Was going down?

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Speaker 3: Friday, July eleventh, Netflix and Most Valuable Promotions are bringing

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Speaker 3: the fight the whole world's been waiting for.

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Speaker 4: It's the trilogy, the biggest fight of all Fights Continue Continue.

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Speaker 1: You already know what it is.

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Speaker 3: On the past fights, Katie Taylor is chasing ultimate glory.

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Speaker 3: Amna Serrano is fighting for redemption and revenge.

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Speaker 1: This is more than a fight.

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Speaker 3: It's the first ever women's boxing trilogy in the world.

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Speaker 1: Is watching.

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Speaker 4: Do not move your seat off of Netflix and go

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Speaker 4: get popcorn or go get a soda, because somebody is

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Speaker 4: getting hit through the rope.

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Speaker 1: That's a fact.

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Speaker 3: Live from the iconic Madison Square Garden in New York

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Speaker 3: City's Tailor Verse. Serrano one last time. It's about to

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Speaker 3: get personal. You don't want to miss this. Smoke, the steaks,

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Speaker 3: the sky high, the rivalry legendary.

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Speaker 1: Who will win?

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Speaker 4: Sarranda's gonna win this one. This is about to go five.

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Speaker 4: Netflix is gonna have to sign the next fight too.

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Speaker 1: Check it out.

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Speaker 3: If you are not tapped into this fight, what do

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00:14:59,440 --> 00:15:03,720
Speaker 3: you even do? Watch Katie Taylor versu Amanda Surrouno Friday,

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Speaker 3: July eleventh, at eight pm Eastern five pm Pacific, Live.

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Speaker 1: Only on Netflix.

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Speaker 3: Soaked Up Hip Bob, You've seen the difference in the

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Speaker 3: demographics of New York hip hop and atl then you

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Speaker 3: went back. Youre still young. At seventeen, you discovered Chris Cruis.

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Speaker 3: I was did you think it was gonna work?

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Speaker 1: What was you? Was you rolling the dice or how

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Speaker 1: was what was you going through at that week? I mean, well,

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Speaker 1: Chris Cross actually was like a the works of me

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Speaker 1: getting to that spot. So I had I had a

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Speaker 1: group prior that was called Silk Times Leather that was

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Speaker 1: these two girls. It was called White Silk Times Leather,

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Speaker 1: Silk Times Level, Silk Times Leather. Yeah. They actually were

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Speaker 1: the girlfriends of Houdini that I met on tour, right, So,

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Speaker 1: so I met them when we was on tour and

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Speaker 1: they was like, we're from Atlanta and I'm like from Atlanta.

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Speaker 1: So I was young, and I'm like, shit, y'all can

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Speaker 1: come pick me up, you know what I mean, Like

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Speaker 1: whatever whatever, y'all could come drive around. I'm like, oh,

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Speaker 1: I got some girls that I can hang out with

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Speaker 1: now Atlanta. You know, That's what I'm thinking in my mind.

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Speaker 1: And then I think Herbie had just put out Salt

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Speaker 1: and Pepper, so this was like girls that was paying

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Speaker 1: attention to this, and some kind of way, we start

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Speaker 1: having a conversation and I never produced a record in

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Speaker 1: my life, and the girls was like, you know, we

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Speaker 1: want to do what Salt and Pepper doing, and I'm like,

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Speaker 1: you should let me produce you. I never did it.

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Speaker 1: I don't know why I even said it, but as you,

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Speaker 1: but just was paying attention to what Herbie was doing

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Speaker 1: and it seemed interesting. So I started really paying attention

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Speaker 1: to what he was doing. I'm like, oh, he writing

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Speaker 1: the raps, he making the beats, all of this, and

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Speaker 1: I'm like, I could do it. So I started trying

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Speaker 1: to do it, and I did it good enough where

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Speaker 1: I got them a deal. They got signed to Geffing Records. Right,

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Speaker 1: so they actually was the first rap group in Atlanta

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Speaker 1: to have a real major record deal.

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Speaker 4: Wow, you pulled that off. And then you and then

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Speaker 4: you go into Chris Cross.

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Speaker 1: Yeah, so Chris. So we didn't really have a lot

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Speaker 1: of success, but we had enough success where I got

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Speaker 1: you know, I got fifteen thousand dollars so I could

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Speaker 1: get some real equipment and I had a dolphin. So

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Speaker 1: when I got my real equipment, that's when I started

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Speaker 1: making better beats and start getting more and more into it.

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Speaker 1: Then one day me and the DJ, it was a

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Speaker 1: female named Dola Mix, We went to Green Brown Mall

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Speaker 1: and they had an article and Jet magazine about the

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Speaker 1: female rappers at that particular point in time, and one

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Speaker 1: of the Christians seen one of the Christi's moms saw

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Speaker 1: Dolar Mix and was like, I know that girl. I

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Speaker 1: just read about her, right, But I seen the kids

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Speaker 1: and they was walking around the mall and people was

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Speaker 1: paying attention to them, and I'm like me, I'm like,

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Speaker 1: why don't I don't know these niggas. I'm thinking they like,

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Speaker 1: you know, they must be on the Disney Channel or

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Speaker 1: something like like why is people acting like this? So

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Speaker 1: I keep watching them move around, moving around, they going

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Speaker 1: in foot locker, They're going to foot action, they doing

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Speaker 1: all the rap shit. I'm like, who is this? And

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Speaker 1: girls is giving them free cookies at the cooking company

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Speaker 1: and I'm telling you, I'm walking around watching them before

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Speaker 1: I'm in there. So I'm like finally walk up to him.

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Speaker 1: I'm like, Yo, who are y'all? And I was like,

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Speaker 1: what do y'all do? They like, we don't do nothing.

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Speaker 1: I'm like, why y'all? Get why they're giving y'all ship

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Speaker 1: and listen tomorrow? They like cause we're fresh. And I'm like,

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Speaker 1: oh wait, what what? I'm like, do y'all rap? And

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Speaker 1: they was like rap? They said that to me, like

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Speaker 1: when raped. That's how they said it. To me, and

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Speaker 1: I'm like, and my mind just start going crazy, Like

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Speaker 1: if these niggas rap based on what they got going on,

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Speaker 1: it's over with right. So then I got their number

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Speaker 1: and luckily they mom vouched because she's like, he's somebody

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Speaker 1: because I know that girl that's with him, right. She didn't,

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Speaker 1: she hadn't put it all together, but she you know

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Speaker 1: what I'm saying. She had one of the New Jack's

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Speaker 1: City moments with dudes like YO, I know that dude, right,

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Speaker 1: So that's what she was doing. She was like, I

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Speaker 1: know him. So I got the number and I started

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Speaker 1: calling him like Yo, y'all, come over my house. We're

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Speaker 1: gonna start making music. There was like come over your house,

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Speaker 1: you know what I'm saying. So they was really on

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00:19:16,840 --> 00:19:19,040
Speaker 1: some you know little hood boys. That was like, we

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Speaker 1: ain't going over this nigga house, like while we going

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Speaker 1: over his house. So I had to get I had

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Speaker 1: to convince them. So I had to go pick them

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Speaker 1: up from school every day and like become their homie

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Speaker 1: like and let them see like I'm really fucking with y'all,

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Speaker 1: like you know what I mean. So we start kicking

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Speaker 1: it and I start like driving watching them in the

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Speaker 1: back seat and I'll play records and I'll play a

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Speaker 1: record like ice Cube. But someone was crazy at the time,

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Speaker 1: and they was back there rapping the lyrics like they

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Speaker 1: wrote them. They know this shit. They ain't never seen

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Speaker 1: the lyrics before. They know it. They like rapping it,

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Speaker 1: like they really rapping it. And I'm thinking, like, damn

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Speaker 1: if I write a song for them and it sounds

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Speaker 1: good like they think it was ice Cube and they

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Speaker 1: learned it like this, they got just gotta work right.

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Speaker 1: So I just start trying to figure out how that

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Speaker 1: was going to happen. You know. I wrote so many

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Speaker 1: songs that they hated and I never got that reaction.

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00:20:07,080 --> 00:20:09,480
Speaker 1: I just had to keep going, keep going, keep going,

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00:20:09,680 --> 00:20:12,200
Speaker 1: keep going. And then I wrote this song called Little

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00:20:12,240 --> 00:20:15,959
Speaker 1: Boys in the Hood and they liked it because of

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Speaker 1: this concept, like I finally got to where they wanted. Okay,

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00:20:20,400 --> 00:20:22,960
Speaker 1: now you're talking about we want to talk about So

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Speaker 1: I was trying to do like kiddy shit at first,

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Speaker 1: and I was like, and they started telling me about

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00:20:27,160 --> 00:20:30,040
Speaker 1: how they you know, and they school kids twelve years

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00:20:30,040 --> 00:20:32,240
Speaker 1: old walking around with these socks, and these socks was

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Speaker 1: doubled up because they had cracking them something you know

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Speaker 1: what I mean. So I started hearing all these stories

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Speaker 1: about these little kids in the hood. So I'm like,

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Speaker 1: you know what, when they be doing the news, they

434
00:20:40,640 --> 00:20:43,480
Speaker 1: don't never talk about what the kids have to go through,

435
00:20:43,560 --> 00:20:45,960
Speaker 1: what they see, right, So I start trying to write

436
00:20:46,119 --> 00:20:48,040
Speaker 1: about that based on what I was hearing them say,

437
00:20:48,600 --> 00:20:53,200
Speaker 1: and from the deal that I had with Silk Tom's Leather.

438
00:20:53,520 --> 00:20:56,560
Speaker 1: I had met this engineer named Joe the Butcher who

439
00:20:56,640 --> 00:21:02,480
Speaker 1: actually owned rough House Records in Philly. Right, So that's

440
00:21:02,480 --> 00:21:04,960
Speaker 1: the only person I knew in the music industry that

441
00:21:05,040 --> 00:21:07,359
Speaker 1: I could call and be like, I got a project, right.

442
00:21:07,680 --> 00:21:09,240
Speaker 1: So I did The Little Boys in the Hood, and

443
00:21:09,240 --> 00:21:11,000
Speaker 1: I sent it to Joe and he was like, yeah,

444
00:21:11,000 --> 00:21:13,080
Speaker 1: I want to sign him. And I'm like, oh shit,

445
00:21:13,119 --> 00:21:14,920
Speaker 1: we going you know what I mean, I got it right,

446
00:21:15,240 --> 00:21:17,080
Speaker 1: So he gave us a development deal. It wasn't a

447
00:21:17,080 --> 00:21:19,159
Speaker 1: real record deal. It was a development deal to see

448
00:21:19,359 --> 00:21:23,080
Speaker 1: if we can make some better records. And like the

449
00:21:23,480 --> 00:21:26,000
Speaker 1: night before we had to go to Philly to do

450
00:21:26,119 --> 00:21:28,600
Speaker 1: like record these songs I wrote jump. I knew it

451
00:21:28,640 --> 00:21:31,760
Speaker 1: when I like in the first twenty nine to thirty seconds,

452
00:21:33,280 --> 00:21:35,320
Speaker 1: I'm like, if they pulled us off, this old. Yeah.

453
00:21:35,840 --> 00:21:40,040
Speaker 4: Second, you know you hear that shit? You just like, yo,

454
00:21:40,119 --> 00:21:44,240
Speaker 4: this shit is this shit jumping? Whose idea wasn't for

455
00:21:44,280 --> 00:21:48,359
Speaker 4: them to wear that close backwards mine? Because, like left

456
00:21:48,400 --> 00:21:50,400
Speaker 4: I was living at my house at the time.

457
00:21:50,680 --> 00:21:52,960
Speaker 1: This is what I want to talk about. This is

458
00:21:52,960 --> 00:21:55,680
Speaker 1: what I want to talk Like left I had came

459
00:21:55,760 --> 00:21:58,280
Speaker 1: to my house as a as a rapper from Philly,

460
00:21:59,080 --> 00:22:01,760
Speaker 1: and she was from Philly originally, Yeah, she's from Philly.

461
00:22:02,560 --> 00:22:04,640
Speaker 1: And she met this guy named Ian Burt. And Ian

462
00:22:04,840 --> 00:22:06,840
Speaker 1: was like the only guy in Atlanta that I knew

463
00:22:07,080 --> 00:22:09,080
Speaker 1: that was like moving around. He was like an an

464
00:22:09,240 --> 00:22:13,080
Speaker 1: R manager slash. He was everything right. And if you

465
00:22:13,160 --> 00:22:15,439
Speaker 1: knew Ian, Ian connect you to somebody else. So then

466
00:22:15,480 --> 00:22:16,840
Speaker 1: Ian called me one day he was like, Yo, I

467
00:22:16,840 --> 00:22:19,280
Speaker 1: met this girl from Philly. She rapped. She a young girl.

468
00:22:19,440 --> 00:22:22,119
Speaker 1: I'm gonna bring it to your house. He brought her

469
00:22:22,119 --> 00:22:24,439
Speaker 1: to my house. I liked the way she rapped, but

470
00:22:24,520 --> 00:22:26,719
Speaker 1: I was trying to do the crisscross thing. But I

471
00:22:26,800 --> 00:22:28,520
Speaker 1: was like, Yo, I'm gonna fuck with you when I

472
00:22:28,560 --> 00:22:31,080
Speaker 1: get through this. I ain't have no deal. But I

473
00:22:31,119 --> 00:22:33,439
Speaker 1: had all these people believing that I was gonna do it.

474
00:22:33,800 --> 00:22:36,560
Speaker 1: So left I was staying at my house without my

475
00:22:36,600 --> 00:22:38,520
Speaker 1: mom even knowing left. I was like living in my

476
00:22:38,640 --> 00:22:40,520
Speaker 1: closet because she ain't really had no place to stay,

477
00:22:41,080 --> 00:22:43,720
Speaker 1: so she was staying over there. And one of the

478
00:22:43,760 --> 00:22:47,600
Speaker 1: songs I did for Crisscross, I sampled Michael Jackson and

479
00:22:47,640 --> 00:22:50,600
Speaker 1: Paul McCart uh the Girl is Mine right, And I

480
00:22:50,680 --> 00:22:53,160
Speaker 1: was thinking, like I could make a song about y'all

481
00:22:53,240 --> 00:22:55,960
Speaker 1: arguing about Lisa, and that Lisa was gonna rap about

482
00:22:56,080 --> 00:22:58,720
Speaker 1: shit right, and that idea I had, but it never

483
00:22:58,840 --> 00:23:01,080
Speaker 1: came to life. I kept getting I couldn't you know

484
00:23:01,119 --> 00:23:04,040
Speaker 1: what I mean? But I never couldn't figure it out,

485
00:23:04,359 --> 00:23:06,720
Speaker 1: and my writing was terrible at that time.

486
00:23:07,440 --> 00:23:11,359
Speaker 4: Question I have for you, who's an artist that you

487
00:23:11,480 --> 00:23:15,160
Speaker 4: slept on and became a big boy or big girl

488
00:23:15,200 --> 00:23:17,560
Speaker 4: in the game that you you wasn't ready or things

489
00:23:17,680 --> 00:23:20,679
Speaker 4: wasn't right. They tried, like, you know, Eminem gave me

490
00:23:20,720 --> 00:23:24,280
Speaker 4: his demo six times, and you know, we ain't never

491
00:23:24,280 --> 00:23:26,480
Speaker 4: seen no white boy pop off like that, so I

492
00:23:26,520 --> 00:23:29,639
Speaker 4: guess I was sleeping, you know. After he blew up,

493
00:23:29,680 --> 00:23:31,080
Speaker 4: I went to dinner with him. He was like, you know,

494
00:23:31,160 --> 00:23:34,159
Speaker 4: I gave you my demo six times, and I was

495
00:23:34,280 --> 00:23:36,359
Speaker 4: like what, And he told me everywhere. He gave it

496
00:23:36,400 --> 00:23:40,000
Speaker 4: to me at who's an artist that you could have signed?

497
00:23:40,880 --> 00:23:43,440
Speaker 4: And you was like, damn, or you wish you.

498
00:23:43,359 --> 00:23:47,080
Speaker 1: Could have signed? Well, I mean I tried to sign Ludicris,

499
00:23:47,200 --> 00:23:51,520
Speaker 1: but I had I had an office full of employees, right,

500
00:23:51,600 --> 00:23:54,480
Speaker 1: and at this point in time, I was feeling like

501
00:23:54,520 --> 00:23:57,639
Speaker 1: my office felt like I was controlling everything. So I

502
00:23:57,680 --> 00:23:59,440
Speaker 1: went there one day and try to have an an

503
00:23:59,560 --> 00:24:02,399
Speaker 1: arm and I asked him about Luthera Chris and they

504
00:24:02,480 --> 00:24:05,639
Speaker 1: all said no. And I try to go with what

505
00:24:05,680 --> 00:24:10,360
Speaker 1: my office was saying. You know what I'm saying. I try.

506
00:24:10,560 --> 00:24:12,199
Speaker 1: I'm thinking, this is what you're supposed to do. This

507
00:24:12,240 --> 00:24:14,520
Speaker 1: is you got to let the people in the office work.

508
00:24:14,920 --> 00:24:18,160
Speaker 1: They was like, nah, JD, don't sign him, and I'm like, well,

509
00:24:18,200 --> 00:24:19,920
Speaker 1: you know what, they probably slept on him because he

510
00:24:19,960 --> 00:24:23,239
Speaker 1: started in the radio. Nah. But I had already I

511
00:24:23,280 --> 00:24:26,840
Speaker 1: did something for Madden. So the first Madden game with music,

512
00:24:27,280 --> 00:24:29,320
Speaker 1: I did it right, and they called me and they

513
00:24:29,400 --> 00:24:35,119
Speaker 1: was asking me. They asked me flex with the silence on.

514
00:24:35,600 --> 00:24:38,240
Speaker 1: They asked me for somebody to rap on it that

515
00:24:38,400 --> 00:24:41,639
Speaker 1: was animated, right, And I'm like, well, I'm not animated

516
00:24:41,720 --> 00:24:46,440
Speaker 1: like this. But Chris was doing these radio things, right,

517
00:24:46,560 --> 00:24:48,679
Speaker 1: and I heard him. I kept hearing him do these

518
00:24:48,760 --> 00:24:52,680
Speaker 1: radio commercials. He was really really animated, right, And I said, Chris,

519
00:24:52,960 --> 00:24:55,960
Speaker 1: come do this Madden, this little Madden thing I'm doing

520
00:24:56,040 --> 00:24:58,120
Speaker 1: for the video game. And that was the first time

521
00:24:58,160 --> 00:24:59,919
Speaker 1: me and Chris worked together. But he wanted me to

522
00:25:00,359 --> 00:25:02,080
Speaker 1: and I wanted to sign him. You know, you know

523
00:25:02,160 --> 00:25:04,720
Speaker 1: what's crazy. There's this guy who does commercials, but he

524
00:25:04,760 --> 00:25:06,439
Speaker 1: don't wrap. You don't be hearing them. He'll be like

525
00:25:06,480 --> 00:25:10,680
Speaker 1: one eight hundred, you crash your car, top dog, y'all.

526
00:25:10,680 --> 00:25:11,920
Speaker 1: I love this guy.

527
00:25:11,760 --> 00:25:13,600
Speaker 4: Man, I don't have no clue of who is.

528
00:25:15,200 --> 00:25:15,680
Speaker 1: Commercial.

529
00:25:15,840 --> 00:25:20,080
Speaker 4: I turn it up like, I'll be hearing you crashed

530
00:25:20,080 --> 00:25:25,480
Speaker 4: your gun. You girl like your leg is sideways top

531
00:25:25,560 --> 00:25:27,680
Speaker 4: one hundred to get you here, I'll be like, Yo,

532
00:25:27,760 --> 00:25:31,520
Speaker 4: this dude is crazy. So I know what you're saying.

533
00:25:33,320 --> 00:25:34,200
Speaker 4: Saluda Chris.

534
00:25:34,280 --> 00:25:34,480
Speaker 1: Right.

535
00:25:35,280 --> 00:25:38,439
Speaker 4: At what point it turned from hip hop to R

536
00:25:38,480 --> 00:25:41,080
Speaker 4: and B to theft.

537
00:25:40,520 --> 00:25:42,760
Speaker 1: Right after no Right, we got right after Chris Crush,

538
00:25:43,160 --> 00:25:44,600
Speaker 1: the explosion of Chris Crush. Right.

539
00:25:44,600 --> 00:25:46,760
Speaker 4: I was just like, well, we got the Brat, we

540
00:25:46,840 --> 00:25:50,440
Speaker 4: got Chris crossed, we got bow Wow, we got rush Yer,

541
00:25:50,520 --> 00:25:54,560
Speaker 4: we got Mariah, we got Boom Crushing, We got me listen.

542
00:25:54,600 --> 00:25:57,720
Speaker 1: So after after Chris Crushed, I didn't want to be

543
00:25:57,960 --> 00:26:03,280
Speaker 1: labeled as a one producer, right, So I was like,

544
00:26:04,400 --> 00:26:06,280
Speaker 1: I got to do an R and B project after

545
00:26:06,359 --> 00:26:09,000
Speaker 1: Chris Crust success. I didn't know if it was gonna work.

546
00:26:09,040 --> 00:26:10,840
Speaker 1: This's the first time I ever did it, but I

547
00:26:10,920 --> 00:26:12,280
Speaker 1: just knew that that's what I wanted to do. I

548
00:26:12,280 --> 00:26:14,639
Speaker 1: didn't want to be put in the box. So Escape

549
00:26:14,640 --> 00:26:17,520
Speaker 1: Project was the first album R and B record that

550
00:26:17,600 --> 00:26:23,920
Speaker 1: I had ever written, a producer or anything. And brought

551
00:26:24,000 --> 00:26:27,400
Speaker 1: them girls to my house and yard down to the Escape.

552
00:26:27,480 --> 00:26:32,480
Speaker 1: Yeah you hear something, just yo, bro. You know I

553
00:26:32,600 --> 00:26:34,960
Speaker 1: used to be scared to fly. So I used to

554
00:26:35,080 --> 00:26:37,720
Speaker 1: drive everywhere to Miami, to everywhere.

555
00:26:37,720 --> 00:26:40,720
Speaker 4: And so I got a certain kind of like respect

556
00:26:40,840 --> 00:26:44,719
Speaker 4: for certain groups because you know, it get hard on

557
00:26:44,760 --> 00:26:47,920
Speaker 4: that Non five around South Carolina. When you start seeing

558
00:26:47,960 --> 00:26:52,080
Speaker 4: Padro and Ship, they'd be like Paidro and you gotta escape.

559
00:26:52,119 --> 00:26:55,720
Speaker 1: Man. They got me through a lot of drives. That

560
00:26:56,040 --> 00:26:59,720
Speaker 1: Escape was different. So you so escape you wrote on

561
00:26:59,800 --> 00:27:03,359
Speaker 1: that shit? Yeah, so I'm saying I was taking still

562
00:27:03,400 --> 00:27:05,720
Speaker 1: from hip hop, like kick off you Shoes and relation feet.

563
00:27:05,920 --> 00:27:08,240
Speaker 1: That was run DM c line. I just was doing

564
00:27:08,240 --> 00:27:11,000
Speaker 1: what I thought. I mean, you ever wrote you ever?

565
00:27:11,119 --> 00:27:13,360
Speaker 1: You ever wrote an R and B song? No?

566
00:27:14,359 --> 00:27:16,920
Speaker 4: I never wrote an R and B song. I never

567
00:27:17,080 --> 00:27:18,000
Speaker 4: like I never.

568
00:27:17,960 --> 00:27:22,560
Speaker 1: Had I he just he just doro it down. I

569
00:27:22,600 --> 00:27:23,919
Speaker 1: can do. Sometimes.

570
00:27:23,920 --> 00:27:26,879
Speaker 4: Beyonce has some witty lyrics where I'd be like, yo,

571
00:27:27,040 --> 00:27:29,520
Speaker 4: Jay must have been writing that studio and gave all

572
00:27:29,680 --> 00:27:32,080
Speaker 4: bar Like I hear it all the time in her

573
00:27:32,160 --> 00:27:34,720
Speaker 4: music where I'm just like she's talking that ship.

574
00:27:34,760 --> 00:27:36,880
Speaker 1: I said, oh whole must have been in that studio,

575
00:27:36,960 --> 00:27:38,960
Speaker 1: gave her a bar. You know.

576
00:27:39,160 --> 00:27:42,359
Speaker 4: It's just you know, but it's something I always wanted

577
00:27:42,400 --> 00:27:44,240
Speaker 4: to do because I'm a lover, not a fighter.

578
00:27:44,320 --> 00:27:47,080
Speaker 1: Be I mean, like I said, if you take it,

579
00:27:47,760 --> 00:27:50,600
Speaker 1: if you just listen to it, it's the same thing. Ultimately,

580
00:27:51,040 --> 00:27:53,480
Speaker 1: you just have to figure out the melody. But other

581
00:27:53,520 --> 00:27:56,240
Speaker 1: than the melody, writing rap and writing a song is

582
00:27:56,280 --> 00:27:57,160
Speaker 1: pretty much the same.

583
00:27:57,680 --> 00:28:00,920
Speaker 4: You know, the face goes down to the at Oh right,

584
00:28:01,640 --> 00:28:05,320
Speaker 4: they're not from there, right like Babyfaces where from Indiana,

585
00:28:06,200 --> 00:28:10,320
Speaker 4: and but they set up Shot they fell in love

586
00:28:10,320 --> 00:28:14,040
Speaker 4: with atl but they let everybody work with the artists

587
00:28:14,080 --> 00:28:17,200
Speaker 4: they signed, you know, even go to you go to

588
00:28:17,320 --> 00:28:25,159
Speaker 4: Rico Wade go to Dallas, Austin. Right, and so what

589
00:28:25,240 --> 00:28:29,919
Speaker 4: are some of the songs you wrote for TLC? Another

590
00:28:30,080 --> 00:28:32,600
Speaker 4: artist that wasn't actually your artist, but.

591
00:28:32,720 --> 00:28:35,199
Speaker 1: CLC was my group first before they even signed in

592
00:28:35,240 --> 00:28:40,440
Speaker 1: the face another one like you know you remember Left,

593
00:28:40,480 --> 00:28:43,760
Speaker 1: I was at my house, right, I brought I brought

594
00:28:43,800 --> 00:28:47,520
Speaker 1: Ti on to my house and then they met at

595
00:28:47,560 --> 00:28:50,760
Speaker 1: my house and they was called Second Nature before they

596
00:28:50,840 --> 00:28:55,480
Speaker 1: was called TLC. And I would have Now, this is

597
00:28:55,480 --> 00:28:58,200
Speaker 1: what I do regret. I regret my mind not moving

598
00:28:58,240 --> 00:29:00,280
Speaker 1: fast enough because if I could have had to see

599
00:29:00,280 --> 00:29:02,800
Speaker 1: and Chris Crutch at the same time. But I ain't.

600
00:29:02,960 --> 00:29:07,400
Speaker 1: I ain't. I was too young to know to learning

601
00:29:07,480 --> 00:29:09,160
Speaker 1: the game. I ain't know. I know what I'm saying.

602
00:29:09,160 --> 00:29:11,360
Speaker 4: And I was God's timing too, to believe it or not.

603
00:29:11,920 --> 00:29:13,800
Speaker 4: It was like it wasn't for you like that. You

604
00:29:13,880 --> 00:29:15,520
Speaker 4: know what I'm saying. It was God's timing.

605
00:29:16,520 --> 00:29:19,040
Speaker 1: I had so much energy for the guys. I wasn't

606
00:29:19,040 --> 00:29:22,080
Speaker 1: giving the girls a lot of energy. And they went

607
00:29:22,200 --> 00:29:24,800
Speaker 1: and had that conversation with Pebbles and they was like,

608
00:29:24,880 --> 00:29:26,280
Speaker 1: you know, they had a meeting. So if you see

609
00:29:26,280 --> 00:29:29,800
Speaker 1: the TLC movie on VAH one, when Left, I make

610
00:29:29,840 --> 00:29:32,120
Speaker 1: this phone call. She called me in that movie. I

611
00:29:32,160 --> 00:29:35,320
Speaker 1: saw that. Yeah they cut me out, but they no, no, no.

612
00:29:35,560 --> 00:29:37,880
Speaker 1: But I saw that movie. Yeah, she called me to

613
00:29:37,920 --> 00:29:39,480
Speaker 1: be like JD, they want to sign us, what you

614
00:29:39,520 --> 00:29:42,240
Speaker 1: want to do? And when she said that, I could

615
00:29:42,240 --> 00:29:44,040
Speaker 1: have been like, nah, I got y'all, let's do this,

616
00:29:44,120 --> 00:29:46,360
Speaker 1: but I was I started thinking like a producer. I

617
00:29:46,400 --> 00:29:49,280
Speaker 1: start thinking like, shit, if they get signed, I could

618
00:29:49,320 --> 00:29:52,520
Speaker 1: do a bunch of songs on their album, right instead

619
00:29:52,560 --> 00:29:54,480
Speaker 1: of just trying to hold them and be like, let

620
00:29:54,600 --> 00:29:56,280
Speaker 1: them sign on my label. So I was like, go ahead,

621
00:29:56,320 --> 00:29:58,520
Speaker 1: do the deal. So they first album, I did a

622
00:29:58,560 --> 00:30:00,480
Speaker 1: song called I Could Do Bad by Myself. On the

623
00:30:00,560 --> 00:30:04,800
Speaker 1: second album is when I did more and more work

624
00:30:04,840 --> 00:30:07,640
Speaker 1: with TLC than I ever did. But really, really a

625
00:30:07,640 --> 00:30:09,840
Speaker 1: lot of that me working with the Face came from

626
00:30:09,920 --> 00:30:12,600
Speaker 1: Usher's second album, My Way album. I did the whole

627
00:30:12,600 --> 00:30:18,640
Speaker 1: album basically another one, and so Usher was up here.

628
00:30:19,240 --> 00:30:21,320
Speaker 1: So I remember when he was all around New York

629
00:30:21,360 --> 00:30:24,640
Speaker 1: as a kid. They snuck him in the clubs, everything

630
00:30:24,720 --> 00:30:27,880
Speaker 1: that but a ship with I forget what what was

631
00:30:28,040 --> 00:30:31,960
Speaker 1: out choice chose? But they also had like hip hop

632
00:30:32,000 --> 00:30:35,360
Speaker 1: I think was it Black Rob's Woe is it too.

633
00:30:35,400 --> 00:30:37,320
Speaker 1: That was.

634
00:30:39,160 --> 00:30:41,120
Speaker 4: Because I'm trying to tell you there's only very few

635
00:30:41,160 --> 00:30:46,120
Speaker 4: records like Black Rob's Woe or Balling by Jim Jones.

636
00:30:46,520 --> 00:30:49,360
Speaker 4: There was very few records when I was in the

637
00:30:49,360 --> 00:30:52,959
Speaker 4: club that just everybody lost their mind. And I remember

638
00:30:53,000 --> 00:30:54,920
Speaker 4: meeting Usher for the first time as a kid at

639
00:30:54,960 --> 00:30:57,680
Speaker 4: the club here and they had something out there that

640
00:30:57,880 --> 00:31:02,000
Speaker 4: was stupid, and I remember it in I was like, damn.

641
00:31:02,080 --> 00:31:04,520
Speaker 1: And that was But any case, this was party in

642
00:31:04,560 --> 00:31:09,800
Speaker 1: bullshit days back then. This was he's going back before

643
00:31:09,840 --> 00:31:11,760
Speaker 1: you talking about I know, I know, I know.

644
00:31:12,320 --> 00:31:15,680
Speaker 4: I'm just like I remember USh as a kid out

645
00:31:15,680 --> 00:31:18,960
Speaker 4: here in New York is seeing them morning over. Yeah,

646
00:31:19,000 --> 00:31:23,520
Speaker 4: but this guy show the second album. So you sit

647
00:31:23,680 --> 00:31:27,719
Speaker 4: down with Usher and and and you said, y'all, I'm

648
00:31:27,720 --> 00:31:28,800
Speaker 4: gonna make a classic.

649
00:31:28,920 --> 00:31:31,120
Speaker 1: No, no, I don't say that. What you said, I

650
00:31:31,120 --> 00:31:34,200
Speaker 1: don't know what's gonna happen. You're gonna make some music. Actually,

651
00:31:34,240 --> 00:31:36,320
Speaker 1: I actually don't know what's gonna happen. I just know that,

652
00:31:36,840 --> 00:31:38,960
Speaker 1: you know. I think they tried to make an album

653
00:31:39,000 --> 00:31:41,160
Speaker 1: with Dallas. They tried to make an album with Puff

654
00:31:41,720 --> 00:31:45,320
Speaker 1: and and the album that they wanted for his second record.

655
00:31:45,320 --> 00:31:47,479
Speaker 1: It didn't work. So they actually tell me that they

656
00:31:47,560 --> 00:31:49,880
Speaker 1: was they was on the verge of dropping him if

657
00:31:49,880 --> 00:31:52,360
Speaker 1: it didn't work with me. Right, I ain't know this though.

658
00:31:52,400 --> 00:31:56,200
Speaker 1: I start hearing this after the fact, so you know.

659
00:31:56,600 --> 00:31:57,960
Speaker 1: But there was like, you know, we want you to

660
00:31:58,000 --> 00:31:59,560
Speaker 1: do what you did with Chris Cross with us. We

661
00:31:59,560 --> 00:32:01,280
Speaker 1: want you to take him to your house, you know

662
00:32:01,320 --> 00:32:03,920
Speaker 1: what I mean, make him your artist. And I was like,

663
00:32:03,960 --> 00:32:06,040
Speaker 1: all right, I never did this before with the R

664
00:32:06,040 --> 00:32:08,480
Speaker 1: and B. I never produced nobody male R and B.

665
00:32:08,920 --> 00:32:10,600
Speaker 1: So I don't know what the song's gonna sound like.

666
00:32:10,640 --> 00:32:13,000
Speaker 1: I did his skate, but I ain't never do it

667
00:32:13,000 --> 00:32:14,880
Speaker 1: with a mail artist, So I ain't know what the

668
00:32:14,880 --> 00:32:17,960
Speaker 1: song is gonna sound like. So he came, we start kicking,

669
00:32:18,040 --> 00:32:21,680
Speaker 1: I start talking, and I start figuring out, Okay, he

670
00:32:21,920 --> 00:32:25,680
Speaker 1: just like Chriss Krust, almost like he pick up instantly.

671
00:32:26,040 --> 00:32:28,040
Speaker 1: If he love it, he really get it, you know

672
00:32:28,080 --> 00:32:29,640
Speaker 1: what I'm saying. So I'm like, okay, if I write

673
00:32:29,680 --> 00:32:32,479
Speaker 1: songs to him that he loved, he gonna sing it.

674
00:32:33,160 --> 00:32:36,400
Speaker 1: He gonna sing it. Was all right, But I still

675
00:32:36,480 --> 00:32:39,560
Speaker 1: was writing songs like raps seven o'clock on the blot,

676
00:32:39,680 --> 00:32:41,720
Speaker 1: only my drop top cruise in the streets theesu is

677
00:32:41,840 --> 00:32:56,520
Speaker 1: rap lyrics in the streets when you're talking about all these.

678
00:32:58,440 --> 00:33:01,560
Speaker 4: Kids stars, like something that keeps maybe because it's you,

679
00:33:02,160 --> 00:33:04,560
Speaker 4: but something that keeps popping up to me is Monica.

680
00:33:05,280 --> 00:33:08,480
Speaker 1: She was just a young girl out there and she saying,

681
00:33:08,600 --> 00:33:10,080
Speaker 1: like the bread.

682
00:33:11,200 --> 00:33:13,200
Speaker 4: I'm not saying we got the Brad, we got too

683
00:33:13,280 --> 00:33:16,120
Speaker 4: much shop to talk about, but I'm just she quitch,

684
00:33:16,600 --> 00:33:16,840
Speaker 4: do you.

685
00:33:16,800 --> 00:33:17,320
Speaker 1: Want to go and.

686
00:33:19,560 --> 00:33:23,480
Speaker 3: Go ahead about the Brad, go ahead with the mony.

687
00:33:24,280 --> 00:33:26,680
Speaker 4: I'm just saying Monica was a little girl with a

688
00:33:26,720 --> 00:33:30,280
Speaker 4: big voice, and she became a superstar just like that.

689
00:33:31,720 --> 00:33:34,400
Speaker 1: First did you know, like when when you she was

690
00:33:34,480 --> 00:33:38,000
Speaker 1: Dallas artist, I know, yeah, yeah, I was breaking a

691
00:33:38,000 --> 00:33:40,200
Speaker 1: lot of bread down there. I knew, I knew she

692
00:33:40,280 --> 00:33:42,520
Speaker 1: was hot. I knew she had it, and she was

693
00:33:42,560 --> 00:33:45,400
Speaker 1: like she was a ghetto girl that Dallas was trying

694
00:33:45,400 --> 00:33:48,600
Speaker 1: to take into the Whitney Houston space, and she had

695
00:33:48,600 --> 00:33:51,120
Speaker 1: the voice to go into that space. Not I don't

696
00:33:51,240 --> 00:33:52,080
Speaker 1: nobody take it wrong.

697
00:33:52,840 --> 00:33:56,080
Speaker 4: No, no, no, she was she had the voice to

698
00:33:56,160 --> 00:33:56,520
Speaker 4: go there.

699
00:33:56,720 --> 00:33:59,280
Speaker 1: Yeah, there's no question about that. But I never I

700
00:33:59,320 --> 00:34:01,800
Speaker 1: never thought I would work with her either. I didn't

701
00:34:01,800 --> 00:34:03,840
Speaker 1: have no idea I ever worked with one what joints

702
00:34:03,880 --> 00:34:06,680
Speaker 1: you did for Monica? I did the first night. That

703
00:34:06,800 --> 00:34:10,799
Speaker 1: was the first time I ever did the first night, y'all.

704
00:34:10,880 --> 00:34:13,160
Speaker 4: Let me tell you something, boy, this this at l

705
00:34:13,360 --> 00:34:15,440
Speaker 4: Royalty is that Let's go to the Brat.

706
00:34:15,440 --> 00:34:17,720
Speaker 1: I love the Brat. That's my sister.

707
00:34:18,680 --> 00:34:20,680
Speaker 4: Let's go to the brat. Let's go to the brat.

708
00:34:20,719 --> 00:34:22,720
Speaker 4: First female to sell a million records?

709
00:34:23,280 --> 00:34:23,799
Speaker 1: Wrap up?

710
00:34:24,239 --> 00:34:26,880
Speaker 4: So the Brat situation, how do you find the brat

711
00:34:26,920 --> 00:34:28,080
Speaker 4: from Chicago?

712
00:34:29,280 --> 00:34:32,200
Speaker 1: Yeah? Yeah, So Brat Brat met Chris Crouss when they

713
00:34:32,239 --> 00:34:35,440
Speaker 1: was on their second tour. They was on there was

714
00:34:35,440 --> 00:34:37,319
Speaker 1: on another tour after they went on to Michael Jackson.

715
00:34:37,400 --> 00:34:42,880
Speaker 1: It was on another tour, right, So they went on.

716
00:34:43,080 --> 00:34:44,879
Speaker 1: They went on a tour and they had like what's

717
00:34:44,880 --> 00:34:52,239
Speaker 1: his name ed Lover and from another raps doctor Love,

718
00:34:52,360 --> 00:34:54,640
Speaker 1: like the host of the tour, and they call people

719
00:34:54,680 --> 00:34:57,440
Speaker 1: up on the stage a rap as an intermission between

720
00:34:57,600 --> 00:35:00,480
Speaker 1: you know, uh, I think MC light and Chris CRUs Us, right,

721
00:35:00,520 --> 00:35:02,400
Speaker 1: because they had to put em light at the opening

722
00:35:02,440 --> 00:35:08,640
Speaker 1: for them, and my mom's just passed away. I love

723
00:35:08,719 --> 00:35:11,759
Speaker 1: you like looking legend. Brat came on the stage and

724
00:35:11,880 --> 00:35:16,000
Speaker 1: rap and I wasn't there, and they called me right

725
00:35:16,040 --> 00:35:18,759
Speaker 1: after lights because I remember, like yesterday he called me

726
00:35:18,840 --> 00:35:21,680
Speaker 1: like yo's female rapper, she went crazy in Chicago, And

727
00:35:21,719 --> 00:35:24,319
Speaker 1: I'm like, I don't care about no female rappers, Like,

728
00:35:24,760 --> 00:35:27,960
Speaker 1: don't nobody like female rappers. Just what I'm saying, like

729
00:35:28,040 --> 00:35:31,400
Speaker 1: this one, no female rappers popping off beside salt and pepper,

730
00:35:31,480 --> 00:35:36,520
Speaker 1: like and then like street fashion of us driving around,

731
00:35:36,520 --> 00:35:38,600
Speaker 1: we want to listen to those female rappers on our cars.

732
00:35:38,640 --> 00:35:41,560
Speaker 1: Like that just wasn't what's happening. So I just like nah,

733
00:35:41,920 --> 00:35:44,480
Speaker 1: And I thought like me messing with the female rapper

734
00:35:44,560 --> 00:35:47,680
Speaker 1: was gonna be the first time that my little success

735
00:35:47,719 --> 00:35:50,840
Speaker 1: story was gonna go wrong, because I was like, I

736
00:35:50,960 --> 00:35:55,320
Speaker 1: just yeah, I just did Chris Cruz, I did escape,

737
00:35:55,560 --> 00:35:56,759
Speaker 1: and I was you know what I'm saying. I was

738
00:35:56,800 --> 00:35:59,640
Speaker 1: moving and I was just like, nah, female rapp I

739
00:35:59,680 --> 00:36:03,360
Speaker 1: can't do it. So but I but he kept pushing me,

740
00:36:03,400 --> 00:36:05,600
Speaker 1: and I was like, all right, tell her to come

741
00:36:05,640 --> 00:36:07,920
Speaker 1: to Atlanta. She came to Atlanta and she told me

742
00:36:07,960 --> 00:36:10,120
Speaker 1: to come to the hotel and meet her. I went

743
00:36:10,160 --> 00:36:12,239
Speaker 1: to the hotel like the meetera and like to have

744
00:36:12,320 --> 00:36:13,839
Speaker 1: a conversation with her, and I'm like, I'm gonna take

745
00:36:13,840 --> 00:36:15,400
Speaker 1: you to my house, and that's what my studio was.

746
00:36:16,600 --> 00:36:19,640
Speaker 1: So I'm driving her from downtown Atlanta the College Park

747
00:36:20,080 --> 00:36:22,600
Speaker 1: and I stopped and get gas. And I stopp and

748
00:36:22,600 --> 00:36:26,080
Speaker 1: get gas. I go on the gas station. I come back.

749
00:36:26,560 --> 00:36:29,560
Speaker 1: She put her tape in the car while I was

750
00:36:29,600 --> 00:36:33,279
Speaker 1: inside the gas station place paying. I came back, turned

751
00:36:33,320 --> 00:36:35,880
Speaker 1: the car and the tape start going and I'm like,

752
00:36:35,880 --> 00:36:38,400
Speaker 1: what the fuck is who is this rapping? And it

753
00:36:38,480 --> 00:36:42,000
Speaker 1: was her? And I was like, wait, wait, who is

754
00:36:42,000 --> 00:36:44,680
Speaker 1: this rapping? And the way she was rapping on the tape,

755
00:36:44,719 --> 00:36:47,200
Speaker 1: I was like, oh shit, she was not playing. No,

756
00:36:47,440 --> 00:36:49,759
Speaker 1: she wasn't playing. She was really rapping, like coming for

757
00:36:49,920 --> 00:36:52,319
Speaker 1: This wasn't the type of rap I thought. This was. Like,

758
00:36:52,360 --> 00:36:55,920
Speaker 1: she was really rapping, like really Chicago style, like Twister

759
00:36:56,040 --> 00:36:57,719
Speaker 1: and all of that, like that type of sh and

760
00:36:57,800 --> 00:36:59,080
Speaker 1: I'm like, that's you.

761
00:36:59,400 --> 00:37:03,000
Speaker 4: And she's like, also, you was producing like West Coast

762
00:37:03,040 --> 00:37:04,720
Speaker 4: sounding beats for the Brat.

763
00:37:04,880 --> 00:37:07,440
Speaker 1: Yeah. But I hadn't started what he was about. I

764
00:37:07,480 --> 00:37:09,839
Speaker 1: don't know what I was gonna be. Yeah, I didn't

765
00:37:09,840 --> 00:37:11,239
Speaker 1: know what I was gonna do. So I took it

766
00:37:11,239 --> 00:37:12,680
Speaker 1: in my house. I'm like, I like you, I'm gonna

767
00:37:12,680 --> 00:37:16,560
Speaker 1: sign you and honestly, Brat project was like the hardest

768
00:37:16,600 --> 00:37:20,799
Speaker 1: project for me because I couldn't I couldn't find that

769
00:37:20,960 --> 00:37:23,640
Speaker 1: thing yet I couldn't find and make a song. And

770
00:37:23,680 --> 00:37:27,240
Speaker 1: I played for people and that was like yeah, whatever, whatever,

771
00:37:27,320 --> 00:37:30,080
Speaker 1: And then I just started paying attention to who she was.

772
00:37:30,640 --> 00:37:32,799
Speaker 1: Like she would be outside my house and like it

773
00:37:32,840 --> 00:37:36,879
Speaker 1: was cold, so we're like take all the like all

774
00:37:36,880 --> 00:37:38,919
Speaker 1: the water out of the swim pool, and she would

775
00:37:38,960 --> 00:37:42,200
Speaker 1: go down in the swim pool and smoke weed because

776
00:37:42,200 --> 00:37:43,960
Speaker 1: she couldn't smoke in my house. She is down in

777
00:37:44,000 --> 00:37:46,799
Speaker 1: the pool smoking and I started realizing like, oh, she

778
00:37:47,520 --> 00:37:49,839
Speaker 1: like she a female, like like a little snoop dog,

779
00:37:49,920 --> 00:37:53,720
Speaker 1: Like she smoked reed like chain smoking anybody, like really

780
00:37:53,960 --> 00:37:57,000
Speaker 1: by herself. And I'm like, we should put this into music.

781
00:37:57,560 --> 00:38:01,000
Speaker 1: And I just start seeing like this was what was happening.

782
00:38:01,000 --> 00:38:04,120
Speaker 1: It's you know, and I mean, I'm influenced by what's

783
00:38:04,160 --> 00:38:05,719
Speaker 1: going on in hip hop, so it ain't you know

784
00:38:05,760 --> 00:38:09,280
Speaker 1: what I mean. And I saw, you know, I'm listening

785
00:38:09,280 --> 00:38:11,279
Speaker 1: to Dre, I'm listening to what's going on, and I'm

786
00:38:11,280 --> 00:38:14,160
Speaker 1: listening to Snoop Snoopers doing this thing, and it was

787
00:38:14,280 --> 00:38:18,479
Speaker 1: kind of like it wasn't like because because the first

788
00:38:18,480 --> 00:38:20,799
Speaker 1: song we came out with wasn't funk. It was more

789
00:38:20,880 --> 00:38:23,239
Speaker 1: or less like it was the Isley Brothers, and I

790
00:38:23,320 --> 00:38:26,839
Speaker 1: just flipped sleeping in my I mean between the sheets.

791
00:38:27,080 --> 00:38:31,040
Speaker 1: But what I did was I start realizing that if

792
00:38:31,080 --> 00:38:33,960
Speaker 1: you play the sample over, it gave you a different

793
00:38:34,000 --> 00:38:37,120
Speaker 1: texture to the music. So you start playing the music over.

794
00:38:37,440 --> 00:38:39,879
Speaker 1: That's when people start thinking it was like West Coast music,

795
00:38:40,000 --> 00:38:42,359
Speaker 1: but that wasn't. It wasn't West Coast. It was just

796
00:38:42,640 --> 00:38:45,040
Speaker 1: in between the sheets, right, because if we had I

797
00:38:45,040 --> 00:38:47,400
Speaker 1: remember we had in between the sheets. And then Biggie

798
00:38:47,480 --> 00:38:50,319
Speaker 1: them had Big Popper, right, and Big used to come

799
00:38:50,360 --> 00:38:51,719
Speaker 1: to me all the time be like, man, what did

800
00:38:51,760 --> 00:38:54,680
Speaker 1: you do to your beat? That's different than my beat?

801
00:38:54,840 --> 00:38:57,000
Speaker 1: And he just had a sample. I had more, you

802
00:38:57,040 --> 00:38:59,359
Speaker 1: know what I mean? I almost had like more, yeah,

803
00:38:59,400 --> 00:39:01,160
Speaker 1: different things. I could take the base, I could do

804
00:39:01,160 --> 00:39:04,359
Speaker 1: whatever I wanted to do because we played it over right,

805
00:39:04,760 --> 00:39:06,799
Speaker 1: And I think that's where people start, you know, it

806
00:39:06,840 --> 00:39:08,719
Speaker 1: was we ran with it because it was song was

807
00:39:08,760 --> 00:39:11,319
Speaker 1: called funct the five, but it wasn't. It was an

808
00:39:11,360 --> 00:39:16,759
Speaker 1: Izi Brothers record that did so funk. Yeah, And that's

809
00:39:16,800 --> 00:39:19,319
Speaker 1: the first time I started rapping on as far as

810
00:39:19,520 --> 00:39:22,040
Speaker 1: people first time hearing me, and that's because I was

811
00:39:22,080 --> 00:39:23,680
Speaker 1: in there writing the raps and I was in there

812
00:39:23,680 --> 00:39:27,080
Speaker 1: writing and I was just playing around like I was

813
00:39:27,120 --> 00:39:29,000
Speaker 1: playing around, like I'm gonna say this, and you say this,

814
00:39:29,400 --> 00:39:31,359
Speaker 1: and it started going and it was like back and forth,

815
00:39:31,400 --> 00:39:33,560
Speaker 1: back and forth, and everybody was around. It was like,

816
00:39:33,640 --> 00:39:35,120
Speaker 1: y'all should do that, and I'm like, no, I don't

817
00:39:35,160 --> 00:39:37,360
Speaker 1: want to rap, right, I'm still trying to stick to

818
00:39:37,520 --> 00:39:40,799
Speaker 1: just I'm produce something. I'm going I'm doing good. I'm

819
00:39:40,840 --> 00:39:42,719
Speaker 1: not getting ready to start doing this. We're not going

820
00:39:42,800 --> 00:39:44,200
Speaker 1: to mess this up, right.

821
00:39:45,480 --> 00:39:49,400
Speaker 4: That's around the time they're off. Sure Knight was like,

822
00:39:49,440 --> 00:39:51,760
Speaker 4: you wann't producers in your video rapping.

823
00:39:52,239 --> 00:39:57,440
Speaker 1: This was before that. It was almost that much. This

824
00:39:57,600 --> 00:40:00,520
Speaker 1: was before that. So yeah, so so we get from

825
00:40:00,600 --> 00:40:04,680
Speaker 1: the five from the five car and this Brat record,

826
00:40:04,760 --> 00:40:07,480
Speaker 1: Go Crazy Funk, the five record, Go Crazy Too Crazy

827
00:40:07,480 --> 00:40:11,920
Speaker 1: and Brat album. She became the first female solo artist

828
00:40:11,920 --> 00:40:14,840
Speaker 1: to have a platinum album. It was crazy Man, shout

829
00:40:14,840 --> 00:40:18,560
Speaker 1: out to the Brat White y'all co wrote that, Yeah,

830
00:40:18,640 --> 00:40:19,799
Speaker 1: so that's when I saw you know what I mean.

831
00:40:19,840 --> 00:40:22,520
Speaker 1: I start I was, I was writing, but then I

832
00:40:22,560 --> 00:40:25,000
Speaker 1: started remembering, like you rap, I already knew what you

833
00:40:25,000 --> 00:40:26,480
Speaker 1: know what I'm saying. So we just start figuring out

834
00:40:26,480 --> 00:40:29,520
Speaker 1: out back and forth motion right, and I write one

835
00:40:29,520 --> 00:40:31,920
Speaker 1: part and then she'll grab it and understand where I'm

836
00:40:31,920 --> 00:40:32,920
Speaker 1: going and this should just take it.

837
00:40:33,040 --> 00:40:37,920
Speaker 4: You know, tipt On me uh tiny Rode Uh scrubs.

838
00:40:38,160 --> 00:40:42,680
Speaker 1: Yeah, the scrub is hun Candy.

839
00:40:43,200 --> 00:40:46,680
Speaker 4: He said he was on the passages side. Though, I'm sure,

840
00:40:51,840 --> 00:40:55,200
Speaker 4: sure that's crazy. Gag kiss, gag. I know I'm jumping

841
00:40:55,280 --> 00:40:57,080
Speaker 4: all you know, I got.

842
00:40:56,960 --> 00:41:00,400
Speaker 1: Some beautiful conversations. This is very knowledge. I'm with you, brother,

843
00:41:00,719 --> 00:41:03,680
Speaker 1: I'm with So then like I'm running around now with

844
00:41:03,840 --> 00:41:08,680
Speaker 1: Brat and I'm rapping Functifies big song, performing with her everywhere.

845
00:41:08,800 --> 00:41:11,799
Speaker 1: But we go right and I'm like, I still don't

846
00:41:11,800 --> 00:41:14,520
Speaker 1: want to rap, but I'm writing more raps now because

847
00:41:14,560 --> 00:41:17,080
Speaker 1: I'm hearing myself on the radio and I'm rapping. I'm

848
00:41:17,080 --> 00:41:20,880
Speaker 1: starting rapping. And then all my friends like, jad, you

849
00:41:20,880 --> 00:41:22,920
Speaker 1: should make yo, you should make an album, and I'm like, no,

850
00:41:22,960 --> 00:41:24,799
Speaker 1: I don't want to make no album. I'm just gonna

851
00:41:24,840 --> 00:41:26,520
Speaker 1: keep doing what I'm doing. But I start making like

852
00:41:27,040 --> 00:41:29,719
Speaker 1: fake songs in the studio, like I'll be writing a

853
00:41:29,719 --> 00:41:31,879
Speaker 1: song and I'm thinking I'm gonna give it to somebody else,

854
00:41:31,920 --> 00:41:34,359
Speaker 1: but I damn near finished the song and my friends

855
00:41:34,560 --> 00:41:36,239
Speaker 1: start listening to it in the car and they're like, yo,

856
00:41:36,360 --> 00:41:38,439
Speaker 1: you should make this a real song. One thing led

857
00:41:38,440 --> 00:41:39,719
Speaker 1: to the next, to the next of the next, and

858
00:41:39,760 --> 00:41:42,080
Speaker 1: then I did my first album Life in fourteen seventy two.

859
00:41:42,239 --> 00:41:45,040
Speaker 4: You want to know what's crazy is there's something going

860
00:41:45,120 --> 00:41:48,320
Speaker 4: on Damn the other side of town.

861
00:41:48,640 --> 00:41:53,920
Speaker 1: You got the goodie wrong? Not yet, not yet? You

862
00:41:53,960 --> 00:41:56,080
Speaker 1: know what I'm gonna let you control, Dad get.

863
00:41:55,960 --> 00:42:01,799
Speaker 4: You asked questions, man like yeah, yeah, ahead of the

864
00:42:01,840 --> 00:42:03,600
Speaker 4: time they're off.

865
00:42:03,680 --> 00:42:08,759
Speaker 1: Yet this all like, you know, how do I know this?

866
00:42:09,160 --> 00:42:12,360
Speaker 1: You older in me? It seemed like that by a

867
00:42:12,400 --> 00:42:15,319
Speaker 1: couple of can it seems like that's what it Wasn't

868
00:42:15,320 --> 00:42:18,440
Speaker 1: like that. It's an argument about that now, Like people

869
00:42:18,440 --> 00:42:21,880
Speaker 1: don't understand Chriss Cross came out before Outcast Facts.

870
00:42:22,040 --> 00:42:24,400
Speaker 4: I know that, but I didn't know. I didn't know

871
00:42:24,480 --> 00:42:27,920
Speaker 4: that Goodie Bob and Rico Wait and the family. He

872
00:42:28,080 --> 00:42:28,880
Speaker 4: wasn't cooking up.

873
00:42:29,040 --> 00:42:30,440
Speaker 1: But That's what I'm saying. You got to think about it.

874
00:42:30,440 --> 00:42:33,440
Speaker 1: Like here's New York. Chris Crust came out before outcasts,

875
00:42:33,440 --> 00:42:35,799
Speaker 1: So you got to think about where the stretch was, right,

876
00:42:35,840 --> 00:42:39,000
Speaker 1: It's like this crisscrossed the outcast, so outcast came. I mean,

877
00:42:39,120 --> 00:42:42,240
Speaker 1: Goodie Mob came out after outcast after outcast.

878
00:42:42,239 --> 00:42:46,880
Speaker 4: Success know that, No, no, no, always thought the goodie Mob.

879
00:42:47,800 --> 00:42:49,440
Speaker 4: That's why we learned it. And I always thought the

880
00:42:49,480 --> 00:42:52,960
Speaker 4: good people. Think I'm signed a big punt, you understand,

881
00:42:53,080 --> 00:42:55,319
Speaker 4: not there is I'm telling you.

882
00:42:55,360 --> 00:43:02,759
Speaker 1: They asked me, I'm thinking Goodie Mob. Birth casts cast

883
00:43:02,880 --> 00:43:05,359
Speaker 1: came out first, that what free? Outcasts came out first,

884
00:43:05,440 --> 00:43:09,279
Speaker 1: then Goodie Mob. Wow, that's amazing. But that's after the

885
00:43:09,320 --> 00:43:14,160
Speaker 1: game good time table. He was, yes, I you know.

886
00:43:15,040 --> 00:43:18,520
Speaker 1: So we went into the space of me started rapping,

887
00:43:18,680 --> 00:43:21,120
Speaker 1: and me and Bratt start doing like going back and

888
00:43:21,120 --> 00:43:24,279
Speaker 1: forth doing things this and the third and we did

889
00:43:24,320 --> 00:43:28,040
Speaker 1: the Sleeping in My Bed remix right that ship she

890
00:43:28,080 --> 00:43:30,560
Speaker 1: did the Sleeping in My Bed remix. This was like

891
00:43:30,600 --> 00:43:33,720
Speaker 1: the first song that New York have really ever, really

892
00:43:33,800 --> 00:43:36,719
Speaker 1: really embraced that I did. Now, you gotta think from

893
00:43:36,719 --> 00:43:38,759
Speaker 1: this whole time when I was staying in New York,

894
00:43:39,280 --> 00:43:41,879
Speaker 1: I had some times Leven I took, I took them

895
00:43:41,920 --> 00:43:43,920
Speaker 1: to see Red, I took I took the record the

896
00:43:43,960 --> 00:43:47,440
Speaker 1: Red Alert and Chuck Chill Out and Chuck Chill I

897
00:43:47,560 --> 00:43:51,080
Speaker 1: was like, nah, no, I can't take that country ship

898
00:43:51,080 --> 00:43:55,160
Speaker 1: back shuck still like that. So so I always had

899
00:43:55,200 --> 00:43:57,640
Speaker 1: this thing where I kept trying to treat my rest

900
00:43:57,640 --> 00:43:58,080
Speaker 1: plate in.

901
00:43:58,040 --> 00:44:05,040
Speaker 4: New York the radio twenty twenty, still be doing there. Yes, listen, yeah,

902
00:44:05,160 --> 00:44:08,560
Speaker 4: I like curse like that changed.

903
00:44:08,640 --> 00:44:10,600
Speaker 1: Yeah, but by the way, that made me want that

904
00:44:10,760 --> 00:44:13,120
Speaker 1: just made me just like, I gotta get a record

905
00:44:13,160 --> 00:44:15,160
Speaker 1: in New York. Like I gotta get a record in

906
00:44:15,160 --> 00:44:17,160
Speaker 1: New York. So I just kept I wasn't thinking about

907
00:44:17,360 --> 00:44:19,319
Speaker 1: Sleeping in my Bed being that record, but I was

908
00:44:19,480 --> 00:44:21,640
Speaker 1: always wanted a record that When I got to New York,

909
00:44:21,680 --> 00:44:24,560
Speaker 1: I turned on Hot ninety seven. I hear my music, right,

910
00:44:24,719 --> 00:44:26,680
Speaker 1: So Sleeping in my Bed became like one of the

911
00:44:26,719 --> 00:44:28,800
Speaker 1: hottest records in New York. Flex was playing at the

912
00:44:28,800 --> 00:44:30,959
Speaker 1: tunnel was an R and B record. They weren't playing

913
00:44:30,960 --> 00:44:33,040
Speaker 1: on R and B at the tunnel, right. He was

914
00:44:33,080 --> 00:44:35,000
Speaker 1: playing this. He's like, Jad, you gotta come to a

915
00:44:35,040 --> 00:44:38,839
Speaker 1: party at the tunnel. Sleeping in my Bed is going crazy, right,

916
00:44:39,200 --> 00:44:41,200
Speaker 1: So Sleeping in my Bed going crazy. And then we

917
00:44:41,239 --> 00:44:46,480
Speaker 1: had the photo shoot the Great Day in Hall did

918
00:44:46,520 --> 00:44:47,480
Speaker 1: all the rappers.

919
00:44:48,400 --> 00:44:51,200
Speaker 4: Looking like a baby on the on the fucking picture

920
00:44:51,239 --> 00:44:53,680
Speaker 4: that's in my store right now when the Bronx, you're

921
00:44:53,680 --> 00:44:55,120
Speaker 4: looking like a baby out there.

922
00:44:55,160 --> 00:44:57,839
Speaker 1: Yeah, so this so we we we come to New

923
00:44:57,920 --> 00:44:59,759
Speaker 1: York and go to Harlem do this. And then that's

924
00:44:59,760 --> 00:45:03,840
Speaker 1: when I I met Hole right and on my way

925
00:45:03,880 --> 00:45:07,360
Speaker 1: to the shoot, I'm listening to the clue tape and

926
00:45:07,520 --> 00:45:10,160
Speaker 1: Hove took the sleeping in my bed beat and he

927
00:45:10,200 --> 00:45:12,239
Speaker 1: took my cat and said, y'all want to dance, I'm

928
00:45:12,280 --> 00:45:14,440
Speaker 1: gonna make it dance. He took all of that and

929
00:45:14,520 --> 00:45:17,320
Speaker 1: did a freestyle. So then I'm in the car like, oh,

930
00:45:17,640 --> 00:45:20,480
Speaker 1: this nigga knows me. Yeah, he fuck with you. I'm like,

931
00:45:20,600 --> 00:45:22,839
Speaker 1: you really know me? Then paid attention to my whole shit.

932
00:45:23,200 --> 00:45:25,520
Speaker 1: So I wasn't thinking like when I seen him, I'm

933
00:45:25,560 --> 00:45:28,279
Speaker 1: gonna say, let's make a record. But somewhere in my

934
00:45:28,320 --> 00:45:30,600
Speaker 1: mind that's what happened, right, So when I seen him

935
00:45:30,600 --> 00:45:32,600
Speaker 1: out there, I'm like, y'all heard you just do my

936
00:45:32,640 --> 00:45:35,239
Speaker 1: whole little flow on that clue tape. You need to

937
00:45:35,280 --> 00:45:38,120
Speaker 1: come to Atlanta, we make a record, And he's like

938
00:45:38,120 --> 00:45:40,080
Speaker 1: all right, he gave me his number, so I went

939
00:45:40,160 --> 00:45:43,440
Speaker 1: back home. All my mind was that I'm gonna make

940
00:45:43,480 --> 00:45:45,960
Speaker 1: this record with jay Z. That's all I was thinking about.

941
00:45:45,960 --> 00:45:47,360
Speaker 1: I'm gonna make this record jay Z. I ain't know

942
00:45:47,440 --> 00:45:49,000
Speaker 1: what the record's gonna be, but I'm like, i'mnna make

943
00:45:49,040 --> 00:45:54,279
Speaker 1: this record with jay Z. And long story short, he

944
00:45:54,320 --> 00:45:57,759
Speaker 1: came to Atlanta and I went and picked him up.

945
00:45:57,960 --> 00:46:00,120
Speaker 1: And when I'm when I'm driving to the airport pick

946
00:46:00,200 --> 00:46:01,920
Speaker 1: him up, I'm listening to he Can't Knocked the Hustle.

947
00:46:02,680 --> 00:46:04,319
Speaker 1: And when he say deep in the South, kicking up

948
00:46:04,360 --> 00:46:07,799
Speaker 1: top game, I'm like, he's talking about me. Who is

949
00:46:07,840 --> 00:46:11,200
Speaker 1: he talking about? I'm riding. I'm thinking he talking about me,

950
00:46:11,239 --> 00:46:14,160
Speaker 1: And he say, switching froll lane. I'm switching, by the way,

951
00:46:14,200 --> 00:46:17,319
Speaker 1: I'm in I'm in a Bentley. Oh you can't up

952
00:46:17,360 --> 00:46:19,719
Speaker 1: by that. Yeah, I'm in the Continental Tea, by the way,

953
00:46:19,800 --> 00:46:22,879
Speaker 1: not just a Bentley, you know what I mean. I'm

954
00:46:22,880 --> 00:46:25,200
Speaker 1: in the Continental Tea going to the airport to pick

955
00:46:25,280 --> 00:46:28,880
Speaker 1: him up, and I'm all out the window. I'm driving

956
00:46:28,960 --> 00:46:31,480
Speaker 1: like this, I'm doing everything he's saying in there and

957
00:46:31,760 --> 00:46:34,200
Speaker 1: switching froll lanes, screaming through the sum room, went anything.

958
00:46:34,239 --> 00:46:37,440
Speaker 1: I'm like, this is me. I'm definitely telling you. That's

959
00:46:37,480 --> 00:46:39,359
Speaker 1: all I'm saying. He talking about me. So as soon

960
00:46:39,400 --> 00:46:41,160
Speaker 1: as he comes out of the airport, I say, yo,

961
00:46:41,440 --> 00:46:44,160
Speaker 1: I'm a sample this part. This is gonna be our song.

962
00:46:44,840 --> 00:46:47,719
Speaker 1: And he's like, all right, he's thinking about what I

963
00:46:47,760 --> 00:46:50,920
Speaker 1: was saying. And then all the way down the street

964
00:46:51,040 --> 00:46:53,600
Speaker 1: to my house, down Old National to my house, he

965
00:46:53,800 --> 00:46:56,120
Speaker 1: just got quiet, and I guess he's zoned in on

966
00:46:56,239 --> 00:46:58,959
Speaker 1: his verse. He ain't even hit a beat. I ain't

967
00:46:58,960 --> 00:47:01,600
Speaker 1: playing no beef for my I had a idea. We

968
00:47:01,640 --> 00:47:04,120
Speaker 1: got to my house, I hit the beat and I said,

969
00:47:04,120 --> 00:47:05,960
Speaker 1: this is what we're gonna wrap over. He's like, all right,

970
00:47:06,040 --> 00:47:08,919
Speaker 1: let's go. I'm ready. And I was like, what that's

971
00:47:09,000 --> 00:47:11,600
Speaker 1: crazy how this worked? And I thought the ship was

972
00:47:11,640 --> 00:47:15,840
Speaker 1: gonna be trashed. Jada would have moved into your house. Jada,

973
00:47:15,920 --> 00:47:16,640
Speaker 1: take his time.

974
00:47:16,719 --> 00:47:19,080
Speaker 4: He'd have moved into your house for a month before

975
00:47:19,120 --> 00:47:20,239
Speaker 4: he gave you that verse.

976
00:47:20,280 --> 00:47:23,480
Speaker 1: You're crazy, Jada take his time. There you go cap.

977
00:47:23,239 --> 00:47:27,760
Speaker 3: It now, how it flew to Atlanta for other ship

978
00:47:28,000 --> 00:47:31,120
Speaker 3: and went in studio and gave him verses.

979
00:47:31,719 --> 00:47:35,719
Speaker 4: That in fact or not, Yes, I gotta fuck with

980
00:47:35,760 --> 00:47:36,160
Speaker 4: the god.

981
00:47:36,239 --> 00:47:38,880
Speaker 1: But my thing is he is he's the one that

982
00:47:38,920 --> 00:47:42,759
Speaker 1: could catch me. Come over, kisching Money dropped it for

983
00:47:42,840 --> 00:47:46,200
Speaker 1: the brat. Money ain't the thing up here.

984
00:47:46,239 --> 00:47:49,840
Speaker 4: It felt like that was the mergence of down South

985
00:47:49,920 --> 00:47:52,719
Speaker 4: in New York, like like it was, you know, it

986
00:47:52,760 --> 00:47:57,120
Speaker 4: felt like that was the ship it was. And y'all

987
00:47:57,239 --> 00:48:03,080
Speaker 4: was talking that ship legendary. You know, whose idea was

988
00:48:03,080 --> 00:48:05,959
Speaker 4: the video and all that. The video was crazy.

989
00:48:06,200 --> 00:48:09,279
Speaker 1: Everything about that with me hoole and free shout out

990
00:48:09,280 --> 00:48:13,200
Speaker 1: the free Maid and uh yeah, we was just like

991
00:48:13,239 --> 00:48:16,239
Speaker 1: we was trying to just figure out how to do

992
00:48:16,360 --> 00:48:18,520
Speaker 1: the dumbest ship we could possibly do at that particular

993
00:48:18,560 --> 00:48:21,480
Speaker 1: point in time, you know what I mean. And we

994
00:48:21,480 --> 00:48:23,520
Speaker 1: were supposed to we were supposed to have a horse race.

995
00:48:23,719 --> 00:48:27,120
Speaker 1: Well we both was riding a horse, but it was

996
00:48:27,160 --> 00:48:29,120
Speaker 1: like I ain't riding no horse, and I'm like, I'm

997
00:48:29,120 --> 00:48:30,560
Speaker 1: gonna ride the horse. You can put you put your

998
00:48:30,560 --> 00:48:32,799
Speaker 1: girl on the horse, our racer. And the way we

999
00:48:32,840 --> 00:48:35,400
Speaker 1: start talking to each other, that's how the video was like,

1000
00:48:35,800 --> 00:48:38,399
Speaker 1: all right, a better one hundred thousand niggas, let's go right.

1001
00:48:38,480 --> 00:48:41,920
Speaker 1: So then everything was just like let's let's let's let's

1002
00:48:41,920 --> 00:48:45,600
Speaker 1: do it. Let's go over top. So yeah, we wreckoned

1003
00:48:45,640 --> 00:48:48,440
Speaker 1: portions and everything at the video shoot real life.

1004
00:48:49,040 --> 00:48:52,799
Speaker 4: Yeah yeah, so y'all was just jumping out.

1005
00:48:58,080 --> 00:49:03,200
Speaker 1: So at one point do you hear Outcasts, well, Outcasts out.

1006
00:49:03,239 --> 00:49:06,280
Speaker 1: At this point, Outcast is out, like Outcasts came out.

1007
00:49:07,200 --> 00:49:10,000
Speaker 1: They Outcast was out. Like I said, Outcasts came out

1008
00:49:10,040 --> 00:49:13,360
Speaker 1: right after Chris Crust. They actually was like bratt Outcast

1009
00:49:14,000 --> 00:49:16,319
Speaker 1: and that they in that little era. All of that

1010
00:49:16,360 --> 00:49:18,560
Speaker 1: came out around the same time, like ninety four. Chris

1011
00:49:18,680 --> 00:49:21,799
Speaker 1: Crust came out in ninety two. So Outcasts, I think

1012
00:49:21,880 --> 00:49:24,200
Speaker 1: like they came out and that's when they won. They

1013
00:49:24,239 --> 00:49:26,680
Speaker 1: won the award at the Source Awards in ninety four.

1014
00:49:27,440 --> 00:49:30,280
Speaker 1: I was there. That was that night. I was dead brother.

1015
00:49:30,360 --> 00:49:33,960
Speaker 4: I was sitting right behind Outcast, right in front of

1016
00:49:33,960 --> 00:49:36,160
Speaker 4: the Outcasts was the sixty nine boys.

1017
00:49:36,520 --> 00:49:38,200
Speaker 1: NaNs was sitting right in front of me.

1018
00:49:38,920 --> 00:49:42,800
Speaker 4: You really remember, I'm at the I'm strapping the fucking

1019
00:49:42,880 --> 00:49:45,360
Speaker 4: sauce of wars like not keep it real with you.

1020
00:49:46,239 --> 00:49:48,920
Speaker 4: I got the HANDI moves with me. I'm up in there,

1021
00:49:49,040 --> 00:49:51,719
Speaker 4: you know what I'm saying. So I saw where Outcasts

1022
00:49:51,719 --> 00:49:54,239
Speaker 4: won that that award and they just got up and

1023
00:49:54,280 --> 00:49:56,759
Speaker 4: I wasn't. I was up on outcasts. But I didn't

1024
00:49:56,800 --> 00:50:00,239
Speaker 4: think they were the Kings, right, So I I knew

1025
00:50:00,280 --> 00:50:02,640
Speaker 4: they was nice. I knew they was wrapping that at L,

1026
00:50:03,719 --> 00:50:07,320
Speaker 4: but I ain't when they won who they won against

1027
00:50:07,320 --> 00:50:11,319
Speaker 4: Wu Tang. They wan't won against some serious people up there.

1028
00:50:11,440 --> 00:50:13,920
Speaker 4: That was a new Artist award through right.

1029
00:50:14,239 --> 00:50:15,040
Speaker 1: Yeah, but it was.

1030
00:50:15,120 --> 00:50:17,640
Speaker 4: It was around the same time. But when they go,

1031
00:50:18,120 --> 00:50:20,719
Speaker 4: I remember them getting up. They did like a little

1032
00:50:20,760 --> 00:50:25,120
Speaker 4: one two step they went because they didn't think they

1033
00:50:25,120 --> 00:50:27,680
Speaker 4: were gonna win in New York. They so when they

1034
00:50:27,719 --> 00:50:31,560
Speaker 4: won it, that was a major. That was like Biggie

1035
00:50:31,600 --> 00:50:32,880
Speaker 4: on stage going Brooklyn.

1036
00:50:32,920 --> 00:50:33,560
Speaker 1: We did it.

1037
00:50:33,640 --> 00:50:38,319
Speaker 4: We made it right. It's like when outcast one. If

1038
00:50:38,360 --> 00:50:40,040
Speaker 4: you wasn't there you were in the at L. You

1039
00:50:40,120 --> 00:50:42,399
Speaker 4: seen when they won that on TV. I was there

1040
00:50:42,719 --> 00:50:45,000
Speaker 4: or you was there. So what that must have been

1041
00:50:45,080 --> 00:50:47,160
Speaker 4: like in the whole entire South or they like the

1042
00:50:47,239 --> 00:50:50,480
Speaker 4: South got something to say. I mean, for me, I

1043
00:50:50,520 --> 00:50:52,759
Speaker 4: didn't feel it like that because I had already said

1044
00:50:52,760 --> 00:50:55,359
Speaker 4: what I had to say. I had already been saying

1045
00:50:55,400 --> 00:50:57,920
Speaker 4: what the South got the same right, But this was

1046
00:50:57,960 --> 00:51:01,800
Speaker 4: more or less like you know, like what niggas don't understand.

1047
00:51:01,800 --> 00:51:05,120
Speaker 1: I ushered them, young niggas and rap. When I brought

1048
00:51:05,160 --> 00:51:07,840
Speaker 1: Criscruss in the game, it was no young people rapping.

1049
00:51:08,120 --> 00:51:11,319
Speaker 1: Young people didn't even want to rap, right, it was

1050
00:51:11,400 --> 00:51:14,839
Speaker 1: all old niggas. So old niggas would never give young

1051
00:51:14,920 --> 00:51:18,200
Speaker 1: niggas no credit. Criscross came out, they first album. They

1052
00:51:18,200 --> 00:51:20,800
Speaker 1: sold eight million records. Niggas don't ever be like really

1053
00:51:20,880 --> 00:51:23,920
Speaker 1: like talking about this, like they want to give all

1054
00:51:24,000 --> 00:51:26,880
Speaker 1: Criscross credit to somebody else. They sold eight million records

1055
00:51:27,040 --> 00:51:30,879
Speaker 1: at twelve years old. That's a lot of records. Man,

1056
00:51:31,680 --> 00:51:38,480
Speaker 1: they sold four million jumps. Hold on that.

1057
00:51:39,640 --> 00:51:41,880
Speaker 4: You know his studio, he got a war with nothing

1058
00:51:41,920 --> 00:51:43,840
Speaker 4: but platinum dinond shit.

1059
00:51:44,080 --> 00:51:48,480
Speaker 1: The studio, I call it it. Museum are the exhibit?

1060
00:51:48,800 --> 00:51:50,719
Speaker 4: You walked up in there and you know you you

1061
00:51:50,760 --> 00:52:00,000
Speaker 4: step in this shit? How many millions niggas kissed one?

1062
00:52:00,080 --> 00:52:04,040
Speaker 4: Let me ask you that, like he said, you got it.

1063
00:52:04,120 --> 00:52:05,640
Speaker 4: But it's a lot of millions.

1064
00:52:06,000 --> 00:52:08,239
Speaker 1: I mean it was one time it was at like

1065
00:52:08,360 --> 00:52:10,920
Speaker 1: four hundred five hundred million, but that's that was like

1066
00:52:11,040 --> 00:52:13,759
Speaker 1: ten years ago. Now that we got this streaming ship,

1067
00:52:13,840 --> 00:52:15,839
Speaker 1: I know it's way more than the Confessions.

1068
00:52:16,320 --> 00:52:19,879
Speaker 3: I even get to my riot, how what was you?

1069
00:52:20,000 --> 00:52:22,640
Speaker 3: And the staff shout out to be cock shout out

1070
00:52:22,640 --> 00:52:26,480
Speaker 3: to everybody, what was what kind of zoom? What did

1071
00:52:26,520 --> 00:52:29,279
Speaker 3: y'all set out to do? Cause if y'all just say,

1072
00:52:29,320 --> 00:52:31,000
Speaker 3: you know, we're about to cook up some ship and

1073
00:52:31,040 --> 00:52:34,360
Speaker 3: go diamond and take over the whole every piast of

1074
00:52:34,400 --> 00:52:35,200
Speaker 3: the world.

1075
00:52:35,640 --> 00:52:39,200
Speaker 1: Accomplished that to the t, I don't think that's what

1076
00:52:39,320 --> 00:52:41,279
Speaker 1: y'all did. No, No, I mean you got so. We

1077
00:52:41,320 --> 00:52:44,319
Speaker 1: had eighty seven o one first before professionals, right after

1078
00:52:45,239 --> 00:52:50,279
Speaker 1: definitely Yeah, so eighty seven o one we wrote, we

1079
00:52:50,320 --> 00:52:53,719
Speaker 1: wrote you Got It Bad real, so you got It Bad.

1080
00:52:54,120 --> 00:52:55,839
Speaker 1: The success that You Got It Bad was just like

1081
00:52:56,120 --> 00:52:58,320
Speaker 1: it's the beginning of it. Like it was like, okay, listen,

1082
00:52:58,360 --> 00:53:00,799
Speaker 1: we make after after you Got It Bad success, We

1083
00:53:00,840 --> 00:53:03,680
Speaker 1: went back in the studio for Confessions. The mentality was

1084
00:53:03,719 --> 00:53:06,120
Speaker 1: that we had to finish off what we thought You

1085
00:53:06,160 --> 00:53:09,839
Speaker 1: Got It Bad did, right so us She was talking

1086
00:53:09,840 --> 00:53:13,560
Speaker 1: about the song like he felt like his relationship was

1087
00:53:13,560 --> 00:53:15,759
Speaker 1: going through the situation. He wanted it to burn out,

1088
00:53:15,840 --> 00:53:17,520
Speaker 1: like just let it burn out, and we have to

1089
00:53:17,520 --> 00:53:19,160
Speaker 1: go through the pain. And he was telling me this

1090
00:53:19,560 --> 00:53:22,680
Speaker 1: and I couldn't really grasp what he was saying because

1091
00:53:22,719 --> 00:53:25,160
Speaker 1: I went I had gone through that type of situation.

1092
00:53:25,560 --> 00:53:27,080
Speaker 1: But I was trying to and I was trying to

1093
00:53:27,080 --> 00:53:30,440
Speaker 1: figure it out, and he told me this, and then

1094
00:53:30,440 --> 00:53:32,400
Speaker 1: he left and I sat there for a minute. I

1095
00:53:32,440 --> 00:53:34,680
Speaker 1: except thinking about him, like let it burn, let it burn,

1096
00:53:36,360 --> 00:53:38,840
Speaker 1: And I kept saying like, oh, okay, I want the

1097
00:53:38,880 --> 00:53:44,719
Speaker 1: feeling everybody, you know. I started trying to figure out

1098
00:53:44,800 --> 00:53:48,719
Speaker 1: what the lords were and then I got it and

1099
00:53:48,800 --> 00:53:50,719
Speaker 1: I called him back. I said, I got it, I

1100
00:53:50,760 --> 00:53:53,000
Speaker 1: got it, I got the hook. So he came back

1101
00:53:53,040 --> 00:53:55,240
Speaker 1: to the studio and we did let it burn first,

1102
00:53:55,840 --> 00:53:59,360
Speaker 1: like we did let it burn first. And then he

1103
00:53:59,480 --> 00:54:01,600
Speaker 1: starts saying was going through this thing where he couldn't

1104
00:54:01,600 --> 00:54:05,040
Speaker 1: really work in Atlanta. Let's go to LA And I'm like, nah,

1105
00:54:05,120 --> 00:54:07,719
Speaker 1: here we go. This is the bullshit I thought we

1106
00:54:07,719 --> 00:54:09,560
Speaker 1: was just everybody go through a phase.

1107
00:54:09,600 --> 00:54:13,080
Speaker 4: You think he gonna block his own blessings, right, I'm like.

1108
00:54:13,040 --> 00:54:15,359
Speaker 1: Here we go. I'm thinking about me because I'm I'm

1109
00:54:15,600 --> 00:54:17,880
Speaker 1: I'm like, I want to be where I can grab

1110
00:54:18,600 --> 00:54:21,200
Speaker 1: all the records that I need, any ideas, It's all

1111
00:54:21,200 --> 00:54:24,600
Speaker 1: in my studio right for me as far as being creative,

1112
00:54:24,640 --> 00:54:26,000
Speaker 1: I don't want to go nowhere because I know I'm

1113
00:54:26,000 --> 00:54:28,319
Speaker 1: gonna forget something I'm gonna leave someone. I can't find

1114
00:54:28,360 --> 00:54:32,120
Speaker 1: something that yeah, right, So he like, let's go to

1115
00:54:32,239 --> 00:54:35,719
Speaker 1: LA and I'm like, shit, cool, I'm going we go.

1116
00:54:35,840 --> 00:54:38,319
Speaker 1: We go to Brandon's Way and we get out there

1117
00:54:38,920 --> 00:54:44,239
Speaker 1: and my man that was with me. He was talking

1118
00:54:44,239 --> 00:54:47,040
Speaker 1: to me about girls inside girls and relationships and this,

1119
00:54:47,080 --> 00:54:49,320
Speaker 1: that and the third, and I just kept saying, that's you.

1120
00:54:49,960 --> 00:54:53,280
Speaker 1: That's all bad, Like everything you're talking about is all bad.

1121
00:54:54,120 --> 00:54:57,200
Speaker 1: And Usher came to the studio and we started talking

1122
00:54:57,200 --> 00:55:00,400
Speaker 1: about some things, but then he left, and all I

1123
00:55:00,440 --> 00:55:03,480
Speaker 1: kept remember he was like, Yo, let's let's let's come

1124
00:55:03,480 --> 00:55:07,319
Speaker 1: back tomorrow. And I was like, Manna, I can't let

1125
00:55:07,440 --> 00:55:09,560
Speaker 1: LA beat me. I get like a writer's block. I

1126
00:55:09,560 --> 00:55:12,680
Speaker 1: feel like I got a writer's block basically, And you know,

1127
00:55:12,880 --> 00:55:15,480
Speaker 1: it's really really bothered me because I already felt like

1128
00:55:15,719 --> 00:55:17,480
Speaker 1: it was gonna happen when I got to LA. So

1129
00:55:17,840 --> 00:55:20,040
Speaker 1: I have to cut you off. That happens to me

1130
00:55:20,200 --> 00:55:21,680
Speaker 1: in La. I needed.

1131
00:55:22,040 --> 00:55:24,320
Speaker 3: I can't just go there and go straight to the studio.

1132
00:55:24,880 --> 00:55:29,000
Speaker 3: I gotta I gotta cry, I gotta be, I gotta.

1133
00:55:29,080 --> 00:55:30,720
Speaker 1: Some ship gota happen. I can't.

1134
00:55:31,080 --> 00:55:33,640
Speaker 3: I don't got the same fluidity in the studio in

1135
00:55:33,840 --> 00:55:37,080
Speaker 3: la that I got anywhere else, and I don't know

1136
00:55:37,160 --> 00:55:40,320
Speaker 3: what he I don't know what it is. It takes

1137
00:55:40,320 --> 00:55:42,480
Speaker 3: a while for me to get I can't just go

1138
00:55:42,560 --> 00:55:44,280
Speaker 3: there and be kissed off the brip.

1139
00:55:44,360 --> 00:55:48,120
Speaker 4: So I never really successfully wrote in l A. Never

1140
00:55:48,239 --> 00:55:51,440
Speaker 4: me myself, never hit one out the park in l

1141
00:55:51,600 --> 00:55:54,080
Speaker 4: l A. Like you know, I wrote ship there, but

1142
00:55:54,120 --> 00:55:54,600
Speaker 4: it wasn't.

1143
00:55:55,560 --> 00:55:59,600
Speaker 1: Blackout was recorded in l A. X album this is it.

1144
00:56:00,040 --> 00:56:02,640
Speaker 1: That's probably no. He was recording out there. I'm talking

1145
00:56:02,680 --> 00:56:08,000
Speaker 1: about for me, one of X album is the best

1146
00:56:08,120 --> 00:56:12,040
Speaker 1: I was able. So yeah, So I'm I'm going through

1147
00:56:12,080 --> 00:56:15,600
Speaker 1: this thing and I'm struggling. So I'm like, I told

1148
00:56:15,640 --> 00:56:17,640
Speaker 1: the engineer give me a copy of the beat because

1149
00:56:17,640 --> 00:56:19,399
Speaker 1: I made we made a beat man because he made

1150
00:56:19,400 --> 00:56:22,960
Speaker 1: the beat. And I think I know I know the beat, right,

1151
00:56:23,239 --> 00:56:25,200
Speaker 1: I just don't. I ain't got the words. I can't

1152
00:56:25,200 --> 00:56:27,960
Speaker 1: figure it out. And I and I'm thinking about saying

1153
00:56:28,000 --> 00:56:30,799
Speaker 1: stuff that I don't think USh is gonna want to say, right,

1154
00:56:30,840 --> 00:56:32,560
Speaker 1: So I'm thinking like that he ain't gonna want to

1155
00:56:32,600 --> 00:56:35,040
Speaker 1: do this because this ain't what his life is, right,

1156
00:56:35,120 --> 00:56:37,560
Speaker 1: he ain't going through this. So I'm like, but that's

1157
00:56:37,600 --> 00:56:39,960
Speaker 1: what I want to say, but I'm thinking, like this

1158
00:56:40,000 --> 00:56:42,600
Speaker 1: ain't gonna work. So I take the beat and I

1159
00:56:42,640 --> 00:56:45,560
Speaker 1: get in the car. And I'm getting in the car,

1160
00:56:45,600 --> 00:56:49,840
Speaker 1: I'm riding down Melrose and I'm thinking, like where I

1161
00:56:50,040 --> 00:56:54,120
Speaker 1: knew n. I'm thinking, I'm thinking like shit, I ain't

1162
00:56:54,160 --> 00:56:56,840
Speaker 1: got the words. I can't. So I started thinking about

1163
00:56:57,520 --> 00:57:03,319
Speaker 1: usual suspect right was in the jail. He ain't had

1164
00:57:03,360 --> 00:57:05,319
Speaker 1: the words for the story. He just started looking for

1165
00:57:05,360 --> 00:57:08,440
Speaker 1: the words on the board and try to create the story.

1166
00:57:08,840 --> 00:57:11,120
Speaker 1: So I'm like, I'm gonna try this, and that's what

1167
00:57:11,160 --> 00:57:13,640
Speaker 1: I've started doing. I'm looking at signs on mail Rose.

1168
00:57:13,640 --> 00:57:15,799
Speaker 1: It's all kind of shit going, right. So I get

1169
00:57:15,840 --> 00:57:19,160
Speaker 1: to the light I think on third and the Beverly

1170
00:57:19,200 --> 00:57:21,480
Speaker 1: Center's in front of me. And that's when I say

1171
00:57:21,520 --> 00:57:23,080
Speaker 1: every time I was in La, I was with my

1172
00:57:23,120 --> 00:57:25,920
Speaker 1: ex girlfriend. Every time she called me and told him Gravey,

1173
00:57:25,920 --> 00:57:29,360
Speaker 1: I'm working. No, I was not doing my work. I

1174
00:57:29,400 --> 00:57:31,560
Speaker 1: was handed handing the Beverly Center like man, not giving

1175
00:57:31,560 --> 00:57:34,000
Speaker 1: the damn. Who sees me? And I'm thinking like, oh,

1176
00:57:34,240 --> 00:57:36,320
Speaker 1: and I'm just grabbing this everything I see. I would

1177
00:57:36,320 --> 00:57:38,200
Speaker 1: have never said the Beverly Son in that song. If

1178
00:57:38,240 --> 00:57:40,439
Speaker 1: the Beverly Center wasn't in front of me. I'm trying

1179
00:57:40,440 --> 00:57:43,919
Speaker 1: to do the kisise shit right. So as I get

1180
00:57:43,960 --> 00:57:47,400
Speaker 1: through that verse, I'm like, I'm like, I got it,

1181
00:57:48,000 --> 00:57:50,640
Speaker 1: and so everything is everything. Everything I've been doing is

1182
00:57:50,640 --> 00:57:51,920
Speaker 1: all bad. I got a chick on the side of

1183
00:57:52,000 --> 00:57:53,160
Speaker 1: the crib and the ride up and telling you to

1184
00:57:53,200 --> 00:57:56,120
Speaker 1: minize ain't looking good. It's all bad. I just want

1185
00:57:56,160 --> 00:57:59,480
Speaker 1: to confess. And that's where confessions came from, with me saying,

1186
00:57:59,520 --> 00:58:01,400
Speaker 1: I just want to confess all of this ship that

1187
00:58:01,440 --> 00:58:04,600
Speaker 1: I've been doing is bad. We ain't have confessions that

1188
00:58:04,680 --> 00:58:06,960
Speaker 1: if I want to say that, I want to confess

1189
00:58:07,000 --> 00:58:08,960
Speaker 1: to you everything that I've been doing is bad. It's

1190
00:58:09,040 --> 00:58:11,320
Speaker 1: like my time. I'm saying, this is gonna be the

1191
00:58:11,360 --> 00:58:13,480
Speaker 1: first R and B record with a nigga actually tell

1192
00:58:13,520 --> 00:58:18,160
Speaker 1: a girl he fuck it, Yeah, you ain't got even asked. Yeah,

1193
00:58:18,200 --> 00:58:21,120
Speaker 1: I'm fucking her. Just what I'm doing. I got a

1194
00:58:21,160 --> 00:58:23,240
Speaker 1: crib on the side, chick on the side with a

1195
00:58:23,280 --> 00:58:24,960
Speaker 1: crib on the ride up and telling you so many

1196
00:58:25,000 --> 00:58:28,560
Speaker 1: lines ain't nothing good. It's all bad. I ain't always

1197
00:58:28,600 --> 00:58:29,720
Speaker 1: going I just felt like.

1198
00:58:29,960 --> 00:58:33,680
Speaker 4: Day that song feels so good to this day.

1199
00:58:33,880 --> 00:58:36,360
Speaker 1: So that was the beginning, right, that was the beginning.

1200
00:58:37,440 --> 00:58:39,040
Speaker 1: I had to drive all the way to Malibu because

1201
00:58:39,040 --> 00:58:40,920
Speaker 1: everybody had left the studio and I couldn't record. I

1202
00:58:40,960 --> 00:58:43,320
Speaker 1: had to remember, I had to memorize all of this. Yeah,

1203
00:58:43,320 --> 00:58:45,360
Speaker 1: I had to keep going right. So the next day

1204
00:58:45,520 --> 00:58:47,080
Speaker 1: it's like, we got to hurry and get to the studio.

1205
00:58:47,120 --> 00:58:49,000
Speaker 1: So I put it down. You ain't write it down,

1206
00:58:49,080 --> 00:58:51,640
Speaker 1: you know. I'm right, I'm driving and writing in my head.

1207
00:58:51,840 --> 00:58:56,040
Speaker 1: I forget too much. So so we get back, we

1208
00:58:56,080 --> 00:58:59,600
Speaker 1: do this, we do all bad and then Mark pitch like, well,

1209
00:58:59,640 --> 00:59:03,080
Speaker 1: what happen? And after, you know, after this situation, what

1210
00:59:03,080 --> 00:59:05,720
Speaker 1: happened with the chick on the side. Then it hit

1211
00:59:05,840 --> 00:59:09,200
Speaker 1: me it's like, oh damn, she got pregnant. This is

1212
00:59:09,240 --> 00:59:12,640
Speaker 1: like my real life, right, the chick on the side

1213
00:59:12,640 --> 00:59:15,720
Speaker 1: get pregnant. I know this story, Like I really know

1214
00:59:15,760 --> 00:59:18,280
Speaker 1: this story. I ain't even gonna write this right. So

1215
00:59:18,840 --> 00:59:21,120
Speaker 1: that's when we're like, okay, I'm like, ship, it's gonna

1216
00:59:21,120 --> 00:59:24,200
Speaker 1: be part two. And part two became these on my

1217
00:59:24,240 --> 00:59:27,560
Speaker 1: confession and you if we would ever got to that,

1218
00:59:27,600 --> 00:59:28,960
Speaker 1: if we went and did we So we did a

1219
00:59:29,000 --> 00:59:30,920
Speaker 1: part two of a song that never even came out.

1220
00:59:32,160 --> 00:59:38,439
Speaker 4: Wow, so that was part two. That was the response. Yeah,

1221
00:59:38,760 --> 00:59:40,560
Speaker 4: and you ain't even do the first one. Well, we

1222
00:59:40,600 --> 00:59:42,680
Speaker 4: did it, but it didn't come out. LA didn't put

1223
00:59:42,760 --> 00:59:44,280
Speaker 4: all Bad on the first He didn't put it on

1224
00:59:44,280 --> 00:59:45,640
Speaker 4: the album. He put it on the you know me

1225
00:59:45,720 --> 00:59:49,040
Speaker 4: on the repackage. You know you name it some big names, right,

1226
00:59:49,080 --> 00:59:51,720
Speaker 4: So you're saying l A Read, You're saying Mark Pitts,

1227
00:59:52,080 --> 00:59:52,800
Speaker 4: who the sides?

1228
00:59:52,880 --> 00:59:55,800
Speaker 1: What comes on the album? LA Read on the faith?

1229
00:59:55,840 --> 00:59:58,680
Speaker 1: I mean you know at that time, Ariston, you know

1230
00:59:58,800 --> 01:00:00,760
Speaker 1: that was that he'd be like, I want this, I

1231
01:00:00,800 --> 01:00:03,960
Speaker 1: want that shot. That's his job, that's what he's thinking.

1232
01:00:04,400 --> 01:00:07,120
Speaker 1: And that was his face, like La, you know, putting

1233
01:00:07,120 --> 01:00:08,720
Speaker 1: the albums in space saw.

1234
01:00:08,720 --> 01:00:11,720
Speaker 4: Like a like an old interview with all Kelly and

1235
01:00:12,960 --> 01:00:16,880
Speaker 4: he said he would do like a hundred songs and

1236
01:00:17,000 --> 01:00:20,280
Speaker 4: listen to all of them and pick out the twelve

1237
01:00:20,360 --> 01:00:22,560
Speaker 4: on the album, Like you know how hard that ship

1238
01:00:22,720 --> 01:00:26,960
Speaker 4: had to be to like, here's probably some gems left

1239
01:00:27,000 --> 01:00:28,280
Speaker 4: on the floor, right.

1240
01:00:28,120 --> 01:00:29,560
Speaker 1: But that's what I'm saying, Like, I never I never

1241
01:00:29,560 --> 01:00:32,520
Speaker 1: even understood why LA didn't even put both versions. He

1242
01:00:32,520 --> 01:00:34,360
Speaker 1: didn't want he ain't put all bad And I'm like,

1243
01:00:34,640 --> 01:00:36,640
Speaker 1: you know, what's crazy is that people gonna listen to

1244
01:00:36,680 --> 01:00:39,480
Speaker 1: this and they're hearing the second story. They don't even

1245
01:00:39,480 --> 01:00:43,440
Speaker 1: know where it came from. But I couldn't figure I

1246
01:00:43,720 --> 01:00:46,320
Speaker 1: couldn't figure out how it was genius. Yeah it was.

1247
01:00:46,440 --> 01:00:49,640
Speaker 1: It was like crazy genie shit. So so that was

1248
01:00:49,680 --> 01:00:51,880
Speaker 1: the beginning of confessionals. I think Big Pun.

1249
01:00:52,520 --> 01:00:56,000
Speaker 3: Even think about it, do JD. That's how movies sometimes

1250
01:00:56,040 --> 01:00:57,560
Speaker 3: they make you watch the movie back.

1251
01:00:58,400 --> 01:01:01,440
Speaker 4: That's the track, and it was ill. He said he

1252
01:01:01,480 --> 01:01:03,480
Speaker 4: did the kad his soul said yeah, right his block

1253
01:01:03,560 --> 01:01:04,760
Speaker 4: and you're looking at signs.

1254
01:01:04,760 --> 01:01:10,200
Speaker 1: It was like, but you care you ain't got it,

1255
01:01:10,240 --> 01:01:11,680
Speaker 1: you know what I mean, Like, if you want the pressure.

1256
01:01:11,720 --> 01:01:13,880
Speaker 1: That's that's all I remember about that movie is that

1257
01:01:14,520 --> 01:01:16,040
Speaker 1: dude was in there, you know what I mean, in

1258
01:01:16,040 --> 01:01:19,080
Speaker 1: the jail, the dude asking him questions and he's underpressure.

1259
01:01:19,200 --> 01:01:21,320
Speaker 1: The whole story with it. He just looking at stuff

1260
01:01:21,320 --> 01:01:23,440
Speaker 1: and he's like, Oh, that's crazy. If you could put

1261
01:01:23,440 --> 01:01:25,080
Speaker 1: it together and make it sound good, that's what I

1262
01:01:25,120 --> 01:01:27,440
Speaker 1: started trying to do. That was that's crazy.

1263
01:01:27,520 --> 01:01:29,880
Speaker 4: So I got to ask you think Big Pun because

1264
01:01:29,880 --> 01:01:31,560
Speaker 4: it's his biggest question in the world.

1265
01:01:31,600 --> 01:01:36,680
Speaker 1: Was Janet Jackson? You got Janet Jackson now prime was

1266
01:01:36,720 --> 01:01:44,200
Speaker 1: it a problem? She was six packed up and all that.

1267
01:01:42,280 --> 01:01:44,720
Speaker 4: Was there was a Janet that went crazy at one

1268
01:01:44,720 --> 01:01:46,600
Speaker 4: point that she just became the baddest.

1269
01:01:47,200 --> 01:01:48,959
Speaker 1: I know that it's good time.

1270
01:01:49,080 --> 01:01:54,080
Speaker 4: Can I say right that you caught high at the

1271
01:01:54,080 --> 01:01:56,480
Speaker 4: time she went crazy?

1272
01:01:56,840 --> 01:01:57,440
Speaker 1: Right? And so?

1273
01:01:57,880 --> 01:02:00,640
Speaker 4: And I don't know, let me ask you before that,

1274
01:02:01,040 --> 01:02:03,600
Speaker 4: Let me ask you question you went crazy before that?

1275
01:02:03,680 --> 01:02:05,600
Speaker 4: It was enough to make you say it was Let

1276
01:02:05,640 --> 01:02:12,600
Speaker 4: me holler right, the confidence to holler at Janet's well,

1277
01:02:12,640 --> 01:02:14,080
Speaker 4: I don't know, because.

1278
01:02:13,760 --> 01:02:17,800
Speaker 1: He did what he said he did till twelve.

1279
01:02:18,120 --> 01:02:20,720
Speaker 4: No, no, I understand that said it's Jannet Jackson nos

1280
01:02:21,240 --> 01:02:25,120
Speaker 4: talking about Penny. Okay, well you got the confidence I

1281
01:02:25,120 --> 01:02:28,440
Speaker 4: ain't got. Now, let me ask you a question you

1282
01:02:28,520 --> 01:02:32,920
Speaker 4: ever got shocked by? Can I say something joke? I'll

1283
01:02:32,920 --> 01:02:34,600
Speaker 4: tell you he's on his ship, on his city.

1284
01:02:34,960 --> 01:02:37,880
Speaker 1: I can't let you get away with this ship. This

1285
01:02:37,960 --> 01:02:41,040
Speaker 1: ain't that and that ain't this cracking kisss.

1286
01:02:41,480 --> 01:02:43,960
Speaker 4: Michael Jackson never pulled you on the side and say, yo,

1287
01:02:43,960 --> 01:02:45,120
Speaker 4: you're dating my sister.

1288
01:02:45,280 --> 01:02:46,840
Speaker 1: You know that? You so?

1289
01:02:46,920 --> 01:02:49,960
Speaker 4: He never he don't get involved in his sister's love

1290
01:02:50,000 --> 01:02:50,440
Speaker 4: life now.

1291
01:02:50,440 --> 01:02:54,480
Speaker 1: But but Jackie, I think Jackie did and then where Jackie,

1292
01:02:54,760 --> 01:02:57,880
Speaker 1: Jackie want to smoke. They just let me know. I

1293
01:02:57,920 --> 01:02:58,640
Speaker 1: mean somebody.

1294
01:02:59,320 --> 01:03:01,680
Speaker 4: But at the same fucking with your sister, you might

1295
01:03:01,920 --> 01:03:03,280
Speaker 4: you know what I'm saying. I used to sit in

1296
01:03:03,360 --> 01:03:05,160
Speaker 4: front of my sister with a baseball bat.

1297
01:03:05,280 --> 01:03:08,200
Speaker 1: She hated me. My whole life. Guy come to visit hunting.

1298
01:03:08,200 --> 01:03:11,600
Speaker 4: I'm sitting right in forest projects with a baseball back

1299
01:03:12,000 --> 01:03:13,080
Speaker 4: looking at the dude like.

1300
01:03:13,080 --> 01:03:17,480
Speaker 1: They had no time anything. You even met him. I

1301
01:03:17,520 --> 01:03:19,480
Speaker 1: don't give a fuck. At that time.

1302
01:03:20,320 --> 01:03:23,040
Speaker 4: I was one of them crazy Puerto Ricans. Then you

1303
01:03:23,200 --> 01:03:25,800
Speaker 4: was like, yo, I'm dating this. Check there's a crazy

1304
01:03:25,840 --> 01:03:28,520
Speaker 4: Puerto Rican nigga with a baseball.

1305
01:03:28,000 --> 01:03:29,760
Speaker 1: Bat staring at me. No.

1306
01:03:29,760 --> 01:03:32,520
Speaker 4: No, at the house, you know, yo, miss can I

1307
01:03:32,560 --> 01:03:35,320
Speaker 4: come visit your daughter? I'm sitting there with the baseball.

1308
01:03:35,400 --> 01:03:40,400
Speaker 4: My sister never got over that from me, you know

1309
01:03:40,440 --> 01:03:41,840
Speaker 4: what I'm saying, because it was whacked.

1310
01:03:41,920 --> 01:03:44,400
Speaker 1: It was whacked. So he never stepped to you like nah,

1311
01:03:44,560 --> 01:03:46,680
Speaker 1: But in the house you have to pick a side though,

1312
01:03:47,280 --> 01:03:51,160
Speaker 1: between Michael and Channel and that I was. He had

1313
01:03:51,200 --> 01:03:53,040
Speaker 1: to pick a side, like if you was on the

1314
01:03:53,080 --> 01:03:55,960
Speaker 1: Michael side or you was on the Channels side. So

1315
01:03:56,080 --> 01:04:05,840
Speaker 1: there was family competition. Yeah, just six Jermaine Dupriz ship

1316
01:04:06,080 --> 01:04:13,640
Speaker 1: fucking Lanta up. That ship was like to draw. So

1317
01:04:13,760 --> 01:04:15,880
Speaker 1: like Jackie with me and Jackie we hit it off.

1318
01:04:16,000 --> 01:04:17,920
Speaker 1: Jackie told me he was like, you know, we're the

1319
01:04:17,960 --> 01:04:21,360
Speaker 1: first niggas in LA with Ferraris And I'm like, what

1320
01:04:22,440 --> 01:04:24,400
Speaker 1: you have to think about that or that's where he said,

1321
01:04:24,640 --> 01:04:26,720
Speaker 1: just think or that's a fact though now. But I'm

1322
01:04:26,720 --> 01:04:29,000
Speaker 1: just saying, you can't niggas in LA that haven't had

1323
01:04:29,320 --> 01:04:32,240
Speaker 1: with Jackson. Bro.

1324
01:04:32,960 --> 01:04:37,480
Speaker 4: Yeah, the first alien in the living room. Bro, these

1325
01:04:37,480 --> 01:04:40,200
Speaker 4: guys you leave it to us. Anything they did, we

1326
01:04:40,400 --> 01:04:41,560
Speaker 4: we believe.

1327
01:04:41,360 --> 01:04:43,080
Speaker 1: Yeah for sure. So I mean you have to you know,

1328
01:04:43,280 --> 01:04:45,320
Speaker 1: he's just breaking it down for me, like you know

1329
01:04:45,360 --> 01:04:47,200
Speaker 1: what I mean, And you didn't know that now.

1330
01:04:47,240 --> 01:04:50,200
Speaker 4: That's why I'm telling you it took a lot of

1331
01:04:50,240 --> 01:04:54,480
Speaker 4: cohets to step the Janet Jackson when not world heard

1332
01:04:54,640 --> 01:04:59,480
Speaker 4: Jermaine Duprix was Dayton. Janet was like this, you know

1333
01:04:59,520 --> 01:05:01,960
Speaker 4: how many motherfuckers? Was like, oh, I wish I had

1334
01:05:01,960 --> 01:05:03,040
Speaker 4: the heart to talk.

1335
01:05:02,880 --> 01:05:03,480
Speaker 1: To her, yo.

1336
01:05:03,640 --> 01:05:08,520
Speaker 4: I you know, you know, you know Raoul Recipes always

1337
01:05:08,560 --> 01:05:09,640
Speaker 4: told me Jalo gave.

1338
01:05:09,520 --> 01:05:10,040
Speaker 1: Him a look.

1339
01:05:10,160 --> 01:05:13,160
Speaker 4: One time we're shooting the video with Jenna he would

1340
01:05:13,160 --> 01:05:14,720
Speaker 4: tell me all the time, like shut.

1341
01:05:14,440 --> 01:05:15,120
Speaker 1: The fuck up.

1342
01:05:15,200 --> 01:05:18,000
Speaker 4: She ain't look at you the fucking line. But by

1343
01:05:18,040 --> 01:05:20,280
Speaker 4: the way, that's all looked at me. That's all I'm

1344
01:05:20,520 --> 01:05:25,560
Speaker 4: telling you. I respect it because of you. I said, Chlo.

1345
01:05:25,400 --> 01:05:26,480
Speaker 1: Did not look at you.

1346
01:05:26,680 --> 01:05:27,000
Speaker 4: Raoul.

1347
01:05:27,280 --> 01:05:30,040
Speaker 1: He really he went to his grave with that story.

1348
01:05:30,680 --> 01:05:34,520
Speaker 1: Really believed that ship. It's probably true. Why I say

1349
01:05:34,560 --> 01:05:36,520
Speaker 1: the money and thing. She looks, she goes, it's it's

1350
01:05:36,800 --> 01:05:40,160
Speaker 1: bye bye. She looks, she goes, for sure, But you

1351
01:05:40,200 --> 01:05:46,040
Speaker 1: ain't got to say no more. I mean, damn as,

1352
01:05:46,120 --> 01:05:48,479
Speaker 1: I still live. I live by that today. She looks,

1353
01:05:48,520 --> 01:05:51,760
Speaker 1: she go sick. That's what it is. She looks, she goes,

1354
01:05:51,840 --> 01:05:52,160
Speaker 1: it's a.

1355
01:05:52,200 --> 01:05:56,880
Speaker 3: Wrap now after you now confessions because I got a

1356
01:05:56,960 --> 01:05:59,360
Speaker 3: deal on the journeyist sagas he keeping it on.

1357
01:05:59,560 --> 01:06:03,320
Speaker 1: You been asking I want to stay on seching you

1358
01:06:03,640 --> 01:06:11,120
Speaker 1: all about time. I'm right. I'm with you. Maria, how y'all.

1359
01:06:11,400 --> 01:06:14,480
Speaker 3: The MC you just seem to hit everything out of

1360
01:06:14,560 --> 01:06:19,360
Speaker 3: the park with everything you create for herd and with us,

1361
01:06:22,000 --> 01:06:22,360
Speaker 3: I mean.

1362
01:06:22,280 --> 01:06:26,240
Speaker 1: With the Mariahs ship was like the first record I

1363
01:06:26,280 --> 01:06:29,280
Speaker 1: did for Mariah was always be My Baby Right, And

1364
01:06:30,720 --> 01:06:37,480
Speaker 1: I fucking loved that song. You always feed my Baby. Oh,

1365
01:06:39,000 --> 01:06:41,160
Speaker 1: so that's the first song I did for and and

1366
01:06:42,160 --> 01:06:44,520
Speaker 1: she she came to me like she told Tommy like,

1367
01:06:44,800 --> 01:06:46,800
Speaker 1: I want to work with him because she liked just

1368
01:06:46,920 --> 01:06:49,480
Speaker 1: kicking it. She liked this Kate. She wanted the song

1369
01:06:49,600 --> 01:06:53,680
Speaker 1: and felt like that, And that's what that was my

1370
01:06:53,760 --> 01:06:56,080
Speaker 1: attempt to give her, like just kicking it was was

1371
01:06:56,120 --> 01:06:59,120
Speaker 1: always be my baby, right, And then that's where we

1372
01:06:59,240 --> 01:07:01,640
Speaker 1: formed our relationship. Shit when we just started working, working, working,

1373
01:07:01,880 --> 01:07:05,400
Speaker 1: And then when La signed to The Death Jam, he

1374
01:07:05,520 --> 01:07:07,960
Speaker 1: started working on the Masciplation of Me Me and I

1375
01:07:08,120 --> 01:07:10,440
Speaker 1: wasn't on it and he called me and he was like, oh.

1376
01:07:10,720 --> 01:07:14,840
Speaker 1: He told her his favorite song, his favorite Mariah Carey

1377
01:07:14,880 --> 01:07:16,840
Speaker 1: record was always beat my Baby, and she was like,

1378
01:07:16,920 --> 01:07:18,840
Speaker 1: with JD did that song? And he was like, well,

1379
01:07:18,880 --> 01:07:20,320
Speaker 1: you need to go to Atlanta and see j D.

1380
01:07:21,080 --> 01:07:26,000
Speaker 1: And he sent her to Atlanta and the first record

1381
01:07:26,040 --> 01:07:29,600
Speaker 1: we did was is like that and No, the first

1382
01:07:29,640 --> 01:07:31,840
Speaker 1: record we did was can I Get Your Number? And

1383
01:07:31,920 --> 01:07:34,240
Speaker 1: I'm singing on the record because I was gonna I

1384
01:07:34,320 --> 01:07:37,560
Speaker 1: wanted her to do the part, but when she heard it,

1385
01:07:37,640 --> 01:07:39,959
Speaker 1: she was like, oh, I'm not doing that. You stay

1386
01:07:40,000 --> 01:07:41,520
Speaker 1: on the record, and I'm like I don't want I'm

1387
01:07:41,560 --> 01:07:43,400
Speaker 1: not singing on the record. She's like, you know, stay

1388
01:07:43,440 --> 01:07:44,880
Speaker 1: on the record. So I ended up staying on this

1389
01:07:45,000 --> 01:07:48,840
Speaker 1: song can I Get your number? And then me and

1390
01:07:48,920 --> 01:07:50,600
Speaker 1: be Cox we did shake it off. So we did

1391
01:07:50,680 --> 01:07:52,360
Speaker 1: Can't I Get your number? And shake it off in

1392
01:07:52,480 --> 01:07:55,680
Speaker 1: the same little like two days. So they went back

1393
01:07:55,720 --> 01:07:57,240
Speaker 1: and she came back to New York. She played these

1394
01:07:57,280 --> 01:07:59,240
Speaker 1: two songs for l A and he was like, oh bye,

1395
01:07:59,640 --> 01:08:01,760
Speaker 1: He's like, hold up this this, this, this feels like

1396
01:08:01,800 --> 01:08:03,320
Speaker 1: where we need to go. You need to go back,

1397
01:08:04,000 --> 01:08:06,760
Speaker 1: go back to Atlanta one more time. So then they

1398
01:08:06,800 --> 01:08:09,360
Speaker 1: called me. It's like she's coming back, and he was like, JD,

1399
01:08:09,720 --> 01:08:11,920
Speaker 1: you still ain't always be my baby? And I'm like,

1400
01:08:12,280 --> 01:08:14,080
Speaker 1: I don't. I can't do that again. I don't know.

1401
01:08:14,240 --> 01:08:15,840
Speaker 1: I don't think I can do that again. So he

1402
01:08:15,960 --> 01:08:19,519
Speaker 1: came and I knowing that he wants this record that

1403
01:08:19,640 --> 01:08:23,240
Speaker 1: feel like always be my baby, So immediately I'm like,

1404
01:08:23,320 --> 01:08:25,439
Speaker 1: we gotta make a ballot. That's what he looking for.

1405
01:08:25,520 --> 01:08:27,479
Speaker 1: He looking for a ballot, and we made we Belong

1406
01:08:27,520 --> 01:08:33,840
Speaker 1: together on the gav I to sleep at night, and

1407
01:08:33,920 --> 01:08:36,439
Speaker 1: then we did It's like that too, that same little session,

1408
01:08:36,479 --> 01:08:38,120
Speaker 1: but we belong together as the record you know What's

1409
01:08:38,160 --> 01:08:40,479
Speaker 1: Crazy is my favorite singer of all time is Luther

1410
01:08:40,600 --> 01:08:42,120
Speaker 1: Van jews rest the piece.

1411
01:08:42,840 --> 01:08:48,200
Speaker 4: And this morning I woke up and I played the

1412
01:08:48,320 --> 01:08:54,280
Speaker 4: performance of Luther in London with Mariah. Now I've seen

1413
01:08:54,439 --> 01:08:57,800
Speaker 4: videos of Luther singing with with Whitney Houston where he

1414
01:08:57,880 --> 01:09:01,479
Speaker 4: had to encourage her, like yo, Whitney km on, like

1415
01:09:01,880 --> 01:09:05,280
Speaker 4: he was giving a pep talk collute the different. But

1416
01:09:05,479 --> 01:09:08,960
Speaker 4: a young Mariah Carey went over there and went toe

1417
01:09:09,080 --> 01:09:11,800
Speaker 4: to toe like a Muhammad al Leave fighting.

1418
01:09:12,960 --> 01:09:15,760
Speaker 1: In that performance. And it was just like yo, and

1419
01:09:15,960 --> 01:09:18,599
Speaker 1: like she wasn't scared in Luther. She was a young girl,

1420
01:09:19,720 --> 01:09:25,840
Speaker 1: a care That's what carry man.

1421
01:09:25,920 --> 01:09:29,280
Speaker 4: She she different, you know What's crazy? Before the world

1422
01:09:29,439 --> 01:09:33,040
Speaker 4: was being mess it was so so Deaths. Yeah, and

1423
01:09:33,160 --> 01:09:39,479
Speaker 4: so I remember going land, Yo, it's so so Atlanta, right,

1424
01:09:39,560 --> 01:09:41,120
Speaker 4: and then it turned into b m F.

1425
01:09:41,439 --> 01:09:43,519
Speaker 1: But they got to sign across from me, across on

1426
01:09:43,560 --> 01:09:46,599
Speaker 1: the other side. They got to sign across the other side.

1427
01:09:47,439 --> 01:09:51,479
Speaker 1: Ain't no, I'm just saying. The signs was like a

1428
01:09:51,520 --> 01:09:53,920
Speaker 1: lot of people think encouragement for them. A lot of

1429
01:09:53,920 --> 01:09:57,280
Speaker 1: people think that they we switched sign my son right there.

1430
01:09:57,320 --> 01:09:59,759
Speaker 1: They was like like that was like, un the author

1431
01:10:00,120 --> 01:10:01,080
Speaker 1: us to be honest.

1432
01:10:00,880 --> 01:10:03,240
Speaker 4: Well, we knew we was gonna he is kind of

1433
01:10:03,840 --> 01:10:08,400
Speaker 4: Worzel Choppo, Like, motherfucker, gotta be kidding me, right, I

1434
01:10:08,560 --> 01:10:10,800
Speaker 4: used to think they was police is something. At first

1435
01:10:11,400 --> 01:10:14,880
Speaker 4: They'd be like, y'all get with them. I'd be like, what, Yeah,

1436
01:10:14,960 --> 01:10:17,600
Speaker 4: they're paying crazy money for features and this. I'd be like,

1437
01:10:18,120 --> 01:10:20,040
Speaker 4: I see them in the clubs and all I'll say, Yo,

1438
01:10:20,479 --> 01:10:21,920
Speaker 4: this is just no way.

1439
01:10:21,960 --> 01:10:24,000
Speaker 1: These guys are doing it.

1440
01:10:24,200 --> 01:10:28,120
Speaker 4: Like they thought they were legally selling drugs or something, right,

1441
01:10:28,840 --> 01:10:31,160
Speaker 4: And so no, no, I'm telling you. They come to

1442
01:10:31,240 --> 01:10:35,880
Speaker 4: Miami twenty white cars, Lamborghini, white, Ferrari white colored in white,

1443
01:10:35,920 --> 01:10:40,679
Speaker 4: this white truck like this Tuesday sky blues were offan

1444
01:10:40,800 --> 01:10:43,679
Speaker 4: of sky blues for robbers.

1445
01:10:44,120 --> 01:10:45,880
Speaker 1: They was just doing different colors.

1446
01:10:45,960 --> 01:10:48,040
Speaker 4: And they had a birthday party where they was they

1447
01:10:48,160 --> 01:10:50,759
Speaker 4: had tigers in the club bro full fledged.

1448
01:10:51,240 --> 01:10:54,000
Speaker 1: They was doing ship the first time I ever seen

1449
01:10:54,080 --> 01:10:56,479
Speaker 1: them at one hundred and seventy five homers. That magic.

1450
01:10:59,479 --> 01:11:02,880
Speaker 1: Let me say that Atlanta. Atlanta allows you to do that,

1451
01:11:03,720 --> 01:11:05,760
Speaker 1: Like Atlanta is the only city in America where you

1452
01:11:05,760 --> 01:11:08,240
Speaker 1: can go to and you're gonna see black people with

1453
01:11:08,320 --> 01:11:11,120
Speaker 1: money that don't sell dope. I'm talking my money. I'm

1454
01:11:11,160 --> 01:11:15,160
Speaker 1: with that. I'm saying so ultimately, when you get the cryptic,

1455
01:11:15,280 --> 01:11:20,080
Speaker 1: so ultimately, what Meat was doing blended in so well

1456
01:11:20,160 --> 01:11:22,160
Speaker 1: that it didn't feel like what you're talking about to us,

1457
01:11:22,760 --> 01:11:25,200
Speaker 1: because because me coming from the Bronx, Yeah, that's what

1458
01:11:25,200 --> 01:11:26,439
Speaker 1: I'm saying, I feel like I knew there were some

1459
01:11:26,560 --> 01:11:29,599
Speaker 1: indictments coming SNYE see that what I'm saying, It didn't

1460
01:11:29,600 --> 01:11:31,960
Speaker 1: feel like I fucking knew it like the back of

1461
01:11:32,040 --> 01:11:34,080
Speaker 1: my head. It ain't feel like that to us because saying,

1462
01:11:34,080 --> 01:11:35,720
Speaker 1: if you pull up the Linux Square right now, I'm

1463
01:11:35,720 --> 01:11:39,719
Speaker 1: mad rich black people, Atlantic Square looked like they looked

1464
01:11:39,800 --> 01:11:40,840
Speaker 1: just like what you're talking about.

1465
01:11:40,960 --> 01:11:43,280
Speaker 4: That's probably the only bag I never took like. They

1466
01:11:43,439 --> 01:11:46,560
Speaker 4: was like, yo, we's got the bag. He want features,

1467
01:11:46,600 --> 01:11:47,160
Speaker 4: And I was like.

1468
01:11:49,040 --> 01:11:54,559
Speaker 1: I took that. It's beautiful. I was telling you, what's

1469
01:11:54,640 --> 01:11:57,720
Speaker 1: so with this Magic City album and doc all right,

1470
01:11:57,760 --> 01:12:01,439
Speaker 1: so the Magic City album, But initially we did a

1471
01:12:01,520 --> 01:12:04,439
Speaker 1: Magic City documentary and I didn't have had I got

1472
01:12:04,479 --> 01:12:07,400
Speaker 1: a new deal with Hide a Social Depth Hide, but

1473
01:12:07,520 --> 01:12:10,240
Speaker 1: I didn't have my deal right, and I was just

1474
01:12:10,320 --> 01:12:12,960
Speaker 1: doing a documentary as an executive producer, and then I

1475
01:12:13,040 --> 01:12:15,599
Speaker 1: signed my deal in between us putting this doc out,

1476
01:12:15,680 --> 01:12:17,880
Speaker 1: and I was just like, it's crazy that we ain't

1477
01:12:17,920 --> 01:12:20,879
Speaker 1: doing something with the music, right. So I had conversation

1478
01:12:20,960 --> 01:12:23,599
Speaker 1: with School and I'm like, I think my first project

1479
01:12:23,640 --> 01:12:26,880
Speaker 1: should be a soundtrack from this Magic City documentary and

1480
01:12:26,960 --> 01:12:29,320
Speaker 1: he was like, yeah, that's yeah, let's do that. And

1481
01:12:30,160 --> 01:12:32,160
Speaker 1: we called stars and we was like, Yo, we're going

1482
01:12:32,240 --> 01:12:35,040
Speaker 1: to do a documentary soundtrack. And it was like, we

1483
01:12:35,080 --> 01:12:37,280
Speaker 1: don't really do soundtracks like that. And I'm like what,

1484
01:12:38,080 --> 01:12:40,120
Speaker 1: And I'm like, this is this is what the club

1485
01:12:40,240 --> 01:12:42,559
Speaker 1: is about. The club thrives off the music. The music

1486
01:12:42,720 --> 01:12:44,519
Speaker 1: moves the club, so you got to make it go.

1487
01:12:45,280 --> 01:12:49,519
Speaker 1: And they weren't really like soul on doing the music right,

1488
01:12:49,840 --> 01:12:51,679
Speaker 1: but I'm sold on it. At this point, I'm going,

1489
01:12:51,720 --> 01:12:53,840
Speaker 1: I'm going, I'm starting to call artists. I'm trying to

1490
01:12:53,880 --> 01:12:55,519
Speaker 1: do what I gotta do. So then I was just like,

1491
01:12:55,600 --> 01:12:58,160
Speaker 1: you know what I thought about when I was working

1492
01:12:58,200 --> 01:13:02,559
Speaker 1: on American Gangster the songs that an American gangster ain't

1493
01:13:02,600 --> 01:13:05,280
Speaker 1: in the movie, right, So American Gangst the album, it

1494
01:13:05,400 --> 01:13:08,519
Speaker 1: says jay Z American Gangst I mean inspired by American

1495
01:13:08,560 --> 01:13:11,400
Speaker 1: Gangster the movie but the songs that's in there is

1496
01:13:11,479 --> 01:13:15,200
Speaker 1: not in the in the movie. So then I was like, Ship,

1497
01:13:15,240 --> 01:13:17,240
Speaker 1: we could do this. We could just make a Jermaine

1498
01:13:17,280 --> 01:13:20,000
Speaker 1: the pre album inspired by the Magic City documentary. So

1499
01:13:20,080 --> 01:13:21,800
Speaker 1: that's basically what that's what we're at right now.

1500
01:13:21,840 --> 01:13:23,920
Speaker 4: So I got to ask you a question, though Jada

1501
01:13:24,000 --> 01:13:28,200
Speaker 4: hates giving it to you. Top five dances of all

1502
01:13:28,320 --> 01:13:31,759
Speaker 4: time in Magic City? White Chocolate at the top shot.

1503
01:13:32,600 --> 01:13:34,800
Speaker 1: I gotta write these down because I got to google

1504
01:13:34,880 --> 01:13:40,360
Speaker 1: these people. But in the documentary all in the documentary,

1505
01:13:42,960 --> 01:13:46,880
Speaker 1: I don't know. Top five too many, man, it was

1506
01:13:46,920 --> 01:13:49,639
Speaker 1: a girl named Sugar. It was a girl named sugar

1507
01:13:49,720 --> 01:13:52,200
Speaker 1: in then yeah Sugar, he told was a girl that

1508
01:13:53,920 --> 01:14:00,960
Speaker 1: live boy Sugar Sugar, Yeah sugar, man, none of them did.

1509
01:14:01,080 --> 01:14:08,400
Speaker 1: So more's magic that Magic's had. It's it's the time, Like, yeah, yes,

1510
01:14:08,520 --> 01:14:11,880
Speaker 1: it's this, But but white Chocolate, I feel like it's

1511
01:14:12,000 --> 01:14:14,920
Speaker 1: all time, is all time at the number one, she

1512
01:14:15,120 --> 01:14:16,720
Speaker 1: the one all time?

1513
01:14:16,800 --> 01:14:19,000
Speaker 4: So they don't they done threw the most money at

1514
01:14:19,040 --> 01:14:21,920
Speaker 4: white Chocolate every Yeah yeah, because you know the.

1515
01:14:22,000 --> 01:14:27,439
Speaker 1: Cribs is affordable them girls was probably buying acres and ship. No,

1516
01:14:27,600 --> 01:14:30,040
Speaker 1: I'm telling you the truth. I know you are like

1517
01:14:30,160 --> 01:14:33,640
Speaker 1: he was out there, this ship was I mean, I

1518
01:14:33,760 --> 01:14:36,760
Speaker 1: spent ten thousand dollars every Monday for twenty years straight

1519
01:14:36,840 --> 01:14:44,200
Speaker 1: and nigga, easy take this off. Now it's.

1520
01:14:46,360 --> 01:14:49,719
Speaker 4: Way I made this song, make it rain. I didn't

1521
01:14:49,760 --> 01:14:51,479
Speaker 4: go to the strip club for about three years until

1522
01:14:51,520 --> 01:14:52,479
Speaker 4: it got plaid out.

1523
01:14:52,920 --> 01:14:53,400
Speaker 1: Got old.

1524
01:14:53,760 --> 01:14:55,880
Speaker 4: They was killing me, like every time I walking to

1525
01:14:55,960 --> 01:15:00,320
Speaker 4: be like, dang, don't played the Superman's song Light to

1526
01:15:00,400 --> 01:15:04,000
Speaker 4: Come On and missed thee. I'm like, and it was

1527
01:15:04,160 --> 01:15:06,720
Speaker 4: never enough. Because you may make it rain, they want

1528
01:15:06,760 --> 01:15:10,720
Speaker 4: you to keep it. I was like, yo, guess what.

1529
01:15:11,360 --> 01:15:13,240
Speaker 4: It's not good for me to go in the strip

1530
01:15:13,360 --> 01:15:17,280
Speaker 4: club because they get they're putting major peer pressure on me.

1531
01:15:17,520 --> 01:15:19,120
Speaker 1: But see this way, you gotta walk. You gotta walk

1532
01:15:19,160 --> 01:15:21,479
Speaker 1: from you gotta walk from the v P section and

1533
01:15:21,600 --> 01:15:23,840
Speaker 1: you gotta go holler at the DJ. You gotta get away.

1534
01:15:24,240 --> 01:15:25,760
Speaker 1: You know what I mean. You can't stay in that light.

1535
01:15:27,520 --> 01:15:29,840
Speaker 1: You can get stuck. So when we're stuck in that light,

1536
01:15:30,479 --> 01:15:32,519
Speaker 1: everybody watching you. Magic City gotta get out of that

1537
01:15:32,600 --> 01:15:35,840
Speaker 1: fish fall. No, magically, ain't got no second floor. Had

1538
01:15:35,880 --> 01:15:38,280
Speaker 1: a second floor. Oh now they got a little step up.

1539
01:15:38,280 --> 01:15:40,080
Speaker 4: That's where I met JIZI for the first time to

1540
01:15:40,160 --> 01:15:42,880
Speaker 4: live a little step up that was as far that that's.

1541
01:15:42,760 --> 01:15:45,120
Speaker 1: As low as you could go up there in that motherfucker.

1542
01:15:45,160 --> 01:15:48,760
Speaker 1: You know what I'm saying, little step up? What made

1543
01:15:48,840 --> 01:15:51,439
Speaker 1: you what you want to do? The rap me? Like

1544
01:15:52,000 --> 01:15:54,760
Speaker 1: when Spike we'll say I want to get some kids

1545
01:15:54,800 --> 01:15:58,639
Speaker 1: with the rap game. It wasn't with him my idea.

1546
01:15:58,840 --> 01:16:00,639
Speaker 1: It was. It was an idea that that I think,

1547
01:16:00,800 --> 01:16:06,479
Speaker 1: like Flavor Unit, they had the idea before, but I

1548
01:16:06,680 --> 01:16:10,280
Speaker 1: just was the person that had produced kids before and

1549
01:16:11,080 --> 01:16:13,200
Speaker 1: they didn't know nobody else that they thought could pull

1550
01:16:13,280 --> 01:16:16,479
Speaker 1: off that part. So the idea they had, they already

1551
01:16:16,479 --> 01:16:18,360
Speaker 1: had the idea when they came to me. That's when

1552
01:16:18,360 --> 01:16:20,320
Speaker 1: I started flushing it out, telling them like, this is

1553
01:16:20,320 --> 01:16:22,519
Speaker 1: what we're gonna do, and then my reach about getting

1554
01:16:22,520 --> 01:16:24,000
Speaker 1: the artists and all of this. I just took over

1555
01:16:24,080 --> 01:16:27,000
Speaker 1: the show from that point and once I, you know,

1556
01:16:27,120 --> 01:16:29,040
Speaker 1: after we got through the first season, I realized what

1557
01:16:29,160 --> 01:16:31,400
Speaker 1: we was doing and I was like, oh, I got this.

1558
01:16:31,479 --> 01:16:33,560
Speaker 1: I'm getting ready run this up because I seen that,

1559
01:16:34,080 --> 01:16:36,000
Speaker 1: you know, I seen how many people was paying attention

1560
01:16:36,080 --> 01:16:38,680
Speaker 1: to it, and I also saw like once again it

1561
01:16:38,800 --> 01:16:42,479
Speaker 1: was like an opportunity for the young the younger generation

1562
01:16:42,640 --> 01:16:45,200
Speaker 1: to step forward and be a part of hip hop

1563
01:16:45,600 --> 01:16:47,320
Speaker 1: in a way that they weren't ever. You know, when

1564
01:16:47,360 --> 01:16:49,760
Speaker 1: I was a kid, it wasn't happening or even somebody else,

1565
01:16:49,800 --> 01:16:52,080
Speaker 1: even like bow bow Wow coming in the game. At

1566
01:16:52,120 --> 01:16:54,360
Speaker 1: the time when bow Wow came in, it still won

1567
01:16:54,479 --> 01:16:56,400
Speaker 1: no kid rappers, you know what I mean. When he

1568
01:16:56,479 --> 01:16:58,960
Speaker 1: came in, was still want nobody else out. That was

1569
01:16:59,240 --> 01:17:01,360
Speaker 1: at twelve years all doing he was doing. So it's

1570
01:17:01,439 --> 01:17:04,280
Speaker 1: like bow Wow to me was like llo woja the kid.

1571
01:17:04,400 --> 01:17:09,759
Speaker 1: You know what I'm saying. Fact. And the third album

1572
01:17:10,320 --> 01:17:13,719
Speaker 1: when I wrote like You, that's what I was trying

1573
01:17:13,760 --> 01:17:17,400
Speaker 1: to get to, like you know, that was when I'm

1574
01:17:17,439 --> 01:17:21,880
Speaker 1: alone in Me. Yeah, I was trying to get to that.

1575
01:17:22,080 --> 01:17:23,680
Speaker 1: Like you know, he was Dan Sierra. So I was

1576
01:17:23,760 --> 01:17:26,240
Speaker 1: just like, we gotta make all these songs for the girls,

1577
01:17:26,760 --> 01:17:29,720
Speaker 1: all these songs out of my system, like you all

1578
01:17:29,760 --> 01:17:32,120
Speaker 1: of these records. I just you know, him and Chris Brown,

1579
01:17:32,400 --> 01:17:34,200
Speaker 1: so they're like mine. I just start making all of

1580
01:17:34,280 --> 01:17:39,400
Speaker 1: these songs about the girl was crazy, like certified, like nuts.

1581
01:17:39,439 --> 01:17:44,680
Speaker 1: So yeah, yo, I'm telling you, I'm all told with him,

1582
01:17:44,760 --> 01:17:48,439
Speaker 1: and they sat me everywhere we went, they had like

1583
01:17:48,600 --> 01:17:50,479
Speaker 1: me in one on one one O two.

1584
01:17:50,560 --> 01:17:54,040
Speaker 4: I don't know why they gave me Badwow. He randomly

1585
01:17:54,240 --> 01:17:56,000
Speaker 4: just knocked on my door and I'll be like, Yo,

1586
01:17:56,120 --> 01:17:58,680
Speaker 4: bad Wow, what's up? And he started reading scriptures that

1587
01:17:58,840 --> 01:18:01,400
Speaker 4: he certified. You can't I met some crazy. He's like

1588
01:18:02,000 --> 01:18:03,040
Speaker 4: Keith Murray crazy.

1589
01:18:04,880 --> 01:18:11,479
Speaker 1: I'm telling you, Wow. He ain't Keith Bury Murray crazy.

1590
01:18:11,520 --> 01:18:13,640
Speaker 4: I'm telling you baw Wow. Some of the ship he

1591
01:18:13,840 --> 01:18:19,040
Speaker 4: sayd private. I'm just like, no, no, it is private.

1592
01:18:19,120 --> 01:18:20,960
Speaker 4: I ain't saying what he's said. I'm just telling you,

1593
01:18:22,280 --> 01:18:23,840
Speaker 4: by the way, I don't know how many times I

1594
01:18:24,200 --> 01:18:27,360
Speaker 4: said it right bow Wow. I was like Yoda, he's seven,

1595
01:18:28,160 --> 01:18:31,000
Speaker 4: Like I turned around like Yoda stuy like.

1596
01:18:32,560 --> 01:18:43,000
Speaker 1: Ignorance is bliss with bow Wow. What's interesting about bow Wow?

1597
01:18:43,600 --> 01:18:47,840
Speaker 1: Bow is a real rapper? Yes, he like literally, I'm

1598
01:18:47,840 --> 01:18:49,759
Speaker 1: saying literally. He was on He was on AR Senior

1599
01:18:49,800 --> 01:18:52,360
Speaker 1: when he was six years old. He has the longest

1600
01:18:52,439 --> 01:18:56,320
Speaker 1: rap crew in rap than anybody. Don't nobody paying on.

1601
01:18:56,920 --> 01:18:59,800
Speaker 1: He's been rapping longer than anybody, and he's still on

1602
01:19:00,200 --> 01:19:02,960
Speaker 1: radio and still got songs playing in the club. He's

1603
01:19:03,000 --> 01:19:05,720
Speaker 1: been rapping longer than anybody else. That's in rap, right,

1604
01:19:05,720 --> 01:19:09,880
Speaker 1: and it's crazy. I signed him when he was eleven superstar.

1605
01:19:10,280 --> 01:19:12,679
Speaker 4: I always thought you Snoop Dogg Son and some ship

1606
01:19:12,760 --> 01:19:16,160
Speaker 4: on that basically was yeah because he was like a

1607
01:19:16,280 --> 01:19:16,840
Speaker 4: little bad.

1608
01:19:16,920 --> 01:19:21,960
Speaker 1: Wow, you just don't know you know that ship, y'all, cass,

1609
01:19:22,040 --> 01:19:26,240
Speaker 1: you gotta kiss. I got a question. So I got

1610
01:19:26,280 --> 01:19:28,080
Speaker 1: a question for you because I know I've been I'm

1611
01:19:28,120 --> 01:19:30,519
Speaker 1: making this Magic City album and I have to ask

1612
01:19:30,800 --> 01:19:34,360
Speaker 1: people prior to me making the records if they beefing

1613
01:19:34,439 --> 01:19:36,880
Speaker 1: with somebody or whatever whatever, because I and I only

1614
01:19:36,960 --> 01:19:40,240
Speaker 1: do this, and I only do this because I didn't

1615
01:19:40,280 --> 01:19:43,720
Speaker 1: do this with you, right. They did a good thing.

1616
01:19:43,840 --> 01:19:48,000
Speaker 1: I mean you you kind of like fixed it before

1617
01:19:48,080 --> 01:19:50,599
Speaker 1: we fixed it with that song. So I did Hate

1618
01:19:51,120 --> 01:19:52,880
Speaker 1: Your Blood, right. I did the song Hating Your Blood,

1619
01:19:53,240 --> 01:19:56,320
Speaker 1: and I put kiss in Freeway on the same record

1620
01:19:56,960 --> 01:19:59,840
Speaker 1: in a minute in the middle of the heat without

1621
01:20:00,000 --> 01:20:03,400
Speaker 1: speaking to them, right, And I wanted the record to

1622
01:20:03,479 --> 01:20:06,519
Speaker 1: be just me and Kiss. I didn't want Freeway to wrap.

1623
01:20:06,560 --> 01:20:08,240
Speaker 1: I just wanted Freeway to do the hook. That's what

1624
01:20:08,280 --> 01:20:12,120
Speaker 1: I heard in my head. So I had got kissed verse.

1625
01:20:13,000 --> 01:20:14,760
Speaker 1: I had Freeway come to the studio and he was

1626
01:20:14,840 --> 01:20:18,400
Speaker 1: like I'm get to put my verse on here, and

1627
01:20:18,520 --> 01:20:20,720
Speaker 1: I was like, Nah, I just want you to do

1628
01:20:20,840 --> 01:20:24,439
Speaker 1: the hook. I wasn't really paying no attention to me

1629
01:20:24,560 --> 01:20:28,080
Speaker 1: telling him, nah and his man and his You know,

1630
01:20:28,320 --> 01:20:32,760
Speaker 1: it's a verse going that.

1631
01:20:32,920 --> 01:20:37,360
Speaker 4: That beef was nuclear Jada, you and and and Beanie

1632
01:20:37,479 --> 01:20:39,559
Speaker 4: and Free Way and all. I'm going back and forth

1633
01:20:39,680 --> 01:20:41,240
Speaker 4: like that that that might have been one of the

1634
01:20:41,320 --> 01:20:43,840
Speaker 4: greatest lyrical beefs of all time.

1635
01:20:44,120 --> 01:20:47,240
Speaker 1: So somebody, I know, somebody had to say something about

1636
01:20:47,280 --> 01:20:50,800
Speaker 1: this that serious. No, no, no, it was the crew.

1637
01:20:50,880 --> 01:20:53,280
Speaker 1: I'm somebody somebody and the crew had to say something.

1638
01:20:53,920 --> 01:20:58,120
Speaker 1: Somebody and crew said something about crazy song was knocking

1639
01:20:58,360 --> 01:21:03,120
Speaker 1: so and then and then really bothered me and beef.

1640
01:21:03,920 --> 01:21:07,920
Speaker 1: It wasn't he had love. It started with love. So

1641
01:21:08,080 --> 01:21:11,320
Speaker 1: it wasn't It wasn't one of them things like that.

1642
01:21:11,560 --> 01:21:14,479
Speaker 1: It wasn't a big wasn't one of them. We could

1643
01:21:14,520 --> 01:21:16,600
Speaker 1: have died, you know what I'm saying. It wasn't like

1644
01:21:18,720 --> 01:21:21,800
Speaker 1: that on this. My trust was in you with the song.

1645
01:21:22,720 --> 01:21:23,160
Speaker 5: I know you.

1646
01:21:23,640 --> 01:21:27,439
Speaker 1: You got the fucking billion dollars. So if you hear me,

1647
01:21:30,080 --> 01:21:35,439
Speaker 1: you don't cling really like that. Now I got I

1648
01:21:35,479 --> 01:21:36,960
Speaker 1: got to I got to kiss who I have to

1649
01:21:37,040 --> 01:21:39,000
Speaker 1: ask now that I'm making these, now you gotta do it.

1650
01:21:39,080 --> 01:21:42,120
Speaker 4: But you know, I think I'm gonna add a little segment.

1651
01:21:42,280 --> 01:21:46,000
Speaker 4: It's called the Lousion the records to lose. Yeah, because

1652
01:21:46,080 --> 01:21:47,960
Speaker 4: your lady like, should he like that?

1653
01:21:48,400 --> 01:21:48,439
Speaker 2: No?

1654
01:21:48,640 --> 01:21:54,320
Speaker 1: No, this ship you definitely need. I definitelyn't need. You

1655
01:21:54,439 --> 01:21:56,479
Speaker 1: definitely need to do that because I was trying to

1656
01:21:56,520 --> 01:21:58,559
Speaker 1: think of like, like I said, I've been doing this record,

1657
01:21:58,680 --> 01:22:02,160
Speaker 1: this this Magic City album, and I'm only using artists

1658
01:22:02,160 --> 01:22:04,800
Speaker 1: from Atlanta, right, I'm only I'm only doing records with

1659
01:22:04,960 --> 01:22:07,519
Speaker 1: artists that's from Atlanta. It's the whole soundtrack. So the

1660
01:22:07,600 --> 01:22:10,599
Speaker 1: first single is with t I, two Chains and UH

1661
01:22:11,080 --> 01:22:13,880
Speaker 1: and drou. I never had records with any of them, like,

1662
01:22:14,240 --> 01:22:18,400
Speaker 1: never had records with them, right, And it's crazy as

1663
01:22:18,439 --> 01:22:21,000
Speaker 1: the energy keeps going with this, I keep seeing people

1664
01:22:21,000 --> 01:22:23,280
Speaker 1: say JD bringing the city back, this what the city needs,

1665
01:22:23,280 --> 01:22:28,320
Speaker 1: blah blah blah. And what ultimately hurt Atlanta music scene

1666
01:22:28,439 --> 01:22:30,439
Speaker 1: because people talk about why the music scene ain't like

1667
01:22:30,479 --> 01:22:33,120
Speaker 1: it used to be. Well, ultimately hurt Atlanta's music scene

1668
01:22:33,600 --> 01:22:37,840
Speaker 1: is delusional records, Right, and break that down for me

1669
01:22:38,040 --> 01:22:42,400
Speaker 1: and and and the and the independent mindset huh to

1670
01:22:42,520 --> 01:22:44,960
Speaker 1: fund with? You know, I said so so So from

1671
01:22:45,000 --> 01:22:48,200
Speaker 1: my side, it's the independent mindset because all the artists

1672
01:22:48,240 --> 01:22:51,600
Speaker 1: that all the people in Atlanta love, they're not independent

1673
01:22:52,360 --> 01:22:54,360
Speaker 1: and they ain't not paying no attention to it. So

1674
01:22:54,479 --> 01:22:58,719
Speaker 1: they delusional to believe that they gonna be like these people.

1675
01:22:59,640 --> 01:23:02,519
Speaker 1: It ain't will never happen like that, It's not gonna happen.

1676
01:23:02,560 --> 01:23:05,840
Speaker 1: It's the biggest delusion going, right, And everybody keep trying

1677
01:23:05,880 --> 01:23:07,880
Speaker 1: to pump like like I see. I was talking to

1678
01:23:07,880 --> 01:23:09,680
Speaker 1: myself before I came over here to his interview, and

1679
01:23:09,720 --> 01:23:11,920
Speaker 1: I was saying, like, you know, like if you look

1680
01:23:11,960 --> 01:23:14,759
Speaker 1: at Beyonce, right, my dad signed destly shot of Columbia.

1681
01:23:15,080 --> 01:23:22,680
Speaker 1: He was the President's who. So my dad used to

1682
01:23:22,680 --> 01:23:24,679
Speaker 1: work in Columbia Records. This was one of the things

1683
01:23:24,720 --> 01:23:26,519
Speaker 1: that he know, this is one of his This is

1684
01:23:26,560 --> 01:23:28,160
Speaker 1: one of his puts. Right there, he shot out the

1685
01:23:28,240 --> 01:23:31,479
Speaker 1: O G Yeah, shout out my dad. But I say

1686
01:23:31,560 --> 01:23:34,559
Speaker 1: this to say that Beyonce has been signed to Columbia

1687
01:23:34,640 --> 01:23:39,840
Speaker 1: Records for twenty five years, right, longer that right? But

1688
01:23:40,000 --> 01:23:44,439
Speaker 1: Steve Stout got a record company that's independent, and Stout

1689
01:23:44,560 --> 01:23:48,840
Speaker 1: and Hove his partners, right, you would think that if

1690
01:23:48,880 --> 01:23:52,120
Speaker 1: it's so green on the other side, while would Beyonce

1691
01:23:52,280 --> 01:23:54,839
Speaker 1: get out of her deal and go sign with Stout

1692
01:23:56,080 --> 01:24:00,599
Speaker 1: or anybody else for that matter, Right, And a delusion

1693
01:24:00,720 --> 01:24:03,880
Speaker 1: is that it's a delusion in there. And whatever your

1694
01:24:03,960 --> 01:24:06,000
Speaker 1: delusion is, it's a delusion in there. And that's what

1695
01:24:06,000 --> 01:24:12,280
Speaker 1: I'm saying. All these artists, Lil Wayne, Drake, Kendrick, I

1696
01:24:12,320 --> 01:24:15,320
Speaker 1: don't care who you're talking about. They on that list,

1697
01:24:16,240 --> 01:24:18,639
Speaker 1: they signed to a major and you can talk about

1698
01:24:19,200 --> 01:24:20,760
Speaker 1: they got a better deal. And that's the that's the

1699
01:24:20,800 --> 01:24:23,280
Speaker 1: part I'll be trying to make people understand, Like we

1700
01:24:23,439 --> 01:24:26,479
Speaker 1: got out of the space of like being, we got

1701
01:24:26,520 --> 01:24:29,320
Speaker 1: into this entrepreneur space and we got out of making

1702
01:24:29,439 --> 01:24:32,519
Speaker 1: deal space. Like you can make a deal. You ain't

1703
01:24:32,560 --> 01:24:34,519
Speaker 1: You ain't gotta you don't have, you ain't gotta own it.

1704
01:24:34,640 --> 01:24:35,840
Speaker 1: You can go in there and make a deal. You

1705
01:24:35,920 --> 01:24:37,880
Speaker 1: can tell niggas exactly what you want. If they fuck

1706
01:24:37,960 --> 01:24:40,479
Speaker 1: with you, they gonna take it. If they don't, you

1707
01:24:40,720 --> 01:24:44,040
Speaker 1: just keep walking right like this this when when I

1708
01:24:44,120 --> 01:24:46,439
Speaker 1: just heard you talking about you getting paid to talk,

1709
01:24:46,560 --> 01:24:49,479
Speaker 1: you can't believe that, right, That's what I'm saying. But

1710
01:24:49,800 --> 01:24:51,519
Speaker 1: you you doing, you got what you wanted.

1711
01:24:51,920 --> 01:24:54,599
Speaker 4: Yes, that's a fact, exactly what we got what we want.

1712
01:24:54,680 --> 01:24:57,000
Speaker 4: What I'm saying, y'all got what y'all wanted. You know,

1713
01:24:57,200 --> 01:24:58,760
Speaker 4: you don't get what you asked for. You get what

1714
01:24:58,840 --> 01:24:59,560
Speaker 4: you negotiate.

1715
01:25:00,000 --> 01:25:01,920
Speaker 1: Gotta you got to negotiate, And that's that's that's what

1716
01:25:02,080 --> 01:25:06,240
Speaker 1: has hurt Atlanta. Atlanta's spirit was that if Dallas Austin

1717
01:25:06,240 --> 01:25:09,160
Speaker 1: Winner got a deal, then Kevin Wells will go get

1718
01:25:09,200 --> 01:25:11,880
Speaker 1: a deal, Then Divine Stevens will get a deal, and

1719
01:25:11,960 --> 01:25:13,880
Speaker 1: then Polo to Done get a deal. And it was

1720
01:25:13,960 --> 01:25:17,840
Speaker 1: like niggas was going out here finding big, big, big,

1721
01:25:18,000 --> 01:25:20,160
Speaker 1: big bags. And then it got to a point where

1722
01:25:20,240 --> 01:25:22,920
Speaker 1: niggas like, oh, we fuck them, We're gonna do this

1723
01:25:22,960 --> 01:25:26,000
Speaker 1: ship by ourself. Yeah, all right, I like to see

1724
01:25:26,040 --> 01:25:28,320
Speaker 1: it to lose your raft and dal who put me on.

1725
01:25:28,520 --> 01:25:30,120
Speaker 1: He was one of the first to move down to

1726
01:25:30,200 --> 01:25:34,840
Speaker 1: Atlanta from New York. Diamond d Keith Sweat went down

1727
01:25:34,920 --> 01:25:42,200
Speaker 1: there by bo Yeah, your man went down there.

1728
01:25:42,200 --> 01:25:44,559
Speaker 4: A lot of guys moved down there. But the part

1729
01:25:44,600 --> 01:25:48,200
Speaker 4: of my delusion is right, so Aaron Hor's brother.

1730
01:25:50,520 --> 01:25:53,240
Speaker 1: Yo't even gotta say it, you gotta say it. I

1731
01:25:53,360 --> 01:25:59,800
Speaker 1: think I'm gonna get lower Yo, your kids. Yo. I'm

1732
01:25:59,840 --> 01:26:03,479
Speaker 1: just saying when the Brother the.

1733
01:26:05,080 --> 01:26:09,479
Speaker 4: Jamie and the Hall, you know what the fuck I'm

1734
01:26:09,479 --> 01:26:13,559
Speaker 4: talking about. He said God was the greatest group.

1735
01:26:13,360 --> 01:26:16,960
Speaker 1: Of all time. Now God, just say you feel like that.

1736
01:26:19,240 --> 01:26:23,960
Speaker 1: What's the greatest group of all time? New Addition? Hello?

1737
01:26:25,240 --> 01:26:29,040
Speaker 1: Can you stand the ring? But can you hello? Now?

1738
01:26:29,160 --> 01:26:32,600
Speaker 1: You gotta be delusional to think you're going up the

1739
01:26:32,720 --> 01:26:35,799
Speaker 1: group saying, Hive, you want to know what's crazy.

1740
01:26:36,479 --> 01:26:40,120
Speaker 4: Two days ago we in my pool right friends, family,

1741
01:26:41,240 --> 01:26:45,120
Speaker 4: I brought this up and everyone set New Audition. That

1742
01:26:45,240 --> 01:26:48,280
Speaker 4: wasn't even a brainiact a thing because you know, my

1743
01:26:48,720 --> 01:26:50,920
Speaker 4: my favorite group of all time is Boys to Men.

1744
01:26:51,040 --> 01:26:55,439
Speaker 1: But still everybody set New Addition. Now, I mean, let

1745
01:26:55,479 --> 01:26:58,200
Speaker 1: me say this on the show right now, New Audition

1746
01:26:58,439 --> 01:27:02,880
Speaker 1: is the greatest group in music here, history, period. They're

1747
01:27:02,920 --> 01:27:06,200
Speaker 1: the greatest group to ever come out white black, I

1748
01:27:06,240 --> 01:27:08,280
Speaker 1: don't care what it is. They're the greatest group to

1749
01:27:08,360 --> 01:27:14,520
Speaker 1: ever come out. Reason being everybody went solo and went platinum. Everybody, everybody.

1750
01:27:14,840 --> 01:27:17,080
Speaker 1: This ain't happening with the Jackson's, This ain't happening with

1751
01:27:17,160 --> 01:27:20,200
Speaker 1: the Four Tops, This ain't having with Temptations, This ain't

1752
01:27:20,200 --> 01:27:22,519
Speaker 1: happened with the Backstreet Boys. This ain't happening with insant

1753
01:27:22,960 --> 01:27:26,919
Speaker 1: New Addition. They got BBD, they went platinum, raph Treadsphant

1754
01:27:26,960 --> 01:27:36,080
Speaker 1: went platinum, Bobby Brown Records, nobody and their crew didn't

1755
01:27:36,120 --> 01:27:39,160
Speaker 1: he and they all went solo, and they all came back.

1756
01:27:39,240 --> 01:27:41,000
Speaker 4: Because they got real cool with him. We're still cool,

1757
01:27:41,080 --> 01:27:44,880
Speaker 4: but we got cool for a time. And I love that,

1758
01:27:45,560 --> 01:27:47,960
Speaker 4: you know, I love seeing my O g's doing great.

1759
01:27:48,080 --> 01:27:51,040
Speaker 4: You know, I'm waiting for a man the Waldorf in

1760
01:27:51,240 --> 01:27:53,280
Speaker 4: l A and the man pull up and the Bentley

1761
01:27:53,760 --> 01:27:56,439
Speaker 4: come out with the boat, take a bag with the.

1762
01:27:56,960 --> 01:28:00,840
Speaker 5: Sweet Johnny Gil. That's how I like to see my

1763
01:28:01,040 --> 01:28:03,160
Speaker 5: old g's. I don't like to see my old g's,

1764
01:28:03,200 --> 01:28:05,439
Speaker 5: you know, a hip hop. A lot of the old

1765
01:28:05,520 --> 01:28:09,240
Speaker 5: g's fucked up in the pockets. But I love to

1766
01:28:09,360 --> 01:28:14,120
Speaker 5: see Johnny Gil pull up with that ship on doing fun.

1767
01:28:14,240 --> 01:28:23,280
Speaker 1: What happened? He stretching now. But they the greatest, the

1768
01:28:23,520 --> 01:28:26,679
Speaker 1: greatest group. We gotta we should treat New Addition betterment.

1769
01:28:26,800 --> 01:28:30,920
Speaker 1: New Addition is the greatest musical group to ever come out.

1770
01:28:31,600 --> 01:28:33,439
Speaker 1: I'm talking about all of these groups. I'm talking about

1771
01:28:33,479 --> 01:28:36,639
Speaker 1: the I'm talking about the rolling songs. I'm talking about

1772
01:28:37,000 --> 01:28:39,280
Speaker 1: all of these artists. If you go, I'm talking about

1773
01:28:39,320 --> 01:28:41,880
Speaker 1: all of these bands, you can say the Rolling Stones,

1774
01:28:41,920 --> 01:28:43,400
Speaker 1: you can say all of them. None of them need

1775
01:28:43,479 --> 01:28:46,679
Speaker 1: to have all their artists. They hold about the Beatles.

1776
01:28:46,880 --> 01:28:49,920
Speaker 1: Everybody weed it. Who you know.

1777
01:28:50,000 --> 01:28:52,320
Speaker 4: When white people get something, they hold on to it,

1778
01:28:52,560 --> 01:28:57,479
Speaker 4: whoever d white. When white people get something, they hold lunch.

1779
01:28:57,560 --> 01:28:58,800
Speaker 1: Well, we need to do the same thing.

1780
01:28:58,960 --> 01:29:02,360
Speaker 4: No audition is that they still are outside of Elvis

1781
01:29:02,479 --> 01:29:05,160
Speaker 4: House right now. He said, they're still in the Elvis

1782
01:29:05,240 --> 01:29:09,160
Speaker 4: House right now, taking tours right now. I'll tell you

1783
01:29:09,840 --> 01:29:11,600
Speaker 4: some white people they won't let that ship go.

1784
01:29:12,320 --> 01:29:14,479
Speaker 1: But we need to do the same. Shoot now, we

1785
01:29:14,600 --> 01:29:17,240
Speaker 1: need to do that with I'm telling you because you're

1786
01:29:17,280 --> 01:29:19,960
Speaker 1: talking about boys and men. Boys and men came from vivins,

1787
01:29:20,040 --> 01:29:35,840
Speaker 1: Yes they did. When your favorite god and then think

1788
01:29:35,920 --> 01:29:36,280
Speaker 1: about that.

1789
01:29:36,680 --> 01:29:39,559
Speaker 4: Oh no, I'm they ain't honest with you. I'm I'm

1790
01:29:39,680 --> 01:29:45,599
Speaker 4: I'm I'm a new audition worshiper. I'm just saying, you know, vocally,

1791
01:29:45,720 --> 01:29:48,479
Speaker 4: man that boys to man, man, that's hard. That's that's

1792
01:29:48,600 --> 01:29:52,000
Speaker 4: that's that's a hard one. They voice and they.

1793
01:29:54,000 --> 01:29:57,719
Speaker 1: They got, they got they do just with new audition.

1794
01:29:58,439 --> 01:30:02,080
Speaker 4: No new audition put them on. So there's no question,

1795
01:30:02,320 --> 01:30:08,920
Speaker 4: I'm agreeing. I'm just saying, Damian Hall, shout out to

1796
01:30:09,040 --> 01:30:13,160
Speaker 4: Damien listen, we had Jim Jones or no, we had

1797
01:30:13,240 --> 01:30:15,760
Speaker 4: Jim Jones where that shit started out?

1798
01:30:15,920 --> 01:30:19,280
Speaker 1: Just let him keep talking. You see what he said. Kiss,

1799
01:30:20,680 --> 01:30:24,840
Speaker 1: he's on my side. You let him keep talking. What

1800
01:30:24,920 --> 01:30:26,880
Speaker 1: do you wanted to do? Stop him? I try to

1801
01:30:26,920 --> 01:30:32,040
Speaker 1: stop him. The man kept talking. We try try, Like Josh,

1802
01:30:34,520 --> 01:30:35,439
Speaker 1: let me tell you something.

1803
01:30:35,680 --> 01:30:38,479
Speaker 4: I realized that man was determined to do that, and

1804
01:30:39,000 --> 01:30:41,759
Speaker 4: he waited for And if we would have said Serena

1805
01:30:41,800 --> 01:30:43,120
Speaker 4: Williams of Venus, he would have.

1806
01:30:43,120 --> 01:30:46,799
Speaker 1: Said, yo, better than nos, like he just was waiting

1807
01:30:46,880 --> 01:30:50,280
Speaker 1: for that. That them odds. You pulled up the little

1808
01:30:50,400 --> 01:30:51,839
Speaker 1: guy that did compare.

1809
01:30:52,040 --> 01:30:55,120
Speaker 4: And what I would have said about what I would

1810
01:30:55,160 --> 01:30:58,479
Speaker 4: have said was, hey, it's an honor to be compared

1811
01:30:58,560 --> 01:30:59,599
Speaker 4: with the God.

1812
01:31:00,320 --> 01:31:04,479
Speaker 1: Ain'ty normal person said? It's nothing about with that little.

1813
01:31:04,560 --> 01:31:07,840
Speaker 4: We have a whole new segment called Delution Records out here,

1814
01:31:08,479 --> 01:31:11,640
Speaker 4: and we're gonna this ship out of control out here

1815
01:31:11,720 --> 01:31:14,640
Speaker 4: like you God, like you, you've been there since the

1816
01:31:14,720 --> 01:31:18,320
Speaker 4: fresh Fast. You got Instagram. You see some of this

1817
01:31:18,400 --> 01:31:23,439
Speaker 4: ship sometimes and you just like, yo, this ship.

1818
01:31:23,479 --> 01:31:25,120
Speaker 1: I mean it happened to me every day because it's

1819
01:31:25,160 --> 01:31:28,000
Speaker 1: like a lot of the things that I lived through

1820
01:31:28,320 --> 01:31:31,240
Speaker 1: as a child, whatever, it ain't around no more. So

1821
01:31:31,320 --> 01:31:33,920
Speaker 1: it's hard for people to even grasp what I'm talking about. Right,

1822
01:31:34,000 --> 01:31:36,400
Speaker 1: It's like it's a poster. It's as shows like this

1823
01:31:36,600 --> 01:31:39,760
Speaker 1: is very like it's a post in my studio that's

1824
01:31:40,040 --> 01:31:43,960
Speaker 1: a Cris Crush poster and it says, you know, on

1825
01:31:44,120 --> 01:31:46,240
Speaker 1: tour Michael Jackson and people coming there and they like,

1826
01:31:47,080 --> 01:31:49,760
Speaker 1: I ain't know that happening. Chris Crush went on tour

1827
01:31:49,840 --> 01:31:53,200
Speaker 1: Michael Jackson, like like I wrote it up there like

1828
01:31:53,320 --> 01:31:56,280
Speaker 1: I did, like this actually happened.

1829
01:31:57,000 --> 01:31:59,800
Speaker 4: You want to know what's crazy is I think if

1830
01:31:59,840 --> 01:32:02,880
Speaker 4: they did a movie of anybody who had interactions of

1831
01:32:02,960 --> 01:32:06,800
Speaker 4: any kind of Michael Jackson, I would tune in every day,

1832
01:32:07,040 --> 01:32:09,880
Speaker 4: like you know what I'm saying. I'm so intrigued by MJ.

1833
01:32:11,080 --> 01:32:13,200
Speaker 4: That's why I asked you if he said that you

1834
01:32:13,320 --> 01:32:15,160
Speaker 4: got any hille stories with MJ.

1835
01:32:15,760 --> 01:32:18,559
Speaker 1: He was Michael Jackson at all time. Though at all times,

1836
01:32:18,920 --> 01:32:22,839
Speaker 1: Michael Jackson was Michael Jackson at all times, even behind

1837
01:32:22,920 --> 01:32:26,120
Speaker 1: the scenes, one no one, no one on tour with

1838
01:32:26,600 --> 01:32:29,200
Speaker 1: that he wanted them on tour with them. He wanted,

1839
01:32:30,200 --> 01:32:32,080
Speaker 1: he wanted. I mean, you know he's all on Sony,

1840
01:32:32,600 --> 01:32:35,439
Speaker 1: but you know Jump was Jump was huge, right, it

1841
01:32:35,520 --> 01:32:38,720
Speaker 1: was just a big record. And Mike liked he liked Rapp.

1842
01:32:38,760 --> 01:32:40,679
Speaker 1: But people ain't you know what I mean, They wasn't

1843
01:32:40,680 --> 01:32:42,639
Speaker 1: really fine. They didn't know that that's what he was into.

1844
01:32:43,080 --> 01:32:46,400
Speaker 1: And he was like that song. Them kids they got it.

1845
01:32:47,520 --> 01:32:49,680
Speaker 1: Ain't took them on tour. And we was having this

1846
01:32:49,800 --> 01:32:51,800
Speaker 1: argument about it because I don't think it's nobody else

1847
01:32:51,880 --> 01:32:55,120
Speaker 1: that rap that's ever opened for Michael Jackson besides Chris Krusz.

1848
01:32:55,640 --> 01:32:59,920
Speaker 4: No, No, I remember heavy D with Chan Jackson, Remember

1849
01:33:00,080 --> 01:33:04,800
Speaker 4: a biggie at the joint with Mike, But nobody did that.

1850
01:33:06,439 --> 01:33:07,760
Speaker 1: You know, I got a crazy story.

1851
01:33:07,840 --> 01:33:10,040
Speaker 4: I don't know if it's mine to tell, but my

1852
01:33:10,160 --> 01:33:13,000
Speaker 4: man five thousand and one, guy five thousand and one.

1853
01:33:13,000 --> 01:33:16,320
Speaker 1: He got that budget for that, some kind of crazy

1854
01:33:16,400 --> 01:33:19,559
Speaker 1: budget and it never came out as God five thousand

1855
01:33:19,600 --> 01:33:19,920
Speaker 1: and one.

1856
01:33:20,720 --> 01:33:23,960
Speaker 4: Rodnee Jerkins calls him, shout out to Rodney Jerkins, the

1857
01:33:24,080 --> 01:33:31,120
Speaker 4: game legend, all that Brandy, all that. Uh So he

1858
01:33:31,320 --> 01:33:34,240
Speaker 4: tells him, Yo, come to the studio. I got an

1859
01:33:34,280 --> 01:33:37,960
Speaker 4: important customer for you. I can't tell you who. So

1860
01:33:38,160 --> 01:33:41,360
Speaker 4: guy goes to Sony's studio or something. He got his

1861
01:33:41,439 --> 01:33:43,879
Speaker 4: little notebook with him here, about to take the measurements.

1862
01:33:43,920 --> 01:33:46,560
Speaker 4: It could have been anybody, he said. He went to

1863
01:33:46,680 --> 01:33:51,240
Speaker 4: the bathroom and he told Poppy. You know, Poppy cut

1864
01:33:51,320 --> 01:33:54,840
Speaker 4: up all the shit, right, So he told Poppy, Poppy,

1865
01:33:54,880 --> 01:33:57,400
Speaker 4: we're gonna be somebody famous. It's like chef if I

1866
01:33:57,560 --> 01:33:59,240
Speaker 4: would have told you, but I don't know. He was like,

1867
01:33:59,240 --> 01:34:01,880
Speaker 4: we're gonna beat somebody famous. Calm down, Poppy, don't get

1868
01:34:01,880 --> 01:34:04,240
Speaker 4: too excited. He didn't know who. So he said he

1869
01:34:04,320 --> 01:34:06,840
Speaker 4: went to use the bathroom and he was about to

1870
01:34:06,920 --> 01:34:10,439
Speaker 4: piss and the biggest guys opened the bathroom door and

1871
01:34:10,600 --> 01:34:12,280
Speaker 4: was like they looked and all the shit.

1872
01:34:12,320 --> 01:34:14,040
Speaker 1: They was like, all right, you can come in. It's safe.

1873
01:34:14,400 --> 01:34:17,439
Speaker 1: And Michael Jackson walked there, got five thousand and one

1874
01:34:17,520 --> 01:34:25,000
Speaker 1: pissed on him, he said, pissed on him, and he

1875
01:34:25,120 --> 01:34:27,599
Speaker 1: had the fucking pad in his hands, not trying to cover.

1876
01:34:27,680 --> 01:34:29,680
Speaker 4: He was like, Poppy, let's go, Poppy, let's go. He

1877
01:34:29,880 --> 01:34:32,840
Speaker 4: never got the measure MJ and Noney pissed on himself.

1878
01:34:33,200 --> 01:34:35,880
Speaker 1: And fucking ran out of there. Poppy, Poppy, let's go.

1879
01:34:36,000 --> 01:34:39,680
Speaker 1: Poppy was like, Yo, what what happened? I thought, we

1880
01:34:39,760 --> 01:34:40,160
Speaker 1: gotta go.

1881
01:34:41,640 --> 01:34:43,479
Speaker 4: I don't know what the fuck out of did if

1882
01:34:43,520 --> 01:34:46,479
Speaker 4: I met Michael Jackson, like, I'm not gonna lie to you.

1883
01:34:46,600 --> 01:34:46,960
Speaker 1: I don't know.

1884
01:34:47,040 --> 01:34:49,960
Speaker 4: What I can tell you is Michael Jackson. The day

1885
01:34:50,000 --> 01:34:52,439
Speaker 4: he died, I had to pull the truck over. I

1886
01:34:52,600 --> 01:34:55,040
Speaker 4: was in the Bronx and I started crying for like

1887
01:34:55,120 --> 01:34:55,559
Speaker 4: an hour.

1888
01:34:56,120 --> 01:34:59,240
Speaker 3: You know, do you remember if you remember vaguely, it

1889
01:34:59,360 --> 01:35:02,719
Speaker 3: did Madge ship when Mike died his storm ring.

1890
01:35:03,800 --> 01:35:07,240
Speaker 1: Hell, or he was on my block under the thing

1891
01:35:07,400 --> 01:35:07,720
Speaker 1: it did.

1892
01:35:08,080 --> 01:35:12,599
Speaker 3: It's like he was talking to thee.

1893
01:35:12,880 --> 01:35:15,679
Speaker 4: I'll tell you a cap story right now, and nobody's

1894
01:35:15,680 --> 01:35:17,400
Speaker 4: gonna believe me if you wasn't ton there.

1895
01:35:17,960 --> 01:35:21,560
Speaker 1: The Taliban took a day off for MJ. I'm telling you.

1896
01:35:24,439 --> 01:35:32,439
Speaker 4: If he's on seeing that, I'm trying to tell y'all, Yo, yo,

1897
01:35:33,080 --> 01:35:33,560
Speaker 4: I'll tell you.

1898
01:35:33,880 --> 01:35:39,120
Speaker 1: Oh my god, let me hear this. I got to

1899
01:35:39,160 --> 01:35:39,640
Speaker 1: hear you out.

1900
01:35:40,000 --> 01:35:41,960
Speaker 4: I'm just trying to tell you because I'm not sure

1901
01:35:42,000 --> 01:35:45,040
Speaker 4: if everybody I'm seeing that head whether they lied and

1902
01:35:45,160 --> 01:35:48,120
Speaker 4: it was propaganda or whatever it was. When MJ died,

1903
01:35:48,840 --> 01:35:54,320
Speaker 4: they said that the Taliban took a day off and

1904
01:35:54,360 --> 01:35:58,639
Speaker 4: they had them dancing around a boombox in the mountains.

1905
01:35:58,760 --> 01:36:01,839
Speaker 4: The Taliban was in there trying to do to Michael Jackson.

1906
01:36:03,960 --> 01:36:08,639
Speaker 4: Yo Yo Yo Jay was the biggest ship in the world.

1907
01:36:08,720 --> 01:36:13,080
Speaker 1: I have created. Yo Oh, Jesus Christ. The talent ben

1908
01:36:13,240 --> 01:36:16,439
Speaker 1: taking day off. It's great. She and that said.

1909
01:36:16,479 --> 01:36:18,760
Speaker 4: The Talerman took a day off and they had them

1910
01:36:20,439 --> 01:36:25,080
Speaker 4: dancing around the box. I'm telling you, I.

1911
01:36:25,080 --> 01:36:26,800
Speaker 1: Will say this though, I when I when I talk

1912
01:36:26,880 --> 01:36:31,400
Speaker 1: about like being on tour, Michael, It's hard for me

1913
01:36:31,439 --> 01:36:33,200
Speaker 1: to even have a conversation with people because they don't

1914
01:36:33,240 --> 01:36:36,760
Speaker 1: actually even want to believe what I saw. Right, Like

1915
01:36:37,439 --> 01:36:39,560
Speaker 1: you know, like Chris Brown, right, they he got the

1916
01:36:39,640 --> 01:36:41,719
Speaker 1: thing where he like he's on the thing, he's flying

1917
01:36:41,760 --> 01:36:45,679
Speaker 1: over flying through the Yeah, Michael had a jet pack

1918
01:36:45,800 --> 01:36:47,160
Speaker 1: that he used to put on at the end of

1919
01:36:47,240 --> 01:36:51,360
Speaker 1: Billy Jean and he flew out the stadium and left

1920
01:36:54,360 --> 01:36:58,880
Speaker 1: no cat. You saw it. You saw it something.

1921
01:36:59,320 --> 01:37:05,280
Speaker 6: I believe me, man, I'm not gonna lie seeing it.

1922
01:37:05,520 --> 01:37:09,240
Speaker 6: They got ship to men my Dominican man. My brother

1923
01:37:09,320 --> 01:37:13,160
Speaker 6: O Meg got there. The man O Megha was the biggest,

1924
01:37:13,439 --> 01:37:17,000
Speaker 6: Like regular, I'm telling you, he showed me it. He

1925
01:37:17,120 --> 01:37:19,720
Speaker 6: came in the studio in Miami. Omega was big, but

1926
01:37:19,840 --> 01:37:22,040
Speaker 6: he did the Dominican government. They don't let him come

1927
01:37:22,080 --> 01:37:24,479
Speaker 6: over here no more. He came us. He thought he

1928
01:37:25,160 --> 01:37:27,840
Speaker 6: was the first guy to say I'm never going back.

1929
01:37:28,400 --> 01:37:30,200
Speaker 6: So he used to come in my studio all the time.

1930
01:37:30,280 --> 01:37:31,280
Speaker 6: Lamborghinis for ri.

1931
01:37:31,520 --> 01:37:36,000
Speaker 4: Omega is the first big Like I don't want to

1932
01:37:36,000 --> 01:37:37,760
Speaker 4: say it, but he was like a bad bunny at

1933
01:37:37,800 --> 01:37:40,720
Speaker 4: that time, right selling out Madison Square Guard. So he

1934
01:37:40,840 --> 01:37:44,879
Speaker 4: came one day and showed me that ship on YouTube

1935
01:37:44,960 --> 01:37:46,800
Speaker 4: or something, and he said he was gonna do it.

1936
01:37:46,840 --> 01:37:49,639
Speaker 4: He said, I'm doing the stadium. I'm gonna fly out

1937
01:37:49,720 --> 01:37:52,280
Speaker 4: the stadium. He said, you see Michael Jackson, He's flying

1938
01:37:52,640 --> 01:37:55,519
Speaker 4: out the stadium. He showed me the ship.

1939
01:37:57,000 --> 01:37:59,320
Speaker 1: He went back. It went back to the backstairs and

1940
01:37:59,360 --> 01:38:00,880
Speaker 1: the car was back there the way they was gone.

1941
01:38:01,760 --> 01:38:05,840
Speaker 1: Who fuck told him how to do this? I actually

1942
01:38:05,880 --> 01:38:07,160
Speaker 1: don't believe it was him, you know what I mean.

1943
01:38:07,400 --> 01:38:09,599
Speaker 4: I'm like, this is which, this is a little dangerous,

1944
01:38:09,640 --> 01:38:13,320
Speaker 4: but every show Mike going over.

1945
01:38:13,680 --> 01:38:14,560
Speaker 1: I'm not gonna lie to you.

1946
01:38:15,240 --> 01:38:19,280
Speaker 4: God bless Chris Brown's trying to die on that thing.

1947
01:38:19,520 --> 01:38:23,320
Speaker 4: He's not just flying in the air. He's like you

1948
01:38:23,439 --> 01:38:25,800
Speaker 4: ever seen like little kids diving in the pool trying

1949
01:38:25,840 --> 01:38:28,400
Speaker 4: to crack they head Like, dude, you like like every

1950
01:38:28,479 --> 01:38:31,840
Speaker 4: time this guy's fwind in the air doing flip like

1951
01:38:32,280 --> 01:38:34,560
Speaker 4: one hundred miles to our Chris Brown.

1952
01:38:35,080 --> 01:38:37,439
Speaker 1: Like he believe in them wires or whatever he doing

1953
01:38:37,520 --> 01:38:40,280
Speaker 1: on that ship because he test the speed.

1954
01:38:40,600 --> 01:38:43,559
Speaker 4: I dare you test the speed of him and anybody

1955
01:38:43,640 --> 01:38:45,960
Speaker 4: else who did that ship. Chris Brown is doing it

1956
01:38:46,080 --> 01:38:49,000
Speaker 4: on like I swear to God, I look at it

1957
01:38:49,439 --> 01:38:49,880
Speaker 4: and I'll.

1958
01:38:49,720 --> 01:38:51,240
Speaker 1: Be like yo. But he has to go that fast

1959
01:38:51,320 --> 01:38:54,880
Speaker 1: to get across this The stadium is too big, man.

1960
01:38:54,920 --> 01:38:56,760
Speaker 1: I ain't doing none of that ship.

1961
01:38:58,040 --> 01:39:00,120
Speaker 3: Before we get out of here. You can't let you

1962
01:39:00,240 --> 01:39:03,160
Speaker 3: go without talking about health and wellness. You turned vegan

1963
01:39:03,280 --> 01:39:07,040
Speaker 3: some years ago, got products, ice cream, drinks and hold

1964
01:39:07,120 --> 01:39:07,560
Speaker 3: us about that.

1965
01:39:07,960 --> 01:39:11,160
Speaker 1: Yeah, so, I mean I've been vegan almost almost twenty

1966
01:39:11,200 --> 01:39:15,760
Speaker 1: five years, twenty three years now. No chicken, No none

1967
01:39:15,800 --> 01:39:17,240
Speaker 1: of that chicken, No beef.

1968
01:39:17,640 --> 01:39:18,720
Speaker 5: You know what it is.

1969
01:39:20,080 --> 01:39:25,840
Speaker 4: No pisketeer, no, no, none of that clip Scott wanted

1970
01:39:25,840 --> 01:39:28,960
Speaker 4: to live alone and I actually I actually went vegan.

1971
01:39:29,160 --> 01:39:33,639
Speaker 4: I was at Quincy Jones House and Ray Charles's Ray CHARLDS.

1972
01:39:37,000 --> 01:39:39,519
Speaker 4: So he was talking to Ray Charles and Ray Charles,

1973
01:39:39,640 --> 01:39:42,880
Speaker 4: just Ray Charles on his death Ray Charles, Ray Charles

1974
01:39:42,960 --> 01:39:45,559
Speaker 4: on his deathbed and Quincy was paying all his bills

1975
01:39:45,600 --> 01:39:48,160
Speaker 4: and the doctor bills, and Ray Charles called him from

1976
01:39:48,200 --> 01:39:49,280
Speaker 4: the from the hospital.

1977
01:39:49,720 --> 01:39:52,360
Speaker 1: Ray was like, Quincy, I'm done. I'm gonna just gone

1978
01:39:52,400 --> 01:39:55,120
Speaker 1: and die and Q was like, no, you're not. I'm

1979
01:39:55,160 --> 01:39:57,120
Speaker 1: paying for the best doctors and all this to come

1980
01:39:57,160 --> 01:39:59,960
Speaker 1: over here. And they was having this crazy ass conversation

1981
01:40:00,120 --> 01:40:04,479
Speaker 1: on the phone and Ray Charl's like, nah, nah, we

1982
01:40:04,560 --> 01:40:07,840
Speaker 1: done fucked all the girls. We didn't. We didn't ate

1983
01:40:07,880 --> 01:40:11,360
Speaker 1: all the steaks we coul possibly do. He was really like,

1984
01:40:11,439 --> 01:40:13,559
Speaker 1: he was like I'm ready. I'm tired. I ain't gonna

1985
01:40:13,640 --> 01:40:16,680
Speaker 1: keep going through this. And Q was like, man, C

1986
01:40:16,880 --> 01:40:19,320
Speaker 1: j D. That's why you gotta take care of your health.

1987
01:40:20,000 --> 01:40:22,720
Speaker 1: Don't be doing no drugs. And and he when he

1988
01:40:22,840 --> 01:40:26,240
Speaker 1: told me that, it just was like click, I gotta

1989
01:40:26,880 --> 01:40:29,200
Speaker 1: I gotta kick in, because you know what I mean.

1990
01:40:29,680 --> 01:40:31,320
Speaker 1: I felt really really I felt bad because it was

1991
01:40:31,439 --> 01:40:34,280
Speaker 1: Ray Charles basically saying he was done. Q was trying

1992
01:40:34,280 --> 01:40:37,519
Speaker 1: to keep him alive. He was doing all he could do,

1993
01:40:37,640 --> 01:40:39,800
Speaker 1: but Ray Charles. You know, he was on heroin. He

1994
01:40:39,960 --> 01:40:42,000
Speaker 1: just whatever he was feeling. He was ready to go.

1995
01:40:42,760 --> 01:40:45,360
Speaker 1: But I but it made me say, ship, I ain't

1996
01:40:45,360 --> 01:40:47,320
Speaker 1: ready to you know, I ain't ready to go. Then

1997
01:40:47,360 --> 01:40:49,200
Speaker 1: I sit in the studio so many hours and we

1998
01:40:49,320 --> 01:40:50,920
Speaker 1: eat waffle House and this, that and the third and

1999
01:40:50,960 --> 01:40:54,120
Speaker 1: all this ship. That shit ain't good for you. It ain't.

2000
01:40:54,200 --> 01:40:55,680
Speaker 1: It ain't good for you if you're sitting around and

2001
01:40:55,720 --> 01:40:58,680
Speaker 1: you ain't doing no exercise, being if I can't eat

2002
01:40:58,720 --> 01:41:01,400
Speaker 1: his steak and no ship like that, check me out,

2003
01:41:05,880 --> 01:41:11,200
Speaker 1: rock up. I don't want anything. Motherfucker.

2004
01:41:11,280 --> 01:41:14,280
Speaker 4: Styles Fee His brother took me to some ship in

2005
01:41:14,320 --> 01:41:18,160
Speaker 4: Miami and he was like, this is sho. I ran

2006
01:41:18,280 --> 01:41:20,800
Speaker 4: out of there, ate peanut butter crunch so fast in

2007
01:41:20,880 --> 01:41:25,120
Speaker 4: the house. He said, look at you. You're walking in

2008
01:41:25,400 --> 01:41:27,360
Speaker 4: like you're mad. I must have walked in with the

2009
01:41:27,479 --> 01:41:30,920
Speaker 4: ice girl was like Steves, my brother. He was like,

2010
01:41:31,040 --> 01:41:31,479
Speaker 4: look at this.

2011
01:41:32,479 --> 01:41:34,080
Speaker 1: You come because Spotsy.

2012
01:41:34,280 --> 01:41:37,760
Speaker 4: I was like, I'm getting the fuck out of here

2013
01:41:38,479 --> 01:41:44,639
Speaker 4: to that pet come with confette so fucking fast. Oh

2014
01:41:44,800 --> 01:41:47,080
Speaker 4: my god, I've been able to do a lot of things.

2015
01:41:47,160 --> 01:41:49,160
Speaker 4: I really don't, you know, I don't smoke. I don't

2016
01:41:49,160 --> 01:41:51,559
Speaker 4: really I can't do eat.

2017
01:41:51,640 --> 01:41:56,320
Speaker 1: He can't eat vegan. Man. I gotta, I gotta, I

2018
01:41:56,439 --> 01:42:02,439
Speaker 1: gotta taste that ship. That being said, Oh my god,

2019
01:42:02,680 --> 01:42:07,720
Speaker 1: this ain't that. That ain't this. Yeah, it's cracking. Kiss one,

2020
01:42:07,840 --> 01:42:10,559
Speaker 1: thank I guess, Jermaine. The three Flowing on the Joke

2021
01:42:12,680 --> 01:42:19,559
Speaker 1: Royalty Royalty the volume