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Speaker 1: Welcome back all the smoke. Jack has been a great

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Speaker 1: run this week, and who better to close it out

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Speaker 1: with then? I'm excited about this one. Man. This is

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Speaker 1: someone I looked up to for a long time, became

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Speaker 1: friendship maybe about ten years ago, twelve years ago, and man,

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Speaker 1: one of the greatest to ever do it. Legend, Welcome

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Speaker 1: to the show, the legendary DJ Quick. We're in the building.

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Speaker 1: My God, don't be shy about sharing any kind of

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Speaker 1: storage because I know you got so many motherfucking stories,

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Speaker 1: So just don't be shy. Like I want to hear

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Speaker 1: a couples like I ain't never told knowing this. I

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Speaker 1: want to hear a couple one up that would have

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Speaker 1: rolled them one up. I want to hear one of those. Yeah,

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Speaker 1: I want to hear those. Man. We connected back when

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Speaker 1: do we? We went? So? When I was a Laker,

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Speaker 1: I had a charity golf tournament and I had him

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Speaker 1: and John B come perform, and that ship was that

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Speaker 1: ship was sucked up and then we smoked all night

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Speaker 1: and then we've been cool ever since. Yes, sir, what's up? Man?

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Speaker 1: Withepen up too? Man? Long Nights, Short Days Studio. Yeah,

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Speaker 1: I just did a rehearsal last night from my band

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Speaker 1: performing Yoshi's Tomorrow Night checking February February twenty fourth. So

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Speaker 1: tomorrow night I got, you know, kicking off my touring

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Speaker 1: year tomorrow. So okay, I was in there whipping everybody

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Speaker 1: in the shape. Uh at this point, do you love

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Speaker 1: performing as a rapper or back or or DJ? It's

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Speaker 1: all the same. I mean, you know, I'm a DJ

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Speaker 1: and a rapper. You know. I just learned to fire

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Speaker 1: elements of hip hop from Dougie Fresher last week. WHATDJ

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Speaker 1: and his number one? Two is the MC, three is graffiti,

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Speaker 1: four is breakdancing, and fifth is the human beat Box

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Speaker 1: five elements of hip hop? Yeah, I was like, word,

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Speaker 1: what's your break? What's your breakdance? Game? Like, I'm all

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Speaker 1: broken up. I can't do this shit, It's not gonna happen.

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Speaker 1: So you talk about your tour this summer. Where where

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Speaker 1: are you beheaded? Um? Everywhere? All over? Yeah, it's gonna

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Speaker 1: be a busy year for me on the road. UM,

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Speaker 1: my agents calling me every you know, every day. Sam,

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Speaker 1: we just added another chen shows who am And now

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Speaker 1: I'm starting to look at it like, you know, first

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Speaker 1: I was like, yeah, money get to get and I

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Speaker 1: was like more aspering, I'm hung over this long hung

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Speaker 1: over these long nights. Break can't do sixteen hours no more.

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Speaker 1: That's a long day for anybody. Uh Man, We're gonna

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Speaker 1: get right to him. Man. Top five your your top

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Speaker 1: five producers in the game all time producer, rapper, comp

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Speaker 1: just producer. We get both are there five? I know

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Speaker 1: me Dre and Kanye Okay, then gold producer producer hip hop,

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Speaker 1: uh Battlecats, Niche and very important Um and Marley, Maa

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Speaker 1: j Morlly Mall. A lot of people don't shout him out,

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Speaker 1: but you know how to make it music with your

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Speaker 1: mouth biz. You know verbs President, most important hip hop

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Speaker 1: breakers in my life, shout out Tomorrow born and raised.

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Speaker 1: Then com Upton, Sir, talk about your growing up in

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Speaker 1: the in the content. Um Compton was cool until Crack

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Speaker 1: came in and it became them. It became Beirut, became

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Speaker 1: Vietnam Bros. Most angel's placed in the world. I mean,

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Speaker 1: how do you automatically be a target as soon as

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Speaker 1: you come out of your house because of where you live.

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Speaker 1: That's why I got I got DJ equipment and I

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Speaker 1: stayed in the house to scratching and mixing and making

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Speaker 1: tapes and getting drum machines and on the keyboards. You know,

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Speaker 1: look the ghost of Compton getting me out. He's talking.

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Speaker 1: But yeah, I know, it just became pretty like it

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Speaker 1: was surreal to the point where either you stayed in

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Speaker 1: the house or you joined the gang so you could

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Speaker 1: go outside. And I didn't want I didn't want no

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Speaker 1: parts of it. I'll stayed with my music and then

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Speaker 1: got guilty by association for being in the industry. Coming

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Speaker 1: from Compton. It was like they automatically I was a gangbanger,

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Speaker 1: Like I'm a DJ bro. I like getting people together.

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Speaker 1: I like seeing girls and guys dance. I see guys

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Speaker 1: and girls dancing. You know what I'm saying, Like on

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Speaker 1: the floor, that's my thing. Bring people world. A gang banger,

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Speaker 1: man the let I'm too smart to be a gang banger.

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Speaker 1: A matter of fact. Often say I wouldn't have been

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Speaker 1: the gang banger. I would have ran the game. Yeah yeah,

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Speaker 1: I would have been the leader. Yeah. But you know,

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Speaker 1: people say what they say, it was just it was

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Speaker 1: it was. It was when it was good. It was good.

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Speaker 1: You know, a lot of happy times, a lot of

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Speaker 1: cool times. Um. The art of the house party, you

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Speaker 1: know was the thing, like, you know, who could throw

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Speaker 1: the coolest house party? You know? Before that got dangerous.

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Speaker 1: It's almost like it became to a point where people

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Speaker 1: was mad at you celebrating. You know what I mean?

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Speaker 1: They hated a party. Who hates a party? What kind

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Speaker 1: of jealous envywere shit? Is that? You know? Whatever? You know?

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Speaker 1: Who are some of your early influences in music? Um,

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Speaker 1: easily Curtis Mayfield or how Players always one of my

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Speaker 1: music to sound like Curtis Mayfield, Um, how Players? Uh,

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Speaker 1: Parliament funka delic boots he Roger Truman, his app you know,

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Speaker 1: all the fun music, all that loud slap clapp it

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Speaker 1: had claps and slaps in it and you know, funny vocals,

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Speaker 1: was some special effects that was. I loved it. I

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Speaker 1: know you was a kid, so I know you wasn't

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Speaker 1: doing music all the time when you when when you

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Speaker 1: was away from way from music, what you was doing.

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Speaker 1: I know he's a Laker fan? Oh yeah, of course,

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Speaker 1: who wasn't a Laker fan? Um? I wasn't into sports,

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Speaker 1: believe it or not. You know, there was people that

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Speaker 1: made that their thing. And I go out there if

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Speaker 1: I lost the game. I'd be mad and ready to

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Speaker 1: kick the ball over the schoolhouse, you know what I mean.

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Speaker 1: I was one of them dudes. I didn't get into

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Speaker 1: that into sports until after I blew up and started

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Speaker 1: playing like a little celebrity basketball game. So you know,

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Speaker 1: Homies was showing me little techniques. You know. Well, I'm like,

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Speaker 1: stop looking at the ball when you dribble. I was

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Speaker 1: that guy make sure they don't go nowhere. Yeah. Right,

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Speaker 1: I got to a point to where it started. Something

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Speaker 1: started happening. I started busting Nigga's asses celebrity basketball games.

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Speaker 1: It got fun. So I broke my fingers. Ball crushed

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Speaker 1: your ship. Fuck me back to piano and break your

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Speaker 1: fingers there. Talk about how important your mom is to

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Speaker 1: you and uh and to your career. You know you

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Speaker 1: talked about you told a story about how she kept

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Speaker 1: you home the night of the Tyson fight. Um yeah,

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Speaker 1: the you know, the the big bad death Row. Guys

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Speaker 1: came to my house to you know, get me to

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Speaker 1: go to the fight, and I don't want to. Guard

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Speaker 1: just felt something. It was like instinct. I went to

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Speaker 1: the studio. So they had my house knocking on the door.

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Speaker 1: Tell moms, you know, hey, we know he in there,

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Speaker 1: tell him suld want him to come to the fight,

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Speaker 1: trying to bring his bitch ass outside. You know, they

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Speaker 1: should talk so disrespectful. My mom said, if y'all don't

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Speaker 1: unasked that dough, I'm gonna have the police are here

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Speaker 1: in like five minutes. She wasn't at it, and I

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Speaker 1: wasn't even there. She's like, you know, she's mom with

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Speaker 1: the finger, you know what I mean? And sure enough

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Speaker 1: that was a night the tuparc got killed. She you know,

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Speaker 1: you can't old creole women. They know too much. M hm.

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Speaker 1: They instinct, they instinct, they get to they know, they

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Speaker 1: just feel it. Yeah, they just it's a good feeling

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Speaker 1: for them. She always told me to follow your first mind.

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Speaker 1: Yeah that was I'm naming my album after. Like, the

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Speaker 1: new album is called Qusic Fuchas. My mom was a pimp,

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Speaker 1: motherfucking right ship. Early nineties hip hop is all over

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Speaker 1: the place. Yeah. Did you know that when youre creating

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Speaker 1: your sound that it would be a sound that last

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Speaker 1: standard test of time? Uh? No, I didn't, Honestly, I

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Speaker 1: was just doing it as a means to an end.

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Speaker 1: I just wanted a car, you know, I want the

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Speaker 1: Jetta and put some rams on on the Jetta low

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Speaker 1: ambitions gold. I bought a gold Jetta l Yep, that

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Speaker 1: was I got it, like killing, That's all I wanted.

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Speaker 1: You know this, Alb'm gonna tell about a thousand copies

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Speaker 1: because I got out of there. We were talking about

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Speaker 1: this last night men and exhibit a problem. How you know,

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Speaker 1: I was selling cassettes like I got out of the

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Speaker 1: whole dope game, trying to hustle, you know, cracker what not.

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Speaker 1: It's like this, this ain't for me. I don't like

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Speaker 1: doing this to my people. So I turned the hustle

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Speaker 1: into making cassettes and music and selling them, you know,

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Speaker 1: hand to hand. And it just it overwhelmed me that

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Speaker 1: people really wanted these cassettes. I was personalizing and putting

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Speaker 1: certain people's names in them, and it'd be like, let

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Speaker 1: me buy the whole box. So I gotta sit up

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Speaker 1: here and make duplicates of cassettes. Like I ain't cut

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Speaker 1: off of this, you know, I said, one hundred cascettes.

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Speaker 1: I'm tired. Even though I made money off of them,

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Speaker 1: I'm like, you know, that's real work. Back then, Oh

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Speaker 1: my god, I need a deal. Somebody else got to

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Speaker 1: do this because I had to demand people was buying

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Speaker 1: my coscesses, and people was telling me that, hey man,

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Speaker 1: they got your people playing your music in Salt Lake City.

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Speaker 1: I'm like, get the funk out of here. Here where

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Speaker 1: in Salt Lake City? I mean exactly. But the cassette

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Speaker 1: just started moving across the state lines by itself, people

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Speaker 1: dubbing it and passing it on, and you know that,

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Speaker 1: I had a little reputation with the little cassettes. Then

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Speaker 1: I did this one called the Red Tape with my

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Speaker 1: boys Second and None MG, and it blew. So I

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Speaker 1: was selling a bunch of them. I was hand writing

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Speaker 1: all of them, like we had no distributors. So I

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Speaker 1: go by the blank cassettes, get this duplication machine and

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Speaker 1: just run them off and put the little sticker on

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Speaker 1: them and write our names on it. You know, they

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Speaker 1: know about stamping and you know, printing press. All that

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Speaker 1: were just doing it by hand by hand, you know,

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Speaker 1: hand to hand. And you know, I ended up buying

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Speaker 1: all the equipment that I wanted and it was cool,

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Speaker 1: but I didn't know it was going. I didn't always

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Speaker 1: gonna go platinum. I'm like, you know, people like it, um.

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Speaker 1: But then I started writing songs about everything we was experiencing.

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Speaker 1: So I was just the voice of us, us being

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Speaker 1: the youth, us being who we were at that time,

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Speaker 1: and it resonated with a lot of people. Songs like Tonight,

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Speaker 1: Sweet Black Pussy, you know, Born and Raising. Comping them songs,

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Speaker 1: it made sense people could relate, and so passed a

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Speaker 1: little thousand copies. One of my home boys used to

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Speaker 1: work at the World House Records in Inglewood, and my

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Speaker 1: record debut on January seventh, nineteen ninety one, so we

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Speaker 1: called up there to see how I was doing. He said, Bro,

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Speaker 1: you sold out. He said, it showed out. All your

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Speaker 1: album sold out on one day, like we gotta order again.

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Speaker 1: I was like, okay, all right, so they know they're

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Speaker 1: telling me, like, dude, you're nominated for American Music Award.

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Speaker 1: I got to meet Dick Clark, nominated for American Music

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Speaker 1: Award on my first single, shot a cool video, you

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Speaker 1: know what I mean, twenty mm Freshman Show. It was.

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Speaker 1: It was. It was a lot to take in, bro,

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Speaker 1: But you know my thing is I just wanted to

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Speaker 1: be DJ quick. I wanted to be behind the scenes,

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Speaker 1: just DJ for like penas players clicking second and then

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Speaker 1: and AMG whatnot. They just kept pushing me out front.

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Speaker 1: It's like whatever, you know, the anxiety, and a lot

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Speaker 1: of people don't know. It's like, you know, I produced

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Speaker 1: like three albums albums in my first year, you know,

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Speaker 1: as a debut artists, I was. I stayed in the studio.

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Speaker 1: I missed you know, I missed a lot of touring

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Speaker 1: because I just wanted to stay in the studio and

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Speaker 1: just keep hashing out, you know, keep creating the sound,

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Speaker 1: you know, as as best as you can. Because this

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Speaker 1: is one of my favorite songs too. Can you take

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Speaker 1: uh chake us like to the studio with you making tonight?

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Speaker 1: The night you made this the song? What was what

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Speaker 1: was the vibe like in the studio that night? It

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Speaker 1: was UM I did at a house two thousand and

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Speaker 1: one Brown and Brown and Avenue in La Like the

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Speaker 1: whole scene looked like the boys in the Hood movie.

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Speaker 1: It was that kind of house in a little kitchen

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Speaker 1: nook um sp twelve hundred. I was producing my boy

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Speaker 1: player Ham at the time, and you know I sampled

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Speaker 1: that beat one of the um one of the home.

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Speaker 1: You brought that album over and I remember that that

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Speaker 1: clear album, but it was just hard to find at

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Speaker 1: that point, somebody found it, let me use it. I

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Speaker 1: sampled it and just kept looping it and um, you know,

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Speaker 1: did the drums to it and just kind and let

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Speaker 1: it just you know, back then we let the beat

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Speaker 1: just run for like a whole day. Yeah, yeah, till

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Speaker 1: you hear to you hear some inspiration. Um. At this time,

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Speaker 1: I'm nineteen, and we experimenting with you know, eight ball

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Speaker 1: old English eight hundred and weed and shooting dice and stuff.

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Speaker 1: So I'm like, this is what is this is what's

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Speaker 1: what's fun. So I just started writing about that shit

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Speaker 1: right and um, during the um the writing of it,

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Speaker 1: I came up with the hook. You know, you know,

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Speaker 1: i'm playing records. I'm just using what I got basically,

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Speaker 1: and I had a you know Betty Wright record Tonight

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Speaker 1: is the Night, so us sample it tonight and scratch

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Speaker 1: it in Tonight's the Night, spending back, you know, keep

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Speaker 1: working on it until it's on beat and um third

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Speaker 1: verses open player. Hamp didn't want to get on it.

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Speaker 1: It was like, go ahead and finish it, that's you. Um,

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Speaker 1: So the homie Shaney comes over with some gin and

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Speaker 1: this is before you know, it was drinking hard. Look,

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Speaker 1: it was just you know, a beer. At that point,

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Speaker 1: my man was like boom, like you know, poor the

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Speaker 1: big bumpy face with the super socco was drinking and

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Speaker 1: drinking it drinking. I'm like, man, this is bomb. You know.

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Speaker 1: This is before I knew there's a limit. It's like,

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Speaker 1: it's so it's sweet goodna be all right? Bad news

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Speaker 1: man too good? Hit it again and I started spinning

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Speaker 1: and start tripping. They said, you know that, you know, Homi,

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Speaker 1: just have to tell you what you was doing last night.

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Speaker 1: He was like, I did what I did? What you

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Speaker 1: know that ships to you? He just had one of

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Speaker 1: those last night. Yeah, thanks for Jean. So I'm like

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Speaker 1: the next day, I'm like, oh man, I got the flu.

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Speaker 1: I thought I had the flu. It was a hangover.

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Speaker 1: Fuck is this We had to go in there and

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Speaker 1: hug that chilly and get rid of that ship like

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Speaker 1: and I was like, I ain't never drinking again. Ever,

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Speaker 1: I was cool and I didn't for a while, but

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Speaker 1: that ended up being the last verse. I just wrote

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Speaker 1: it still like hungover wrote that shit. I just it

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Speaker 1: was like I documented it right there as soon as

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Speaker 1: they come with doing the same old thing to me.

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Speaker 1: That's what happened. It was like you gotta get you

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Speaker 1: gotta get your your choler and choler is what are

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Speaker 1: these words y'all talking about? You know what I mean?

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Speaker 1: So that's that's that was the story. I ended up

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Speaker 1: recording the song, put it on the mixtape and everybody

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Speaker 1: loved it, you know. So, and it was dirty. It

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Speaker 1: had real hood references, you know, because I was grinding

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Speaker 1: me back there. I was mentioning all the niggas with

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Speaker 1: their surnames. They had blood in their name, cripping their name,

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Speaker 1: you know, this nigga loke and all this, putting their

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Speaker 1: whole name in it, like yeah, keeping it real, you

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Speaker 1: know what I'm saying. So I had to clean that

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Speaker 1: ship up for the radio, and I did. I just

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Speaker 1: switched it right over. How did you come up with

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Speaker 1: her name? Quick did? Quick? Um? It was DJ quick

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Speaker 1: Mix at first because I was just quick Mix, quick Mix,

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Speaker 1: and this girl started calling me cake mix, jam going mix.

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Speaker 1: I dumped her after I fucked her a couple of times. Man,

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Speaker 1: I just shorten that. Ain't nobody gonna come me down.

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Speaker 1: I dropped the MXX. It was over. It really happened, um,

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Speaker 1: but yeah, it was you know, I used to blend

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Speaker 1: records real quick, and I was happy about that. Like

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Speaker 1: I learned to get you know, my little turntape skills

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Speaker 1: is up there. So you know, you gotta such a

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Speaker 1: unique sound. When did you really felt like you found

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Speaker 1: your sound? Um? On my third album, basically, um, safe

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Speaker 1: and Sound. I was like, my shit is just funk

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Speaker 1: jazz and high pitch rapping young voice over this ship.

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Speaker 1: That's what it was to me. So Um, the first

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Speaker 1: album is everybody says their favorite. I'm glad for that album.

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Speaker 1: I mean, my debut album went platinum, which was rare

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Speaker 1: back then. Who goes you have to cross over to

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Speaker 1: go platinum? I mean, Maze wasn't just going platinum like that,

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Speaker 1: even though everybody knew that music. So I crossed over

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Speaker 1: a little bit, you know what I mean. Um, But

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Speaker 1: it was definitely the third album and then the fourth

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Speaker 1: album when I met Elders, I just wanted to experiment

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Speaker 1: and you know, try different stuff, you know. So Rhythmllism

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Speaker 1: was experimental, but that's what you're safe and sound. I

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Speaker 1: got a chance to just stretch out in the studio,

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Speaker 1: have fun, rap, get anybody who I wanted on there

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Speaker 1: at that point. You know, it was like when you

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Speaker 1: get your first goal plaque, your first platinum plaque. It's

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Speaker 1: like life changes. You know. I got got a chance

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Speaker 1: to buy every piece of equipment that I wanted, every

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Speaker 1: motorcycle I ever wanted, dirt bike when I was a kid,

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Speaker 1: every RC. It was like I got kids that I

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Speaker 1: wanted as a kid. That was That was fun until

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Speaker 1: my badass nephews came and destroyed all that ship. But

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Speaker 1: that's how it happens, you know what I'm saying. You know,

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Speaker 1: Nigga's a tariff ship when it there. So there's a

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Speaker 1: rumor that your first project, quick is the name. You

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Speaker 1: put that together pretty fast. What was that process? Like? Um,

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Speaker 1: living that living with the Homeboys player him. Now, we

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Speaker 1: was just I was just sampling everything that don't want

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Speaker 1: to sample, like, you know, putting everything in the drum machine,

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Speaker 1: record and learning how to record over dubbed like all

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Speaker 1: self taught, you know what I mean. And it became

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Speaker 1: I got into the habit of it. You know, I

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Speaker 1: didn't realize I was just being ocd about it, but

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Speaker 1: now you know, it's word for it. I was just like,

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Speaker 1: it's gotta be perfect, it's gotta be perfect. So I

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Speaker 1: spent a lot of time, you know, making records perfect

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Speaker 1: and then trying to follow that pattern to keep making

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Speaker 1: records as perfect as I could, you know. But yeah,

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Speaker 1: it didn't take no time to do that album. As

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Speaker 1: a matter of fact, I got the record deal before

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Speaker 1: the album was even done, and I was the first

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Speaker 1: million dollars signing of any hip hop artists in history.

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Speaker 1: Like I broke the million dollars mark, you know what

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Speaker 1: I mean, which was fucking epic to me. You know

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Speaker 1: what I mean. I mean, you know, they go from

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Speaker 1: making two hundred dollars bro a week to fucking ten

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Speaker 1: thousand dollars a night on stage. It's just I got

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Speaker 1: addicted to making more records. I wanted to. I wanted

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Speaker 1: that to never stop because I was like, you know,

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Speaker 1: I knew big then this shit ain't gonna last forever,

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Speaker 1: so let me hit strike while the iron is hot,

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Speaker 1: keep going. Ice Cube kept his foot on everybody's neck

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Speaker 1: with these dope records. I'm competing with Ice Q for

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Speaker 1: radio spots and touring and stuff, and then I'm helping

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Speaker 1: him tour with like doing tour support for Cube and

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Speaker 1: the America's Most Wanted record was. It was amazing, Bro,

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Speaker 1: I was. I kept trying to take equipment on the road,

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Speaker 1: but you know, the road is hard, so it was

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Speaker 1: destroying all my shit. And I never could balance that.

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Speaker 1: I don't think anybody can balance recording and touring at

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Speaker 1: the same time. Where you just go from the show

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Speaker 1: right to a studio. It's like there's two different mindsets.

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Speaker 1: That's one thing I can never do. I regret, you know,

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Speaker 1: but it's tough. But hey, it was. It was fun

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Speaker 1: back then, man, I had I had legs for it.

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Speaker 1: Now I ain't know that. I ain't got all the energy.

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Speaker 1: Like I'm still reeling from a fourteen hour session last night,

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Speaker 1: Like this is all ships, all this shit right now

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Speaker 1: it seemed like a dream to me. Is all just

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Speaker 1: I hit him on FaceTime earlier. He didn't put Matt,

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Speaker 1: what's up. I was like, Oh, you had a long night?

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Speaker 1: Humh Bro. He's like, can we push it back a little? Yeah,

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Speaker 1: come on quick, you know we got you Come on, man, yeah,

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Speaker 1: we got a couple more. I was asleep. I'll put

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Speaker 1: that little eye patch on. Shit. I'm like, man, now too,

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Speaker 1: you know what I'm talking about. But yeah, no, man,

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Speaker 1: thank you for having me man. You know I'm a

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Speaker 1: fan of all the smoke, loveall y'all met y'all gave

377
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Speaker 1: me one of the best interviews ever when y'all did

378
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Speaker 1: Magic Johnson bro Man, you made that. It was an

379
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Speaker 1: epic night though. Yeah, man, come on, you was out there,

380
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Speaker 1: DJ man. That was such a special night. But you know,

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Speaker 1: I just tried to put it together and always pressure.

382
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Speaker 1: I mean to get one legend in the sports realm

383
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Speaker 1: and then get a legend from La in the music realm.

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Speaker 1: That was It was a beautiful night. Yeah, we appreciate you,

385
00:20:44,520 --> 00:20:47,000
Speaker 1: pretty increple. Yeah, So y'all want to hear some stories

386
00:20:47,000 --> 00:20:54,120
Speaker 1: that y'all never heard before? Yes, Um, you know, well,

387
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Speaker 1: I don't guess I could talk about some of this

388
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Speaker 1: stuff now. You know. I was the kind of guy

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Speaker 1: who was into like I've listened to Luther Evangel's records

390
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Speaker 1: and all this shit, you know what I mean, And

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Speaker 1: that's that's what I wanted that, you know, you know,

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Speaker 1: a relationship a girl, white picket fence, you know what

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Speaker 1: I mean. Until I got my heart broken, right, so

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Speaker 1: I like, fuck these bitches. I'm crying and ship all

395
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Speaker 1: day long and shit soaking up pillows. The homeboys like

396
00:21:21,760 --> 00:21:24,000
Speaker 1: play out, you just have to meet somebody else. There's

397
00:21:24,040 --> 00:21:26,480
Speaker 1: plenty of fishing to see. I'm like, man, fuck, do

398
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Speaker 1: get the fun? You should do that shit to me.

399
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Speaker 1: I'd't gonna douced me to somebody that night. I was like, Okay,

400
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Speaker 1: ain't too man. So I became a player. That's officially

401
00:21:35,920 --> 00:21:38,480
Speaker 1: when it started. Yeah, I got my heartbroke. I'm like,

402
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Speaker 1: I can't deal with that. That that's the worst pain

403
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Speaker 1: ever for me. When going through that exactly, I'm like,

404
00:21:43,760 --> 00:21:46,200
Speaker 1: I ain't that ugly shit and be breaking my heart.

405
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Speaker 1: So bro um, you know, we start having like some

406
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Speaker 1: little fun times and you know, it was like what

407
00:21:53,320 --> 00:21:55,480
Speaker 1: was fucked up? Is right when I come of age?

408
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Speaker 1: Right when you know I'm not a virgin no more?

409
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Speaker 1: Like it's frona damn Paul HIV just hit the nude.

410
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Speaker 1: It's like, what the fuck is that? Fuck scared the

411
00:22:05,640 --> 00:22:07,679
Speaker 1: funk out of everybody. Bigga was like, oh man, you

412
00:22:07,680 --> 00:22:10,119
Speaker 1: mean you could just die after having sex with the girls.

413
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Speaker 1: Like I was mister condom man. But when that fucking

414
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Speaker 1: record came out, it was tough to put on that

415
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Speaker 1: many condoms. No, we went to fucking uh, what was it?

416
00:22:19,480 --> 00:22:21,280
Speaker 1: Back then, right, there was it right there, the thrifties.

417
00:22:21,320 --> 00:22:23,960
Speaker 1: We go to thrifties and buy big gass boxes of Trojans,

418
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Speaker 1: right and keep them on the tour bus. But these

419
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Speaker 1: the niggas I was touring with, they was heating this.

420
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Speaker 1: These motherfuckers was like three four girls a night. I'm like,

421
00:22:32,359 --> 00:22:35,439
Speaker 1: way out, man. Then I fell into it. We fucking

422
00:22:35,480 --> 00:22:37,560
Speaker 1: three and four girls a night for real, like rotating

423
00:22:37,560 --> 00:22:40,760
Speaker 1: these base in the tour bus. Yeah. They terrible influence

424
00:22:42,040 --> 00:22:45,960
Speaker 1: on the tour bus. We backstage. I was even I

425
00:22:46,080 --> 00:22:49,200
Speaker 1: was performing in Houston one night, hooked up a little

426
00:22:49,280 --> 00:22:51,840
Speaker 1: chick and shit, and you know, Tevin Campbell's out performing

427
00:22:52,240 --> 00:22:54,520
Speaker 1: and I miss judged the time and shit. So I'm

428
00:22:54,520 --> 00:22:59,240
Speaker 1: in the in the green room, the green right, It's like, hey,

429
00:23:00,119 --> 00:23:02,120
Speaker 1: you know what I'm saying. I'm in full stroke. Man.

430
00:23:02,160 --> 00:23:07,840
Speaker 1: They like coming to the stage right now, legend from Compton, California,

431
00:23:08,920 --> 00:23:12,640
Speaker 1: give it up for check, quick call my close up

432
00:23:12,320 --> 00:23:19,520
Speaker 1: and wrinkled and ship with probably performed with the condom. Okay,

433
00:23:20,359 --> 00:23:24,000
Speaker 1: I'm like, bust it, you know what I mean? It was, Yeah,

434
00:23:24,040 --> 00:23:25,640
Speaker 1: it was. It was a lot of that though. Man,

435
00:23:25,760 --> 00:23:29,600
Speaker 1: Like all the stories you're about, Easy Girls was on it. Man,

436
00:23:29,680 --> 00:23:32,679
Speaker 1: it was pretty girls too. Like it was a different

437
00:23:32,680 --> 00:23:34,240
Speaker 1: time too, because you didn't really have to worry about

438
00:23:34,240 --> 00:23:36,560
Speaker 1: the cameras and everybody being on your business. So we

439
00:23:36,760 --> 00:23:38,280
Speaker 1: just did what you wanted to do. It was just

440
00:23:38,560 --> 00:23:43,680
Speaker 1: a word against hers, yeah, but no cameras, none of that.

441
00:23:43,720 --> 00:23:46,640
Speaker 1: Back then. It was you know, just young fun while ship.

442
00:23:46,840 --> 00:23:49,960
Speaker 1: But there was a lot of young fun while ship

443
00:23:50,080 --> 00:23:54,080
Speaker 1: going on as it should be. You know, I eventually

444
00:23:54,080 --> 00:23:56,840
Speaker 1: grew out of it. What what what effect did NWA

445
00:23:56,960 --> 00:23:59,640
Speaker 1: have on Compton and the West Coast? From your oh man,

446
00:23:59,640 --> 00:24:02,760
Speaker 1: they to see their name on a record first of all,

447
00:24:03,040 --> 00:24:06,000
Speaker 1: a record album and a cover, that shit is just unreachable,

448
00:24:06,040 --> 00:24:08,320
Speaker 1: Like nobody's gonna be like this. We ain't never This

449
00:24:08,359 --> 00:24:11,560
Speaker 1: ain't gonna never happen for us. But to see made

450
00:24:11,760 --> 00:24:16,199
Speaker 1: you know, distributed by Ruthless Records, Compton, California. It's like,

451
00:24:16,240 --> 00:24:18,439
Speaker 1: and these records are selling these records is you know,

452
00:24:18,520 --> 00:24:21,720
Speaker 1: we subscribe to that shit. And it made it to

453
00:24:21,760 --> 00:24:24,159
Speaker 1: where I felt like I could make it too. He

454
00:24:24,760 --> 00:24:27,520
Speaker 1: he did something bro and then it end up being

455
00:24:27,520 --> 00:24:29,399
Speaker 1: friends with him and he come into my house and

456
00:24:29,640 --> 00:24:32,080
Speaker 1: I'm going to his house. It was just you know,

457
00:24:32,280 --> 00:24:35,399
Speaker 1: it was unreal bro, like any easy Strongly and the

458
00:24:35,480 --> 00:24:39,119
Speaker 1: chocolate factory. Bro. It's like, yeah, man, he used to

459
00:24:39,200 --> 00:24:41,280
Speaker 1: kick it, bro. We used to kick it tough. You know.

460
00:24:41,359 --> 00:24:44,199
Speaker 1: He used to like my sister. They used to hang

461
00:24:44,200 --> 00:24:47,760
Speaker 1: out a little bit. Um. He took me to Guns

462
00:24:47,800 --> 00:24:50,359
Speaker 1: and Roses concert, my first rock and road concert at

463
00:24:50,359 --> 00:24:54,280
Speaker 1: the Forum, and I'm running around looking for him, like

464
00:24:54,280 --> 00:24:56,600
Speaker 1: where Ego? Where Ego? I go in the bathroom here

465
00:24:56,600 --> 00:24:59,439
Speaker 1: and there with a blonde shake on the toilet, like,

466
00:24:59,560 --> 00:25:03,480
Speaker 1: get I'm on in here quick man. You listen. You

467
00:25:03,520 --> 00:25:10,280
Speaker 1: hear his voice, man, challenge you. It's like, come on end.

468
00:25:10,320 --> 00:25:12,600
Speaker 1: It's like, man, I aren't too scared. I don't want

469
00:25:12,600 --> 00:25:18,760
Speaker 1: my booty out in public. Brother, quick getting fine? Good,

470
00:25:18,920 --> 00:25:24,919
Speaker 1: get in here. You know. Yeah, but we used to

471
00:25:24,920 --> 00:25:26,200
Speaker 1: hang out a lot. Man. He used to come to

472
00:25:26,240 --> 00:25:28,679
Speaker 1: the studio. He signed my group, so I'm always in

473
00:25:28,680 --> 00:25:30,440
Speaker 1: the studio with him and took all that ship for granted.

474
00:25:30,480 --> 00:25:33,199
Speaker 1: He would always bring his fancy new sports cards to

475
00:25:33,240 --> 00:25:35,360
Speaker 1: the studio and just blow our heads off with the ship,

476
00:25:35,480 --> 00:25:37,960
Speaker 1: like come on, get in the car, man, check this out.

477
00:25:39,119 --> 00:25:42,359
Speaker 1: My dumbas getting the car, and I'm like like a

478
00:25:42,480 --> 00:25:46,440
Speaker 1: fucking grand Thereso and they had a fifty for they

479
00:25:46,640 --> 00:25:49,040
Speaker 1: were popular. Anybody even knew what it was, you know,

480
00:25:49,119 --> 00:25:52,960
Speaker 1: the Little the Z, the three fifty Z love Speed

481
00:25:53,040 --> 00:25:56,000
Speaker 1: Bro Fly dude, man, No nobody was flying to him.

482
00:25:56,040 --> 00:26:00,120
Speaker 1: I mean just sharp, smart and just fly. All the

483
00:26:00,119 --> 00:26:03,119
Speaker 1: these loved him, you know what I mean. Period. You

484
00:26:03,160 --> 00:26:06,960
Speaker 1: know it's that guy man that the fun died when

485
00:26:06,960 --> 00:26:12,600
Speaker 1: he died, bro, Yeah it got weird. Yeah. What's the

486
00:26:12,640 --> 00:26:17,440
Speaker 1: disadvantages and advantage of being an artist and a producer? Um,

487
00:26:17,480 --> 00:26:20,760
Speaker 1: I don't really see the disadvantages. I mean the advantages

488
00:26:21,040 --> 00:26:22,520
Speaker 1: is that you get a bigger piece of the pie

489
00:26:23,200 --> 00:26:25,639
Speaker 1: when you do everything. That's what my thing was, just

490
00:26:25,680 --> 00:26:28,040
Speaker 1: like I want the lion share. I want you know,

491
00:26:29,160 --> 00:26:31,920
Speaker 1: splitting no money man, I mean shit, I'm want it all,

492
00:26:32,680 --> 00:26:35,639
Speaker 1: you know. And sometimes when you do all of it

493
00:26:35,760 --> 00:26:39,280
Speaker 1: the disadvantages, you can get burnt out too, because it's

494
00:26:39,600 --> 00:26:42,160
Speaker 1: there's no input from nobody else. Sometimes you run out

495
00:26:42,160 --> 00:26:45,160
Speaker 1: of fresh ideas. So you know, I've had that happen

496
00:26:45,240 --> 00:26:47,439
Speaker 1: where you know, I was just doing an album for

497
00:26:47,480 --> 00:26:49,800
Speaker 1: the sake of doing the album, and that's that's no good.

498
00:26:50,280 --> 00:26:52,720
Speaker 1: You guys still have some motivation, something to drive you

499
00:26:53,080 --> 00:26:55,480
Speaker 1: and something to say at the same time. So I

500
00:26:55,520 --> 00:27:00,680
Speaker 1: guess there's a disadvantage of just fucking just kind predicting myself.

501
00:27:00,680 --> 00:27:03,120
Speaker 1: So yeah, there is a disadvantage. And that's that's it.

502
00:27:03,200 --> 00:27:06,399
Speaker 1: If anything, where you know, you can get bullheaded and

503
00:27:06,440 --> 00:27:09,280
Speaker 1: don't let nobody else in and and the shit don't

504
00:27:09,280 --> 00:27:11,080
Speaker 1: sell as much as you think. And you know, I

505
00:27:11,200 --> 00:27:13,440
Speaker 1: deserved that. You know, he's got to keep an open

506
00:27:13,440 --> 00:27:17,399
Speaker 1: mind about it and then delegate, you know, um chat

507
00:27:17,520 --> 00:27:20,040
Speaker 1: and chorge to other people and make it make sense.

508
00:27:21,240 --> 00:27:26,080
Speaker 1: Roger Trouting Man the god brother Man, coolest man in

509
00:27:26,119 --> 00:27:29,920
Speaker 1: the world. Y'all don't understand man so talented he could

510
00:27:29,960 --> 00:27:34,000
Speaker 1: just he was so talented that I called him crazy

511
00:27:34,040 --> 00:27:35,960
Speaker 1: one time, like you know, and that's a compliment. His

512
00:27:36,000 --> 00:27:38,200
Speaker 1: brother Larry got mad at me, said he ain't fucking crazy.

513
00:27:38,240 --> 00:27:39,560
Speaker 1: What are you talking about. I'm like, no, you don't

514
00:27:39,600 --> 00:27:42,080
Speaker 1: understand what I'm saying, Like, he's so talented. Bro's like,

515
00:27:42,240 --> 00:27:44,719
Speaker 1: fuck that, come on, let's go, Roger, let's go. He said, no, man,

516
00:27:44,720 --> 00:27:46,720
Speaker 1: I want to stand chill with the brothers. Manim kicking

517
00:27:46,720 --> 00:27:50,560
Speaker 1: with the brothers. So were Um. We did a couple

518
00:27:50,560 --> 00:27:54,840
Speaker 1: of shows together. He came to my dressing room and

519
00:27:54,880 --> 00:27:56,480
Speaker 1: me and my guitar player was in there, Robert Bacon,

520
00:27:56,520 --> 00:27:59,160
Speaker 1: at the same time, and rob is the greatest guitar

521
00:27:59,200 --> 00:28:01,280
Speaker 1: player ever. My man came in there and started talking

522
00:28:01,280 --> 00:28:03,200
Speaker 1: to us and was playing a Gibson and he was

523
00:28:03,240 --> 00:28:05,280
Speaker 1: playing like two thousand and one Space Odyssely on the

524
00:28:05,280 --> 00:28:11,120
Speaker 1: while he was talking to us. Right, no, right, like

525
00:28:11,640 --> 00:28:16,000
Speaker 1: he's playing how you feel like a you know what

526
00:28:16,000 --> 00:28:18,240
Speaker 1: I mean. So me and Bacon is like, we're sitting

527
00:28:18,280 --> 00:28:21,400
Speaker 1: up there like what the fuck is this? So then

528
00:28:21,440 --> 00:28:23,120
Speaker 1: he took the guitar and put it in Baker's hand,

529
00:28:23,640 --> 00:28:26,520
Speaker 1: and Baker started playing it, and I was like, damn

530
00:28:26,560 --> 00:28:29,040
Speaker 1: this nigga just showed Bacon up like he really is

531
00:28:29,080 --> 00:28:32,560
Speaker 1: the greatest guitar player there is. Right, so cool. He'd

532
00:28:32,560 --> 00:28:35,040
Speaker 1: be talking like Daffy Duck, you know, the loosing up

533
00:28:35,080 --> 00:28:38,080
Speaker 1: the tension. If Niggas was you know, you know, a

534
00:28:38,080 --> 00:28:40,640
Speaker 1: little trepidation about you know, the show taking too long

535
00:28:40,720 --> 00:28:43,600
Speaker 1: or you know, people on, he'd be He's just just

536
00:28:43,640 --> 00:28:46,880
Speaker 1: the coolest human being ever. And the talent, just the

537
00:28:46,920 --> 00:28:49,680
Speaker 1: way he made music. He called him Curly Ques, the

538
00:28:49,720 --> 00:28:51,560
Speaker 1: way he bent notes, like when he would do the

539
00:28:51,560 --> 00:28:54,480
Speaker 1: talk box or played guitar like the guitar and computer

540
00:28:54,560 --> 00:28:58,360
Speaker 1: love like nobody can do that shit, nobody, you know,

541
00:28:58,520 --> 00:29:01,880
Speaker 1: And and trust me, that loss was felt when he

542
00:29:02,400 --> 00:29:06,240
Speaker 1: got the news that he died. This was just after

543
00:29:06,280 --> 00:29:09,200
Speaker 1: we just did you know, Tupac's album and we were

544
00:29:09,240 --> 00:29:12,000
Speaker 1: just in the studio like a few years before that.

545
00:29:12,240 --> 00:29:14,680
Speaker 1: It was and let me know that the world is

546
00:29:14,680 --> 00:29:17,280
Speaker 1: really fucked up, Like for the fact that his brother

547
00:29:17,560 --> 00:29:20,200
Speaker 1: didn't let him stretch out or whatever's Bro was going through.

548
00:29:20,240 --> 00:29:22,440
Speaker 1: It was, you know, money debt. Whatever we ended up

549
00:29:22,520 --> 00:29:24,200
Speaker 1: learning he was. You know, he was just in debt.

550
00:29:24,640 --> 00:29:27,680
Speaker 1: He could have let Roger live bro to to expand

551
00:29:28,080 --> 00:29:29,840
Speaker 1: and it would have got right back on track because

552
00:29:30,040 --> 00:29:32,840
Speaker 1: we was getting Roger whatever he wanted for songs be on.

553
00:29:33,200 --> 00:29:34,720
Speaker 1: You know, we had it. The record company was gonna

554
00:29:34,720 --> 00:29:37,080
Speaker 1: pay for it. Anyway. He's making like forty grand, thirty

555
00:29:37,120 --> 00:29:40,280
Speaker 1: five forty grand to just spot on your record after

556
00:29:40,400 --> 00:29:43,360
Speaker 1: having a dry spell, you know, with the Roger dropping

557
00:29:43,440 --> 00:29:47,640
Speaker 1: his app stuff, you know, we just we reinvigorated him.

558
00:29:47,640 --> 00:29:50,080
Speaker 1: California Love shot to the top of the charts. He

559
00:29:50,600 --> 00:29:54,200
Speaker 1: was dopen a video like man, it's it's just go

560
00:29:54,360 --> 00:29:56,760
Speaker 1: buy so fast, bro, This fucking hip hop ship before

561
00:29:56,800 --> 00:29:58,800
Speaker 1: you know it. Look, I'm thirty two years in and

562
00:29:58,880 --> 00:30:02,640
Speaker 1: has seen everything, bro. But the tragedy of him dying,

563
00:30:02,720 --> 00:30:04,840
Speaker 1: it made it unfun for me to do talkbox because

564
00:30:04,880 --> 00:30:06,240
Speaker 1: it just reminds me of him too much. So I

565
00:30:06,280 --> 00:30:08,200
Speaker 1: don't really do it no more. And how did you pass?

566
00:30:08,720 --> 00:30:14,440
Speaker 1: His brother killed him, shot him and studio argument, you

567
00:30:14,480 --> 00:30:17,600
Speaker 1: know what I mean? In Ohio and hometown. Brought him

568
00:30:17,600 --> 00:30:19,200
Speaker 1: out to the car. They out in the car talking

569
00:30:19,280 --> 00:30:21,320
Speaker 1: and he just whipped out on him and just start shooting.

570
00:30:22,000 --> 00:30:25,959
Speaker 1: And Roger lived, He lived, He lived. He crawled out

571
00:30:25,960 --> 00:30:27,600
Speaker 1: of the car, he shot him one more time, then

572
00:30:27,600 --> 00:30:30,440
Speaker 1: he drove down the street, shot himself and Roger. They

573
00:30:30,480 --> 00:30:34,000
Speaker 1: got Roger to the hospital. He died in operating on

574
00:30:34,120 --> 00:30:39,160
Speaker 1: operating table. And it's like one person who didn't deserve

575
00:30:39,240 --> 00:30:41,320
Speaker 1: that just got He was just too nice for that.

576
00:30:41,400 --> 00:30:44,200
Speaker 1: Like you know, you never know what people going through

577
00:30:44,240 --> 00:30:47,920
Speaker 1: and what you know when they snap one bad thing

578
00:30:48,000 --> 00:30:52,600
Speaker 1: about the business, Like you know, it's dangerous too. That's

579
00:30:52,600 --> 00:30:56,760
Speaker 1: why news security all the time. It's crazy. Yeah that

580
00:30:56,880 --> 00:31:08,560
Speaker 1: hurt death Row times. Yeah, man, you were on the

581
00:31:08,600 --> 00:31:13,080
Speaker 1: ground floor building with Death Row. What were those times? Like? Um,

582
00:31:15,240 --> 00:31:18,800
Speaker 1: sometimes it was cool, and then it just became the streets.

583
00:31:19,080 --> 00:31:21,360
Speaker 1: All the stuff that I got away from, all the

584
00:31:21,400 --> 00:31:23,760
Speaker 1: gang banging and all of that just met me right

585
00:31:23,880 --> 00:31:26,120
Speaker 1: their head on at the office. You know. It was

586
00:31:26,160 --> 00:31:30,040
Speaker 1: like it was hood shit and you had to kind

587
00:31:30,040 --> 00:31:32,240
Speaker 1: of be hood to deal with it because they were

588
00:31:32,240 --> 00:31:35,000
Speaker 1: in there. The niggas was detecting fear. They just wanted

589
00:31:35,000 --> 00:31:37,240
Speaker 1: to see if you was scared. You know, I think

590
00:31:37,240 --> 00:31:39,360
Speaker 1: could make you feel some kind of way. It's like

591
00:31:39,520 --> 00:31:43,840
Speaker 1: that that energy doesn't go with making writing songs. Songwriting

592
00:31:44,000 --> 00:31:46,040
Speaker 1: as a beautiful process, you know what I mean, And

593
00:31:46,600 --> 00:31:49,040
Speaker 1: it's a lot of thought involved. And you got guys

594
00:31:49,040 --> 00:31:51,640
Speaker 1: in here gang banging and shit and threatening you, you

595
00:31:51,680 --> 00:31:53,520
Speaker 1: know what I mean, and saying crazy shit. It was

596
00:31:53,520 --> 00:31:56,720
Speaker 1: just it was, man, it was It was dangerous and

597
00:31:56,720 --> 00:31:58,760
Speaker 1: it didn't have to be because it was the greatest

598
00:31:58,840 --> 00:32:01,360
Speaker 1: record company at one point in the world. It was

599
00:32:01,400 --> 00:32:03,560
Speaker 1: gonna it was gonna be the biggest thing in the game.

600
00:32:04,320 --> 00:32:07,200
Speaker 1: But just just the ego of the you know, the boss,

601
00:32:08,320 --> 00:32:11,080
Speaker 1: you know, and you never wanted to get on nobody backs.

602
00:32:11,080 --> 00:32:12,520
Speaker 1: So it was like it was just walking like walking

603
00:32:12,560 --> 00:32:16,840
Speaker 1: on eggshells all the time, a bunch of anxiety, you know,

604
00:32:17,400 --> 00:32:21,560
Speaker 1: a bunch of nervousness, a bunch of you know people

605
00:32:21,600 --> 00:32:23,840
Speaker 1: in they're playing like they tough just so they don't

606
00:32:23,840 --> 00:32:26,960
Speaker 1: get punked. And it's like that wasn't that wasn't n it?

607
00:32:27,520 --> 00:32:31,000
Speaker 1: I signed up for some bullshit when I'm like, oh,

608
00:32:31,040 --> 00:32:32,720
Speaker 1: I didn't even come over here. I got my own shit,

609
00:32:32,760 --> 00:32:34,120
Speaker 1: I got my own label, you know, I got my

610
00:32:34,160 --> 00:32:39,240
Speaker 1: own record company whatnotum. But again, sometimes it was cool,

611
00:32:39,320 --> 00:32:41,880
Speaker 1: like when when Pot came through, that was that was

612
00:32:42,000 --> 00:32:43,840
Speaker 1: that was dope, you know what I mean, being in

613
00:32:43,880 --> 00:32:45,600
Speaker 1: there watching you know. I used to go to the

614
00:32:45,600 --> 00:32:49,720
Speaker 1: studio when Drey was working on Doggy Style and just

615
00:32:49,800 --> 00:32:51,440
Speaker 1: letting us hear snippets of it. And I'm just sitting

616
00:32:51,520 --> 00:32:55,600
Speaker 1: there with my wig bone back at just the quality

617
00:32:55,640 --> 00:32:58,560
Speaker 1: of this ship man going on Larrapy, Like Drake called

618
00:32:58,560 --> 00:33:00,600
Speaker 1: me up there. They're giving me cassettes of the Chronic

619
00:33:00,720 --> 00:33:02,640
Speaker 1: before it came out. So I'm rolling around with the

620
00:33:02,720 --> 00:33:04,520
Speaker 1: Chronic in my car and everybody's like, what is it?

621
00:33:04,520 --> 00:33:06,160
Speaker 1: You know? You you know, man, when you got some

622
00:33:06,160 --> 00:33:08,040
Speaker 1: shit like that straight out there, you know, straight out

623
00:33:08,040 --> 00:33:11,160
Speaker 1: the motherfucking building. UM. And I didn't know that the

624
00:33:11,240 --> 00:33:13,560
Speaker 1: Chronic was gonna be that but it did didn't coming

625
00:33:13,600 --> 00:33:17,080
Speaker 1: to fucking juggernaut of hip hop. But it just seemed

626
00:33:17,080 --> 00:33:21,160
Speaker 1: like Shug just got he just's not He just went

627
00:33:21,280 --> 00:33:25,320
Speaker 1: left on everybody. Bro, you know, threatening niggas, punching niggas,

628
00:33:25,320 --> 00:33:28,400
Speaker 1: beating up niggas. It's like I didn't come here to

629
00:33:28,400 --> 00:33:33,040
Speaker 1: be no punching bag y'all. What was it like working

630
00:33:33,080 --> 00:33:37,640
Speaker 1: with Tupac and what was his driving mentality and when

631
00:33:37,640 --> 00:33:40,920
Speaker 1: it when it was came to work, like um Tupac was,

632
00:33:41,920 --> 00:33:45,240
Speaker 1: he was incensed. Like it was almost like you know,

633
00:33:45,280 --> 00:33:47,560
Speaker 1: before he went to jail versus after he got out

634
00:33:47,560 --> 00:33:50,720
Speaker 1: of jail. He always felt like he could tell he

635
00:33:51,000 --> 00:33:53,240
Speaker 1: never got comfortable, Like it was like he was on

636
00:33:53,320 --> 00:33:56,640
Speaker 1: borrow time the whole time, and he didn't really stop

637
00:33:56,680 --> 00:33:59,640
Speaker 1: to enjoy, as we say, like take the time, smell

638
00:33:59,680 --> 00:34:02,040
Speaker 1: a flower. He didn't stop to enjoy what we was

639
00:34:02,080 --> 00:34:03,960
Speaker 1: doing for him, you know what I mean, Like, Bro,

640
00:34:04,360 --> 00:34:06,200
Speaker 1: we've been to write the best record of your life,

641
00:34:06,200 --> 00:34:07,800
Speaker 1: my nigga, I put my album to the side and

642
00:34:07,880 --> 00:34:10,279
Speaker 1: just start working on his ship, giving him tracks that

643
00:34:10,320 --> 00:34:12,239
Speaker 1: I was gonna use, you know, Hearts of Men and Ship,

644
00:34:12,880 --> 00:34:15,560
Speaker 1: and he would come wipe that ship down real quick. Like,

645
00:34:15,920 --> 00:34:17,839
Speaker 1: just a cool dude, come out. You know, we share

646
00:34:17,840 --> 00:34:22,880
Speaker 1: a blunt. He's writing, writing perfect and running there and

647
00:34:23,160 --> 00:34:25,839
Speaker 1: wrap the ship and it's like, quick, you're gonna put

648
00:34:25,880 --> 00:34:27,280
Speaker 1: the hook in the right. Yeah, I got I'm scratched

649
00:34:27,280 --> 00:34:28,640
Speaker 1: the hook. He was like, all right, I'm done. I'm like,

650
00:34:29,480 --> 00:34:31,480
Speaker 1: ain't nothing else we could do? Bro, you know what

651
00:34:31,480 --> 00:34:33,799
Speaker 1: I mean? All right, I'll see you in a minute.

652
00:34:33,800 --> 00:34:35,880
Speaker 1: He'd leave out the studio, walk right out the door, boom,

653
00:34:36,040 --> 00:34:38,399
Speaker 1: go around to the studio, bat start working with Johnny Jay,

654
00:34:38,560 --> 00:34:40,319
Speaker 1: going there and do how do you want it? Drey

655
00:34:40,320 --> 00:34:42,239
Speaker 1: send me to Dad to California. Love like, let me

656
00:34:42,239 --> 00:34:45,920
Speaker 1: see what the sounds like up front and Carolifornia. I'm like,

657
00:34:46,880 --> 00:34:52,279
Speaker 1: good damn it, fucking him May I'm getting chills thinking

658
00:34:52,320 --> 00:34:54,239
Speaker 1: about that ship. Bro. Then he'll come back in there

659
00:34:54,280 --> 00:34:56,719
Speaker 1: with me and we'll do another song and then the

660
00:34:56,760 --> 00:35:00,560
Speaker 1: same thing. He was just who can do that? Who

661
00:35:00,560 --> 00:35:02,680
Speaker 1: can do that? I've never seen nobody work like that before?

662
00:35:02,680 --> 00:35:05,560
Speaker 1: That work ethic was it was. It was fucking amazing.

663
00:35:05,560 --> 00:35:07,399
Speaker 1: I actually missed it. Nobody really works like that. Then

664
00:35:07,760 --> 00:35:10,480
Speaker 1: the ground huh, yeah, it was. It was. It's just

665
00:35:10,560 --> 00:35:12,440
Speaker 1: it's like I said, he just seemed like he was

666
00:35:12,440 --> 00:35:15,600
Speaker 1: on bora time. He didn't. He didn't even stop to

667
00:35:15,640 --> 00:35:18,640
Speaker 1: relax and enjoy that ship. But about the outside the studio.

668
00:35:19,000 --> 00:35:22,000
Speaker 1: Outside the studio, he was a jokester, bro comedy, bagging

669
00:35:22,000 --> 00:35:25,200
Speaker 1: on niggas, joking, you know. Fun. We toured together a

670
00:35:25,239 --> 00:35:28,040
Speaker 1: little bit. Um. He got in my ass one time too,

671
00:35:28,280 --> 00:35:30,480
Speaker 1: about to get into a fight because he thought I

672
00:35:30,520 --> 00:35:32,520
Speaker 1: was still in his stage show, like where he would

673
00:35:32,560 --> 00:35:34,839
Speaker 1: rapping and jump up on the speakers and I had

674
00:35:34,840 --> 00:35:36,719
Speaker 1: to chelling. Bro, I got that off, Bobby Brown, my

675
00:35:36,760 --> 00:35:39,520
Speaker 1: nigga off the fucking my prerogative ship that I didn't

676
00:35:39,560 --> 00:35:41,719
Speaker 1: get that from you, Bro, Nigga's been doing that. That's

677
00:35:41,719 --> 00:35:44,839
Speaker 1: my shoo, chelling stuff, stelling my motherfucking show. Come here quickly,

678
00:35:45,600 --> 00:35:47,960
Speaker 1: how about you? You know, I mean like I'm not

679
00:35:48,000 --> 00:35:50,160
Speaker 1: still in the show. What's happening? Man? It is Nigga

680
00:35:50,200 --> 00:35:52,680
Speaker 1: hot here ready to fight. So instead of us fighting,

681
00:35:52,680 --> 00:35:54,960
Speaker 1: we went in the weight room and just start lifting

682
00:35:54,960 --> 00:35:57,800
Speaker 1: weights and shit, you know what I'm saying. You know

683
00:35:57,840 --> 00:35:59,920
Speaker 1: what I said, just going there, look it up though

684
00:36:04,880 --> 00:36:07,440
Speaker 1: it puts him on it, so we just you know,

685
00:36:07,480 --> 00:36:09,360
Speaker 1: that's how we got it. That's how we eased on

686
00:36:09,440 --> 00:36:13,400
Speaker 1: by that he's just in there lifting then going there

687
00:36:13,400 --> 00:36:16,359
Speaker 1: and make some more music. He just I don't know, man,

688
00:36:16,400 --> 00:36:18,799
Speaker 1: it was it was he was a leader, but it's

689
00:36:18,880 --> 00:36:21,399
Speaker 1: like they wouldn't let him lead, you know what I mean.

690
00:36:21,920 --> 00:36:24,279
Speaker 1: He should have he should have got an office or

691
00:36:24,320 --> 00:36:26,960
Speaker 1: something to death row and put put all his guys on.

692
00:36:27,800 --> 00:36:31,240
Speaker 1: You know, he shouldn't have been just out just kicking

693
00:36:31,239 --> 00:36:33,080
Speaker 1: it and like, you know, thinking the world was just

694
00:36:33,840 --> 00:36:37,200
Speaker 1: easy like that, man, You know what I mean, You know,

695
00:36:37,239 --> 00:36:39,080
Speaker 1: you run up on the wrong dudes. Man, They just

696
00:36:39,320 --> 00:36:42,680
Speaker 1: it ain't worth that into them, you know, and know

697
00:36:43,400 --> 00:36:45,879
Speaker 1: we all know how that ended. But I felt it.

698
00:36:46,200 --> 00:36:48,880
Speaker 1: I felt that it like something is not right, something

699
00:36:49,719 --> 00:36:52,000
Speaker 1: something thing to go down. I'm gonna ease on back

700
00:36:52,000 --> 00:36:54,440
Speaker 1: because it was just it was building. You could just

701
00:36:54,480 --> 00:36:57,160
Speaker 1: feel it building. Then they start dissing. They It was

702
00:36:57,200 --> 00:37:02,479
Speaker 1: times when the fucking media double XL Vibe magazine would

703
00:37:02,480 --> 00:37:04,440
Speaker 1: come to the studio and to talk to him, and

704
00:37:04,440 --> 00:37:06,680
Speaker 1: I would stand outside and talk to him. I'm like,

705
00:37:06,719 --> 00:37:09,520
Speaker 1: no interview me now, we want to talk to whom.

706
00:37:09,560 --> 00:37:12,160
Speaker 1: I'm like, y'all, you guys are instigating all this shit.

707
00:37:12,400 --> 00:37:14,560
Speaker 1: Every time y'all say something to him y'all know he

708
00:37:14,640 --> 00:37:17,480
Speaker 1: gonna be real, you know what I mean? So I

709
00:37:17,600 --> 00:37:20,080
Speaker 1: suggest y'all not I used to be out there. I

710
00:37:20,160 --> 00:37:21,960
Speaker 1: got an album coming out, whom they want to talk

711
00:37:21,960 --> 00:37:24,560
Speaker 1: to me. They wanted to keep keep that shit going

712
00:37:24,600 --> 00:37:26,719
Speaker 1: because they were selling magazines, and I knew it, and

713
00:37:26,760 --> 00:37:29,239
Speaker 1: I'm telling them, like, bro, don't bite, don't bite. They

714
00:37:29,239 --> 00:37:31,040
Speaker 1: got me like that, and then they're gonna turn around

715
00:37:31,040 --> 00:37:32,839
Speaker 1: in distance anyway. You ain't never gonna get a five

716
00:37:32,880 --> 00:37:35,440
Speaker 1: star album and the five micer, you know what I mean.

717
00:37:35,480 --> 00:37:37,719
Speaker 1: I knew it because I've been through the politics of it,

718
00:37:37,760 --> 00:37:39,880
Speaker 1: just the whole you know, the way the East was

719
00:37:39,880 --> 00:37:41,759
Speaker 1: getting down that at that time, and it was really

720
00:37:41,800 --> 00:37:45,240
Speaker 1: just about selling, selling the source magazine that was the news,

721
00:37:45,880 --> 00:37:48,799
Speaker 1: and I was right. I'm like, they're gonna end up

722
00:37:49,520 --> 00:37:51,880
Speaker 1: causing somebody to get killed. Bro, Keep printing shit out

723
00:37:51,880 --> 00:37:54,000
Speaker 1: because I'm reading it and it's like you're reading that

724
00:37:54,040 --> 00:37:56,319
Speaker 1: shit and it's like this anxiety and that's reading. It's

725
00:37:56,360 --> 00:37:59,680
Speaker 1: like God, you could feel the the vitriol in that ship.

726
00:38:00,440 --> 00:38:03,239
Speaker 1: And you know, but when nobody listening to me, I'm like, bro,

727
00:38:03,280 --> 00:38:05,200
Speaker 1: this is dangerous, man. Keep the media out of here,

728
00:38:06,040 --> 00:38:11,640
Speaker 1: you know, true enough, magazines come out. These niggas just

729
00:38:11,719 --> 00:38:15,080
Speaker 1: in Biggie and Biggie them shooting the vibe, but put

730
00:38:15,080 --> 00:38:17,480
Speaker 1: out they ship East versus West. It's like, oh, it's

731
00:38:17,520 --> 00:38:21,560
Speaker 1: it's over. This is this now is beyond anybody's control.

732
00:38:21,600 --> 00:38:24,799
Speaker 1: It's it's a fire. It's like, now, get out fire

733
00:38:24,760 --> 00:38:27,080
Speaker 1: extegers ain't gonna work. And I just started backing away

734
00:38:27,080 --> 00:38:30,080
Speaker 1: from it, bro, and they kept trying to drag me

735
00:38:30,120 --> 00:38:31,319
Speaker 1: back into it. I don't want to do this. I

736
00:38:31,320 --> 00:38:33,200
Speaker 1: don't want to go to the hood parties. I'm not

737
00:38:33,239 --> 00:38:35,040
Speaker 1: going to no pick now, I'll shoot a video or whatever.

738
00:38:35,120 --> 00:38:38,080
Speaker 1: But you know, Jodycy was around and shit like it was.

739
00:38:38,120 --> 00:38:40,240
Speaker 1: It was dope when it was dope, Mary J. Blige,

740
00:38:40,560 --> 00:38:43,799
Speaker 1: Danny Boy, all these fly motherfuckers is around. But it

741
00:38:43,880 --> 00:38:47,200
Speaker 1: was still just some negative energy to just brewing, Bro,

742
00:38:47,239 --> 00:38:50,880
Speaker 1: And it was gonna ultimately bust. And it did what

743
00:38:51,040 --> 00:38:53,759
Speaker 1: was for you as someone who was just h you know,

744
00:38:54,800 --> 00:38:57,840
Speaker 1: a student of music and studied a lot of different crafts.

745
00:38:57,880 --> 00:39:00,480
Speaker 1: What was it like with the beef from well, when

746
00:39:00,480 --> 00:39:01,920
Speaker 1: you guys were beat from or when they were bea

747
00:39:01,960 --> 00:39:03,720
Speaker 1: from with the East Coast? I mean, were you fans

748
00:39:03,719 --> 00:39:05,719
Speaker 1: of any of the people they were, you know, not

749
00:39:05,840 --> 00:39:09,120
Speaker 1: fucking with at the time. How did that work? It didn't. Um.

750
00:39:09,520 --> 00:39:12,680
Speaker 1: When we did the Source Awards UM at Madison Square

751
00:39:12,680 --> 00:39:16,279
Speaker 1: Garden right, Um, the tension was in the raws to

752
00:39:16,280 --> 00:39:19,080
Speaker 1: get cut it with a Knight boss. My thing was,

753
00:39:19,800 --> 00:39:22,880
Speaker 1: if they don't have a problem with me personally, I'm cool.

754
00:39:23,520 --> 00:39:25,640
Speaker 1: I wasn't in no gang and I was. We was

755
00:39:25,680 --> 00:39:27,440
Speaker 1: always trying to explain to people like I got into

756
00:39:27,480 --> 00:39:29,120
Speaker 1: it with bone thugs and Harmony because they thought I

757
00:39:29,160 --> 00:39:31,319
Speaker 1: was just an easy because I was on Death Row.

758
00:39:31,360 --> 00:39:33,880
Speaker 1: I'm like Death Row is. It's a bunch of different

759
00:39:33,880 --> 00:39:36,279
Speaker 1: factions at Death Row, a bunch of whole different you

760
00:39:36,320 --> 00:39:37,960
Speaker 1: know things, and we're just trying to sell records the

761
00:39:38,000 --> 00:39:39,840
Speaker 1: most records we can. And I ain't got no problem

762
00:39:39,840 --> 00:39:43,520
Speaker 1: with you or Eric. Eric was my boy, UM. And

763
00:39:44,600 --> 00:39:48,760
Speaker 1: when we performed that that the jail scene, the famous

764
00:39:48,800 --> 00:39:51,560
Speaker 1: jail scene, I looked in the audience and I met

765
00:39:51,560 --> 00:39:55,640
Speaker 1: Biggie already at UM at nine two point through the beat. UM.

766
00:39:55,680 --> 00:39:56,960
Speaker 1: When I used to be up there all the time

767
00:39:57,000 --> 00:39:59,440
Speaker 1: with THEO and he was cool. He didn't say much

768
00:39:59,480 --> 00:40:01,640
Speaker 1: to me. He was a quiet dude, you know, because

769
00:40:01,640 --> 00:40:02,800
Speaker 1: he didn't know what was going on. I was just

770
00:40:02,880 --> 00:40:04,879
Speaker 1: made me. You know, I'm like, bro, don't worry about

771
00:40:04,880 --> 00:40:06,480
Speaker 1: that shit. Man, we I'm not down with that shit.

772
00:40:06,640 --> 00:40:08,799
Speaker 1: You know you could relax. I was with Craig Mac

773
00:40:08,880 --> 00:40:11,319
Speaker 1: and him. Craig Mac was my boy. We should tour

774
00:40:11,360 --> 00:40:14,719
Speaker 1: with Eric Sermon Whatnot EPMD. So Craig introduced me to

775
00:40:14,760 --> 00:40:15,880
Speaker 1: him and I just made him feel good, like, bro,

776
00:40:15,880 --> 00:40:19,760
Speaker 1: you gotta worry about shit. Um. So when I'm performing

777
00:40:19,840 --> 00:40:22,560
Speaker 1: my part of that show, Biggie and Faith isn't front

778
00:40:22,640 --> 00:40:24,640
Speaker 1: row and they pop into my shit, I didn't think

779
00:40:24,640 --> 00:40:27,800
Speaker 1: they liked my music, so I was just like, oh,

780
00:40:28,000 --> 00:40:31,640
Speaker 1: fuck yeah, dude, you know what I'm saying. Fuck yeah,

781
00:40:32,000 --> 00:40:33,879
Speaker 1: Big like my shit. It was cool. I was cool

782
00:40:33,880 --> 00:40:38,640
Speaker 1: with that because Big was hard music. Joe like, you

783
00:40:38,680 --> 00:40:41,719
Speaker 1: can't take that away from challenges talent. He had something

784
00:40:41,719 --> 00:40:44,200
Speaker 1: did nobody have. It was. It was very unique and

785
00:40:44,280 --> 00:40:46,920
Speaker 1: singular to him. But when I seen him grooving off

786
00:40:46,960 --> 00:40:52,720
Speaker 1: my ship, it was cool. And twenty minutes later, Should

787
00:40:52,800 --> 00:40:55,239
Speaker 1: got up there and said what he said, we all

788
00:40:55,280 --> 00:40:58,279
Speaker 1: had this. Me and Nick Dog stood up because we

789
00:40:58,400 --> 00:41:02,920
Speaker 1: getting scowled at from everybody like they was ready to

790
00:41:02,920 --> 00:41:05,920
Speaker 1: tear our heads off. And they said said, well, if

791
00:41:05,920 --> 00:41:07,480
Speaker 1: you don't, you know, we just stood back to back.

792
00:41:07,520 --> 00:41:08,920
Speaker 1: He said, if you don't let nobody hit me in

793
00:41:08,920 --> 00:41:10,560
Speaker 1: the back of my head, I'm gonna let anybody hit

794
00:41:10,560 --> 00:41:12,279
Speaker 1: you in the back of your head. I mean, I'm

795
00:41:12,320 --> 00:41:14,560
Speaker 1: just stood there like this. Like then we end up

796
00:41:14,600 --> 00:41:18,200
Speaker 1: getting rushed out of there, um and going out to

797
00:41:18,239 --> 00:41:20,879
Speaker 1: the back and I remember seeing Flavor flav name, like, yo, man,

798
00:41:21,080 --> 00:41:23,320
Speaker 1: that was filed man? What your man stid? That was

799
00:41:23,440 --> 00:41:27,160
Speaker 1: fouled right, I'm like it was kind of fucked up

800
00:41:26,040 --> 00:41:29,680
Speaker 1: up it It was kind of whack. Who else was

801
00:41:29,680 --> 00:41:32,600
Speaker 1: out there? Um? Not Nick van Ex So what was it?

802
00:41:32,760 --> 00:41:35,919
Speaker 1: What was my man name? One? It was a Larry

803
00:41:35,960 --> 00:41:37,680
Speaker 1: He was a basketball player. He came out. He was

804
00:41:37,760 --> 00:41:39,799
Speaker 1: chopping it up for a minute. It was just like

805
00:41:39,840 --> 00:41:42,360
Speaker 1: the energy in the room just to hope, building just changed.

806
00:41:42,600 --> 00:41:44,640
Speaker 1: And that's when you know Snoop got up there and

807
00:41:44,640 --> 00:41:47,080
Speaker 1: try to do damage control, but it was already like

808
00:41:47,120 --> 00:41:51,319
Speaker 1: the bomb was lit. It's like, damn, Sugar, at least

809
00:41:51,320 --> 00:41:53,080
Speaker 1: warn us if you're gonna do that shit, man, let

810
00:41:53,160 --> 00:41:55,680
Speaker 1: us prepare for this ship. Like you just you just

811
00:41:55,760 --> 00:41:57,799
Speaker 1: threw grenade in the house with all of us in it.

812
00:41:57,960 --> 00:42:04,480
Speaker 1: At the garden in msg fucking unreal, bro, Like, you know,

813
00:42:04,640 --> 00:42:06,640
Speaker 1: mistakes were made. I'm gonna just say that, you know,

814
00:42:06,960 --> 00:42:10,239
Speaker 1: in hindsight, being twenty twenty, you know, things I would

815
00:42:10,280 --> 00:42:12,879
Speaker 1: have did different. Yeah. I got out of that safe. Huh.

816
00:42:12,920 --> 00:42:16,600
Speaker 1: I got out of that safe. Uh yeah, yeah, he's

817
00:42:16,640 --> 00:42:20,480
Speaker 1: had to you know, we had to split, you know,

818
00:42:20,560 --> 00:42:22,799
Speaker 1: got back to the hotel and it was like, let's

819
00:42:22,800 --> 00:42:25,360
Speaker 1: get the fuck home for the kill us before we

820
00:42:25,360 --> 00:42:29,680
Speaker 1: get to the motherfucking airport. But um yeah, man again,

821
00:42:29,760 --> 00:42:32,719
Speaker 1: mistakes were made. Man, in hindsight, you know, I just

822
00:42:32,760 --> 00:42:34,440
Speaker 1: wish we could have did it longer. It just it was.

823
00:42:34,760 --> 00:42:37,399
Speaker 1: It was too short. It's just too fucking short. How

824
00:42:37,480 --> 00:42:40,839
Speaker 1: you go from I'm going platinum in nineteen ninety two, right,

825
00:42:41,480 --> 00:42:44,560
Speaker 1: I get up on in ninety one, ninety six, POC

826
00:42:44,640 --> 00:42:48,839
Speaker 1: dis five fucking funky ass years POC die. My music change.

827
00:42:48,880 --> 00:42:51,080
Speaker 1: I started to stare away from the hood shit, the

828
00:42:51,120 --> 00:42:53,760
Speaker 1: hot shit, you know, start trying to like tone it down,

829
00:42:53,920 --> 00:42:55,360
Speaker 1: you know, and be safe and all that. It's like, no,

830
00:42:55,440 --> 00:42:56,880
Speaker 1: we don't expect that from you. We want the raw

831
00:42:56,920 --> 00:42:59,799
Speaker 1: shit from you. Just like all right whatever. And then

832
00:43:00,719 --> 00:43:03,040
Speaker 1: ninety eight I had a big tragedy in my life

833
00:43:03,040 --> 00:43:06,120
Speaker 1: where my nephew killed my motherfucking um, my manager and

834
00:43:06,160 --> 00:43:09,000
Speaker 1: shit in my studio, and that just fucked my head up,

835
00:43:09,000 --> 00:43:11,080
Speaker 1: and it was like, fuck this music shit, bro, this

836
00:43:11,080 --> 00:43:13,920
Speaker 1: this ship makes everybody around us crazy. We cool, but

837
00:43:14,000 --> 00:43:17,680
Speaker 1: this money drives our money drives them nuts. Yeah the

838
00:43:17,840 --> 00:43:20,960
Speaker 1: fuck is that? You know what I mean? And I

839
00:43:20,960 --> 00:43:24,920
Speaker 1: don't know, it's just I stopped producing, you know, just now,

840
00:43:25,360 --> 00:43:27,680
Speaker 1: just now going to be like I realized the last

841
00:43:27,680 --> 00:43:29,560
Speaker 1: album I actually did was in twenty twelve, of the

842
00:43:29,600 --> 00:43:34,360
Speaker 1: Midnight Life, right independent. I'm independent now, and that's like

843
00:43:34,400 --> 00:43:36,920
Speaker 1: too long for me to not be putting out fucking music.

844
00:43:37,040 --> 00:43:38,920
Speaker 1: Like I'm a musician, that's what I do. I'm a

845
00:43:39,000 --> 00:43:42,480
Speaker 1: musical messenger. You know. I had successful problem. We did

846
00:43:42,520 --> 00:43:44,960
Speaker 1: this record called Rosecrans. We dropped that shit, and fucking

847
00:43:46,560 --> 00:43:50,440
Speaker 1: April of fucking twenty sixteen, we had number one. We're celebrating.

848
00:43:50,480 --> 00:43:52,839
Speaker 1: We DISSI Kanye shit on the air ship get just

849
00:43:52,920 --> 00:43:56,520
Speaker 1: you know, starting shit right and next day Prince dies.

850
00:43:57,200 --> 00:44:00,319
Speaker 1: So it's like, fuck, we lost number one on and

851
00:44:00,320 --> 00:44:03,600
Speaker 1: ship and it's all about Prince at this point. And

852
00:44:03,640 --> 00:44:05,160
Speaker 1: we didn't tour on that because it was like it

853
00:44:05,239 --> 00:44:07,799
Speaker 1: was like, it's a tragedy that was around this ship.

854
00:44:07,800 --> 00:44:09,800
Speaker 1: It was just crazy, Bro, I should have had fifteen

855
00:44:09,840 --> 00:44:12,799
Speaker 1: albums out. I just finished my tenth album music, Bro,

856
00:44:13,000 --> 00:44:19,240
Speaker 1: and it's it's back on the fun shit wordplay, funky

857
00:44:19,280 --> 00:44:24,320
Speaker 1: ass beats, hard ass drum sounds, fucking solid ass piano

858
00:44:24,440 --> 00:44:27,319
Speaker 1: parts and guitar parts, Like, can't nobody do that shit

859
00:44:27,400 --> 00:44:29,120
Speaker 1: like me? I'm just gonna let my dick out right here.

860
00:44:29,120 --> 00:44:31,480
Speaker 1: Can't nobody fuck with me in the fucking studio. I'm

861
00:44:31,520 --> 00:44:34,799
Speaker 1: just that guy because I just I'm left handed. I

862
00:44:34,880 --> 00:44:39,200
Speaker 1: see it all different than everybody else, you know, And

863
00:44:39,360 --> 00:44:42,320
Speaker 1: fuck it, this is hot. My new album is fucking smoking.

864
00:44:43,239 --> 00:44:48,200
Speaker 1: I'm happy, uh working with Snoop and being around Snooping

865
00:44:48,239 --> 00:44:51,200
Speaker 1: them early days that like Snoop was, Snoop was quiet, Bro.

866
00:44:51,280 --> 00:44:54,480
Speaker 1: Snoop was the shit. Snooper being his little BMW would

867
00:44:54,520 --> 00:44:57,600
Speaker 1: be driving fucking to fucking Las Vegas, Bro, and I'm like,

868
00:44:57,640 --> 00:44:59,759
Speaker 1: we're in a caravan with dog, you know, because he

869
00:44:59,840 --> 00:45:03,160
Speaker 1: was he was automatically the hottest guy in the game

870
00:45:03,280 --> 00:45:05,480
Speaker 1: at that time, and you had to just get with it.

871
00:45:05,600 --> 00:45:07,960
Speaker 1: It was like, Dude, this this persona was just cold,

872
00:45:08,080 --> 00:45:10,640
Speaker 1: just it's just cool, like you know what I mean.

873
00:45:10,719 --> 00:45:13,960
Speaker 1: And the marketing was never ending. You could just you know,

874
00:45:14,120 --> 00:45:16,040
Speaker 1: align him with a dog and it works, you know

875
00:45:16,120 --> 00:45:18,759
Speaker 1: everything that you know, you know, if you can make

876
00:45:18,800 --> 00:45:22,000
Speaker 1: all kind of dope ass you know, um things with

877
00:45:22,120 --> 00:45:25,120
Speaker 1: his name, like the Snooper Bowl and the Snooper market

878
00:45:25,160 --> 00:45:29,560
Speaker 1: So it was just like this marketing exactly. It's like

879
00:45:29,560 --> 00:45:31,239
Speaker 1: you could just play with his name and it's the ship.

880
00:45:31,400 --> 00:45:34,520
Speaker 1: So marketing was dope, and and he was cool. He's

881
00:45:34,560 --> 00:45:36,600
Speaker 1: always been cool. He's the same guy, you know what

882
00:45:36,600 --> 00:45:39,200
Speaker 1: I mean, always smart. He didn't really want the fall.

883
00:45:39,280 --> 00:45:40,880
Speaker 1: He didn't like trouble. He didn't like oh none of

884
00:45:40,920 --> 00:45:43,680
Speaker 1: that shit. He wasn't He wasn't a troublemaker, you know,

885
00:45:43,760 --> 00:45:45,399
Speaker 1: I mean, his ship was. He just wanted to smoke

886
00:45:45,440 --> 00:45:49,440
Speaker 1: his weed, be cool, make music. You know. I should

887
00:45:49,440 --> 00:45:51,120
Speaker 1: go to his house and do songs and shit, like

888
00:45:51,120 --> 00:45:53,160
Speaker 1: when he lived in Montclaire, should go up there and

889
00:45:53,200 --> 00:45:54,800
Speaker 1: do beat. So I introduced him to Sugar Freedom and

890
00:45:54,840 --> 00:45:58,840
Speaker 1: niggas ended up becoming friends right on. You know, let

891
00:45:58,960 --> 00:46:01,560
Speaker 1: Nias still kicking it to this day. You know, Uh,

892
00:46:01,680 --> 00:46:04,399
Speaker 1: Snoop as an asset to this business easily, like he's

893
00:46:04,440 --> 00:46:06,280
Speaker 1: one of the most important players on the West Coast.

894
00:46:06,600 --> 00:46:08,759
Speaker 1: With all him is kind of you know, it's it's

895
00:46:08,800 --> 00:46:11,479
Speaker 1: kind of hard, you know, like who else who better?

896
00:46:12,719 --> 00:46:14,880
Speaker 1: You know, he brought his dog pounds to them niggas,

897
00:46:14,880 --> 00:46:18,160
Speaker 1: you know, soldiers in the game, the lieutenants. It just

898
00:46:18,360 --> 00:46:21,000
Speaker 1: made sense, bro, and nobody sounds like that. The most

899
00:46:21,080 --> 00:46:24,319
Speaker 1: unique voice in hip hop at that point. You know

900
00:46:25,160 --> 00:46:28,919
Speaker 1: what was that that video with the dog weekend kick good.

901
00:46:30,040 --> 00:46:31,799
Speaker 1: We can freak it, Yeah, we can freak it. Yeah.

902
00:46:32,160 --> 00:46:34,759
Speaker 1: You you put a spin in your walk and then

903
00:46:34,840 --> 00:46:36,640
Speaker 1: when you when you you was dancing that, then you

904
00:46:36,719 --> 00:46:38,800
Speaker 1: put a nice little spin. I ain't I ain't he

905
00:46:38,880 --> 00:46:42,200
Speaker 1: saw that. I saw that. I saw that at my

906
00:46:42,280 --> 00:46:44,600
Speaker 1: first time. I'm saying, somebody spinning the walk like that, man,

907
00:46:44,840 --> 00:46:48,040
Speaker 1: Thank you, Bro. That's that that started something because we

908
00:46:48,160 --> 00:46:50,000
Speaker 1: called it the b walk. Yeah, because you know, we

909
00:46:50,120 --> 00:46:51,680
Speaker 1: know what the crip walk is. We all know, we

910
00:46:51,719 --> 00:46:54,400
Speaker 1: all got cousins, we got chrip brothers, you know, so

911
00:46:55,000 --> 00:46:57,120
Speaker 1: it is what it is. But my little nephews came

912
00:46:57,200 --> 00:46:58,960
Speaker 1: up with a little skip walk where it was like

913
00:46:59,080 --> 00:47:01,000
Speaker 1: in the air with it like a little in the

914
00:47:01,120 --> 00:47:05,560
Speaker 1: air over here air air and then twirl like just yeah,

915
00:47:05,560 --> 00:47:07,960
Speaker 1: and it was all about that that twirl. So niggas

916
00:47:07,960 --> 00:47:09,560
Speaker 1: taught me how to trial because I used, I'd be

917
00:47:09,600 --> 00:47:11,880
Speaker 1: scared to let go. It's like just spin. I'm just

918
00:47:11,960 --> 00:47:14,839
Speaker 1: spin like you know, I would like I would chip

919
00:47:14,920 --> 00:47:17,080
Speaker 1: around like this, and it was like you could spin.

920
00:47:17,160 --> 00:47:18,680
Speaker 1: I was like I started doing it. I was like,

921
00:47:18,840 --> 00:47:21,960
Speaker 1: you killed it. You killed it. And well, beyond stage,

922
00:47:22,520 --> 00:47:27,359
Speaker 1: everybody just be twirling like tops like the b walk

923
00:47:27,480 --> 00:47:31,239
Speaker 1: is official. See approached me at the studio one time.

924
00:47:31,320 --> 00:47:33,879
Speaker 1: He's like, man, me, houl at you man, like, what's

925
00:47:33,880 --> 00:47:39,279
Speaker 1: that in? Send him up the dash y'all doing like

926
00:47:40,840 --> 00:47:42,759
Speaker 1: he like, man, let me see, let me see this dance, bro,

927
00:47:42,840 --> 00:47:45,279
Speaker 1: so I can see for myself if y'all not just

928
00:47:45,360 --> 00:47:47,440
Speaker 1: crip walking. Said no, bro, it ain't the check us

929
00:47:47,440 --> 00:47:49,239
Speaker 1: out look and we start skipping. He's sitting up there

930
00:47:49,280 --> 00:47:52,400
Speaker 1: like dub looking at us like and when you know,

931
00:47:52,440 --> 00:47:55,440
Speaker 1: we was at Skip Sailors fucking Hollywood. When he when

932
00:47:55,480 --> 00:47:57,280
Speaker 1: he saw what he was doing, like it was a routine,

933
00:47:57,360 --> 00:48:01,640
Speaker 1: he was like he gave us a pass. Okay, that's different.

934
00:48:01,800 --> 00:48:08,839
Speaker 1: That's different, you know what I mean? Sip sip, Yeah,

935
00:48:08,960 --> 00:48:12,680
Speaker 1: when the big homie tell you it's cool. It's cool. Um,

936
00:48:13,400 --> 00:48:18,000
Speaker 1: how was it producing for guys like Jay z Um amazing? Uh,

937
00:48:18,320 --> 00:48:20,719
Speaker 1: you know, out of body experience like it's like wow,

938
00:48:21,400 --> 00:48:23,400
Speaker 1: like you really made it. When you're in the studio

939
00:48:23,480 --> 00:48:26,640
Speaker 1: would be Beyonce's offering your motherfucking water fruit and shit,

940
00:48:27,480 --> 00:48:29,480
Speaker 1: you know, and just chilling. Yeah, so what's so? What? So?

941
00:48:29,560 --> 00:48:32,000
Speaker 1: What's that? What's that session? Like? That session is just

942
00:48:32,120 --> 00:48:34,839
Speaker 1: like you could imagine it be Jay's quiet. He don't

943
00:48:35,040 --> 00:48:36,959
Speaker 1: he don't. He ain't kind of do the walk around

944
00:48:37,000 --> 00:48:39,600
Speaker 1: the studio writing and thinking it's something. He sits there

945
00:48:39,640 --> 00:48:41,319
Speaker 1: and he just he let the music get in him,

946
00:48:41,640 --> 00:48:45,440
Speaker 1: you know, and whatnot. And um, gurus at you know,

947
00:48:45,560 --> 00:48:48,400
Speaker 1: at the controls. I'm on the beat bees over their

948
00:48:48,480 --> 00:48:52,560
Speaker 1: chilling coolest shit. She's so humble, you know what I means, sweetheart, Right,

949
00:48:53,280 --> 00:48:55,120
Speaker 1: Jail just be sitting up there humming. He'd be like

950
00:48:58,160 --> 00:49:01,239
Speaker 1: making these little sounds and shit, and then you just

951
00:49:01,360 --> 00:49:05,920
Speaker 1: cock his hat to the side and be like it's like, alright, Guru,

952
00:49:06,000 --> 00:49:09,799
Speaker 1: I'm ready, that's simple. Yeah, you go when you cock

953
00:49:09,880 --> 00:49:11,880
Speaker 1: his hat and then going there and just start nailing

954
00:49:11,920 --> 00:49:14,479
Speaker 1: that shit. I'm like, I ain't see this, my fucker.

955
00:49:14,600 --> 00:49:18,839
Speaker 1: Right now. One lyric like who does that? I'll start

956
00:49:18,880 --> 00:49:20,600
Speaker 1: doing that. I stole that from him. I don't write

957
00:49:20,600 --> 00:49:23,200
Speaker 1: no more like it's I think too fast for that shit.

958
00:49:23,400 --> 00:49:25,719
Speaker 1: It's gonna slow me down now writing the ship down.

959
00:49:26,360 --> 00:49:29,120
Speaker 1: You know, I'll write down the hit points. You know,

960
00:49:29,200 --> 00:49:31,960
Speaker 1: shit that I would probably forget, but you know, just

961
00:49:32,040 --> 00:49:34,640
Speaker 1: the words are between, like bust that shit so you

962
00:49:34,719 --> 00:49:37,960
Speaker 1: punch you like punching. Uh no, you know, like old school,

963
00:49:38,000 --> 00:49:39,759
Speaker 1: Like if you can't do it as sixteen, and you

964
00:49:39,800 --> 00:49:42,120
Speaker 1: can't do it in sixteen, then it's hard to perform

965
00:49:42,200 --> 00:49:44,759
Speaker 1: that shit live. It's still to me about the live show.

966
00:49:45,000 --> 00:49:48,319
Speaker 1: Right to me, I ain't like everybody, you know, I'm

967
00:49:49,080 --> 00:49:51,680
Speaker 1: I like it the hard way. You know. It's easy

968
00:49:51,760 --> 00:49:53,400
Speaker 1: to put a word here, put the word there, and

969
00:49:53,480 --> 00:49:55,359
Speaker 1: didn't just go put them in pro tools and thing.

970
00:49:55,520 --> 00:49:59,040
Speaker 1: But we come from tapes like when I'm going nigga,

971
00:49:59,080 --> 00:50:01,520
Speaker 1: you my chag just gonna pull up motherfucker's gonna be

972
00:50:01,560 --> 00:50:04,040
Speaker 1: able to pull up them tapes and listen to shit

973
00:50:04,160 --> 00:50:07,000
Speaker 1: that we did and be amazed, like I'd be amazed,

974
00:50:07,040 --> 00:50:09,760
Speaker 1: like listening back to my tapes like damn was online.

975
00:50:10,440 --> 00:50:12,400
Speaker 1: You know I got my masters, bro. Fuck that my

976
00:50:12,440 --> 00:50:14,360
Speaker 1: ship is. My ship is in storage. I can go

977
00:50:14,440 --> 00:50:16,240
Speaker 1: look at that show. I can go touch my motherfucking

978
00:50:16,280 --> 00:50:19,160
Speaker 1: safe and sound all them reels and shit, you know

979
00:50:19,160 --> 00:50:23,040
Speaker 1: what I mean. That's important to me, you know. And uh,

980
00:50:23,200 --> 00:50:26,360
Speaker 1: the art, just the perfectionism of it is important. I

981
00:50:26,400 --> 00:50:29,480
Speaker 1: don't believe in punching if because if you can't, you

982
00:50:29,760 --> 00:50:32,719
Speaker 1: can't feel it, you know. Sometimes if if it's not

983
00:50:32,960 --> 00:50:36,960
Speaker 1: one whole verse all the way down, you know, I

984
00:50:37,040 --> 00:50:40,719
Speaker 1: don't like it to feel punched, you know. But then

985
00:50:40,760 --> 00:50:43,319
Speaker 1: again that's I'm left handing. I'm a perfectionist. What can

986
00:50:43,400 --> 00:50:46,839
Speaker 1: I say? How important is tech in music? I mean

987
00:50:47,200 --> 00:50:52,359
Speaker 1: black production technology and what it always leads music. It's

988
00:50:52,400 --> 00:50:55,239
Speaker 1: the leading thing, you know. The guy with the new

989
00:50:55,280 --> 00:50:59,080
Speaker 1: tech has the new sound. Yeah, you know. It's like

990
00:50:59,200 --> 00:51:01,800
Speaker 1: shit like y'all basketball, whoever got the hot hand passed

991
00:51:01,800 --> 00:51:03,879
Speaker 1: it to him. Shit Like when pro tools came out.

992
00:51:04,239 --> 00:51:08,640
Speaker 1: Pro Tools changed everything, unfortunately for the for the worst

993
00:51:08,760 --> 00:51:11,120
Speaker 1: at the beginning, because of the way it sounded. It

994
00:51:11,280 --> 00:51:14,279
Speaker 1: took something out of our sound, you know, and it

995
00:51:14,440 --> 00:51:17,800
Speaker 1: took I learned. It came with a learning curve. You

996
00:51:17,920 --> 00:51:20,600
Speaker 1: had to now start thinking about a different way of

997
00:51:20,880 --> 00:51:23,759
Speaker 1: using you know, a producing music and putting music together,

998
00:51:24,320 --> 00:51:26,800
Speaker 1: and the iron the irony is is that pro Tools

999
00:51:26,920 --> 00:51:29,840
Speaker 1: is from Avid. Pro Tools was a video editing system.

1000
00:51:30,400 --> 00:51:33,480
Speaker 1: You know. It was for putting movies together and synchronizing

1001
00:51:33,600 --> 00:51:36,960
Speaker 1: music to them, you know, and then they like, you know, well,

1002
00:51:37,200 --> 00:51:38,680
Speaker 1: you know you could put sound and you can break

1003
00:51:38,680 --> 00:51:40,440
Speaker 1: it up, you can move st up around it. It

1004
00:51:40,600 --> 00:51:43,320
Speaker 1: was going to all the studios like in late nineties,

1005
00:51:43,360 --> 00:51:45,960
Speaker 1: like maybe ninety four ninety five demo in it. It

1006
00:51:46,040 --> 00:51:48,200
Speaker 1: was like, man, we're gonna keep this board and these

1007
00:51:48,239 --> 00:51:51,840
Speaker 1: tape machines, right. I mean ultimately every studio just switched.

1008
00:51:51,920 --> 00:51:54,440
Speaker 1: It was like tape was getting phased out and everybody

1009
00:51:54,560 --> 00:51:56,239
Speaker 1: was doing pro Tools, and I just didn't like the

1010
00:51:56,280 --> 00:51:58,160
Speaker 1: sound of it. It just didn't have no bottom, like,

1011
00:51:58,200 --> 00:52:01,239
Speaker 1: it didn't have no life in it. But um, I

1012
00:52:01,400 --> 00:52:04,640
Speaker 1: stayed tape based like I would use like the Sony

1013
00:52:05,000 --> 00:52:09,400
Speaker 1: M eight tracks, the UM like tape based like the

1014
00:52:09,520 --> 00:52:12,239
Speaker 1: DA eighty eights, which is like a little eight millimeter tape,

1015
00:52:12,880 --> 00:52:16,279
Speaker 1: because they just sounded like something. Still, I couldn't lose

1016
00:52:16,320 --> 00:52:20,000
Speaker 1: that linear feeling until ultimately pro Tools got better and

1017
00:52:20,120 --> 00:52:22,840
Speaker 1: better started to sound more like what we're used to.

1018
00:52:23,320 --> 00:52:26,640
Speaker 1: Then I end up having to give in ultimately, like

1019
00:52:26,960 --> 00:52:30,200
Speaker 1: two thousand and I want to say two thousand and three,

1020
00:52:31,320 --> 00:52:34,040
Speaker 1: I went on and got on end and you know,

1021
00:52:34,239 --> 00:52:36,000
Speaker 1: learned it had a bunch of people teaching me stuff,

1022
00:52:36,000 --> 00:52:38,239
Speaker 1: showing me how to do it, YadA, YadA YadA. Then

1023
00:52:38,280 --> 00:52:42,400
Speaker 1: I started fucking with some real fancy programmers and he

1024
00:52:42,520 --> 00:52:45,000
Speaker 1: turned me into a power user. Now I'll be I'll

1025
00:52:45,040 --> 00:52:48,160
Speaker 1: be doing shit, fucking people up like like five commands

1026
00:52:48,360 --> 00:52:50,160
Speaker 1: and then just move my hand and the computer be

1027
00:52:50,200 --> 00:52:52,960
Speaker 1: sit up there doing it like should be swelling up. Yeah,

1028
00:52:53,000 --> 00:52:54,839
Speaker 1: I got good at it, So now all my shit

1029
00:52:54,960 --> 00:52:57,320
Speaker 1: is basically pro tools. I still like tape, though, Like

1030
00:52:57,320 --> 00:52:59,080
Speaker 1: I just picked up this thing called a Model twenty

1031
00:52:59,120 --> 00:53:02,279
Speaker 1: four task cam, and it's like tape based recording, like

1032
00:53:02,400 --> 00:53:04,520
Speaker 1: old school, because some people don't want to look at

1033
00:53:04,560 --> 00:53:07,719
Speaker 1: a computer screen. You know what I mean. Music is

1034
00:53:08,080 --> 00:53:11,720
Speaker 1: it's a it's not sitting up there staring at the screen.

1035
00:53:11,920 --> 00:53:14,279
Speaker 1: Music is what you feel, how you feel right away,

1036
00:53:14,640 --> 00:53:17,960
Speaker 1: putting it down, playing, you know, jotting down stuff. So

1037
00:53:18,400 --> 00:53:20,160
Speaker 1: I'm back to that. But the cool thing is that

1038
00:53:20,239 --> 00:53:23,239
Speaker 1: the Model twenty four integrates with pro Tools, so after

1039
00:53:23,239 --> 00:53:25,239
Speaker 1: you've done doing it your way, drop it into pro

1040
00:53:25,320 --> 00:53:27,040
Speaker 1: Tools and cleaned it up and cleaned it up and

1041
00:53:27,080 --> 00:53:30,040
Speaker 1: do all shit you gotta do. But now I love

1042
00:53:30,120 --> 00:53:34,399
Speaker 1: pro Tools. I can't live without it. Yeah yeah. Um.

1043
00:53:36,000 --> 00:53:39,000
Speaker 1: Top three producers in any job, Top three producers in

1044
00:53:39,080 --> 00:53:50,960
Speaker 1: any genre? Um, easily, Uh fucking Quincy Jones easily. Um.

1045
00:53:52,040 --> 00:53:57,080
Speaker 1: My man Rob Temperton from Heatwave heard of the Thing.

1046
00:53:57,560 --> 00:53:59,480
Speaker 1: He wrote Rock with You and you know all the

1047
00:53:59,560 --> 00:54:02,960
Speaker 1: Heatwaves stuff and Thriller he wrote Thriller and all this ship.

1048
00:54:03,040 --> 00:54:04,960
Speaker 1: But Rod, just the way he played man, to be

1049
00:54:05,000 --> 00:54:08,280
Speaker 1: a German guy like that, to have that sense of funk,

1050
00:54:08,800 --> 00:54:12,759
Speaker 1: it's just crazy. Uh. And Curtis Mayfield to me still

1051
00:54:12,960 --> 00:54:18,920
Speaker 1: like the greatest of all time, you know. And George Clinton.

1052
00:54:20,480 --> 00:54:22,839
Speaker 1: People forget that George because he was such a character.

1053
00:54:22,920 --> 00:54:25,920
Speaker 1: They forget he was actually producing all that shit. So

1054
00:54:26,480 --> 00:54:29,000
Speaker 1: I mean, who can make a flashlight? Who can make

1055
00:54:29,400 --> 00:54:31,640
Speaker 1: not just Needy? Not just NEEDEP is the best fucking

1056
00:54:31,680 --> 00:54:33,799
Speaker 1: funk record in the world, hands down. I can't think

1057
00:54:33,800 --> 00:54:37,160
Speaker 1: of nothing better. You know, Brickhouse maybe, yeah, No, fucking

1058
00:54:37,320 --> 00:54:41,640
Speaker 1: not just Needy. That shit that's still the most youthful

1059
00:54:41,719 --> 00:54:44,359
Speaker 1: record ever. Put that shit on and I'm gonna fuck

1060
00:54:44,400 --> 00:54:48,920
Speaker 1: who you are? You gonna dance. Yeah, that's that's that

1061
00:54:49,080 --> 00:54:52,360
Speaker 1: was of my favorites. Curtis Quincy Jones just for the seniority,

1062
00:54:52,920 --> 00:54:57,080
Speaker 1: and fucking George Clinton talk about your time and rasta

1063
00:54:58,000 --> 00:55:02,200
Speaker 1: beautiful The best boss ever man, Clide Davis was he

1064
00:55:02,360 --> 00:55:04,239
Speaker 1: let me do what I wanted to do. That's all

1065
00:55:04,239 --> 00:55:06,680
Speaker 1: the artists wants. And then he gave put me in

1066
00:55:07,040 --> 00:55:09,480
Speaker 1: you know, positions and gave me opportunities where I could

1067
00:55:09,480 --> 00:55:13,400
Speaker 1: produce other artists on Arista, like Deborah Cox and you

1068
00:55:13,520 --> 00:55:15,600
Speaker 1: know next r J and these guys. Be in the

1069
00:55:15,640 --> 00:55:17,840
Speaker 1: studio with these dudes, man, and that lets me be

1070
00:55:17,920 --> 00:55:20,239
Speaker 1: in the studio with like baby Face and you know,

1071
00:55:20,920 --> 00:55:24,080
Speaker 1: um fucking Mariah Carey. Ultimately, you know what I mean?

1072
00:55:24,200 --> 00:55:26,480
Speaker 1: It was Dave Clide kicked the door open for us.

1073
00:55:26,520 --> 00:55:29,920
Speaker 1: He bought he inherited Profile Records, which was my label,

1074
00:55:30,320 --> 00:55:35,000
Speaker 1: and he bought the label and inherited our deal and um,

1075
00:55:35,360 --> 00:55:37,000
Speaker 1: you know, going up there and talking to that dude,

1076
00:55:37,080 --> 00:55:41,320
Speaker 1: just knowing who he was from the past, like he

1077
00:55:41,680 --> 00:55:46,839
Speaker 1: signed Gil Scott Heron and fucking you know, um, what's

1078
00:55:46,840 --> 00:55:48,840
Speaker 1: the old girl who died from fucking hero and abuse?

1079
00:55:50,320 --> 00:55:55,279
Speaker 1: Um fucking she said, real crazy boys, girl, no, not

1080
00:55:55,360 --> 00:55:58,040
Speaker 1: anyone house fucking um. Her name is Scaping right now.

1081
00:55:58,120 --> 00:55:59,880
Speaker 1: But she was one of She thought she was a

1082
00:56:00,000 --> 00:56:05,440
Speaker 1: WHENY seven Club heard Jimmy Hendridge Jenny Joplin, Yeah, he signed,

1083
00:56:05,480 --> 00:56:07,520
Speaker 1: he was a. He was at Epic. Just dude signed

1084
00:56:07,520 --> 00:56:11,080
Speaker 1: Slide in the Family Stone Bro, fuck out of here,

1085
00:56:11,520 --> 00:56:14,640
Speaker 1: Sliding the Family Stone Bro and supported Slide the whole time.

1086
00:56:15,120 --> 00:56:17,520
Speaker 1: Of course he signed Whitney. Of course he signed fucking

1087
00:56:17,880 --> 00:56:22,080
Speaker 1: he signed Ray Parker Jr. Radio. You know he's he's

1088
00:56:22,120 --> 00:56:23,560
Speaker 1: just as black as all of us when it came

1089
00:56:23,600 --> 00:56:26,719
Speaker 1: to music sensibility. But just a cool dude. And he

1090
00:56:27,000 --> 00:56:29,800
Speaker 1: said people asked I should go to his grammy parties

1091
00:56:29,840 --> 00:56:32,200
Speaker 1: and ship. People would ask you know what he thought

1092
00:56:32,200 --> 00:56:34,439
Speaker 1: about me? He was like Quick as he's the best

1093
00:56:35,239 --> 00:56:37,880
Speaker 1: artists on the West Coast, Like all the West Coast artists.

1094
00:56:38,320 --> 00:56:40,080
Speaker 1: He's always said that Quick is the best. He's the

1095
00:56:40,160 --> 00:56:42,840
Speaker 1: best out of all of them. It's like, thank you

1096
00:56:42,960 --> 00:56:47,440
Speaker 1: b from him. Goddamn right. Clin Davis greatest boss ever bro.

1097
00:56:47,640 --> 00:56:52,000
Speaker 1: I hated when he left because uml La Red came

1098
00:56:52,040 --> 00:56:54,640
Speaker 1: in and just kicked everybody off the label. Like I

1099
00:56:54,960 --> 00:56:57,839
Speaker 1: I was grandfathered into the ship. I had another million

1100
00:56:57,920 --> 00:57:01,440
Speaker 1: dollars on the table for my my album after balancing options,

1101
00:57:02,120 --> 00:57:06,320
Speaker 1: and this motherfucker dropped me for nothing. It's like what

1102
00:57:06,440 --> 00:57:09,680
Speaker 1: I gotta do, Like, you know, changed my whole trajectory.

1103
00:57:09,719 --> 00:57:12,279
Speaker 1: I had to go Independent and Ship and it was

1104
00:57:12,400 --> 00:57:15,360
Speaker 1: that was that was an ugly fight because Independent was

1105
00:57:15,480 --> 00:57:20,120
Speaker 1: run by you know the gangsters, you know, Genovasi family

1106
00:57:20,160 --> 00:57:23,800
Speaker 1: type shit, you know what I mean, Francis, Francises and Ship.

1107
00:57:23,960 --> 00:57:26,680
Speaker 1: So it was like, you know, they're gonna give me here,

1108
00:57:26,880 --> 00:57:29,720
Speaker 1: get over here, sign it, contracts here, chick, all your

1109
00:57:29,720 --> 00:57:32,640
Speaker 1: money here? The fuck is this shit? You know what

1110
00:57:32,680 --> 00:57:35,439
Speaker 1: I mean? So I had to navigate through that shit.

1111
00:57:35,520 --> 00:57:38,800
Speaker 1: Now I'm cool. I'm straight put some people out, like

1112
00:57:40,040 --> 00:57:42,920
Speaker 1: you know that I could put out Independent Records, wouldn't

1113
00:57:42,920 --> 00:57:45,880
Speaker 1: feel good about it. But I miss Clive as a person.

1114
00:57:47,080 --> 00:57:49,120
Speaker 1: Is it true that Prince asked to borrow your production

1115
00:57:49,160 --> 00:57:53,480
Speaker 1: set up? Sure? Did? Um? I did? Did I I

1116
00:57:53,600 --> 00:57:57,000
Speaker 1: was vice president and our Warner Brothers. He came back in.

1117
00:57:58,120 --> 00:58:01,160
Speaker 1: He came back in, um, and I hope it was

1118
00:58:01,240 --> 00:58:03,720
Speaker 1: because he saw that Warner Brothers hired the nigga to

1119
00:58:03,920 --> 00:58:07,600
Speaker 1: be He's like, uh, they get it. He stopped writing

1120
00:58:07,600 --> 00:58:11,040
Speaker 1: a slave on his face, and you know, the talk

1121
00:58:11,160 --> 00:58:13,240
Speaker 1: was going around the office that he was coming back.

1122
00:58:13,680 --> 00:58:15,520
Speaker 1: So I was like, who we all are hinting? I'm like,

1123
00:58:16,080 --> 00:58:19,640
Speaker 1: got a residency at Hinston Recorders m where they shot

1124
00:58:20,200 --> 00:58:24,160
Speaker 1: Willy Wonka and Chocolate Factory, Domatt Studio, Rhythm Nation he

1125
00:58:24,240 --> 00:58:27,880
Speaker 1: used to be and him, So my man is making

1126
00:58:27,960 --> 00:58:30,920
Speaker 1: his rounds. He coming back to He's coming to the studio.

1127
00:58:31,280 --> 00:58:33,320
Speaker 1: And I should have known because I see Wendy and

1128
00:58:33,400 --> 00:58:37,000
Speaker 1: Lisa the time, you know, all in the studio and

1129
00:58:37,360 --> 00:58:40,080
Speaker 1: I'm working on my record. I was working on trauma

1130
00:58:40,160 --> 00:58:42,959
Speaker 1: at the time and producing, like helping put on people

1131
00:58:42,960 --> 00:58:45,720
Speaker 1: like Chingy and shit like, I'm just doing little shit right,

1132
00:58:46,560 --> 00:58:50,720
Speaker 1: um fucking with you know. Uh, dre a little bit

1133
00:58:50,840 --> 00:58:55,080
Speaker 1: with the fifty cent ship here and there, and Prince

1134
00:58:55,520 --> 00:58:57,600
Speaker 1: Peoples came into my studio session one day and it

1135
00:58:57,680 --> 00:59:03,360
Speaker 1: was like, quick, Uh, the man wants to know if

1136
00:59:03,400 --> 00:59:05,520
Speaker 1: he could see your rig right there. You want to

1137
00:59:05,560 --> 00:59:07,080
Speaker 1: know if he could use your rig for a minute.

1138
00:59:07,440 --> 00:59:12,640
Speaker 1: I'm like the man, who's the man? Prince Like, hell yeah, man,

1139
00:59:12,640 --> 00:59:15,840
Speaker 1: I'm worried that ship go ahead. I'm good fuck hey, Um,

1140
00:59:16,000 --> 00:59:18,840
Speaker 1: I'm worried it rolled it in there. And went in

1141
00:59:18,920 --> 00:59:20,919
Speaker 1: this room. He had it for like a few hours,

1142
00:59:21,000 --> 00:59:24,080
Speaker 1: full five hours or whatnot. So then they came back,

1143
00:59:24,160 --> 00:59:26,160
Speaker 1: knocked on the door, came in. It's like a quick

1144
00:59:26,280 --> 00:59:29,400
Speaker 1: uh Prince. You know, he said thank you, and you

1145
00:59:29,480 --> 00:59:32,040
Speaker 1: know he appreciate, you know, being your hospitality, letting me

1146
00:59:32,120 --> 00:59:34,360
Speaker 1: use this ship. He's a prince wants to He also

1147
00:59:34,440 --> 00:59:36,960
Speaker 1: wants to know what do you drink? I said, oh,

1148
00:59:37,120 --> 00:59:40,600
Speaker 1: hell yeah, nta drinking the CXL. Get the big bottle,

1149
00:59:40,840 --> 00:59:44,440
Speaker 1: you know. Yeah, so my man go out, they go

1150
00:59:44,560 --> 00:59:46,240
Speaker 1: get me a bottle. They come back in. There was

1151
00:59:46,280 --> 00:59:50,160
Speaker 1: like this quick this from Prince. I'm like, you know,

1152
00:59:50,280 --> 00:59:54,560
Speaker 1: I love Prince, My Prince's greatest ever right feeling myself.

1153
00:59:54,720 --> 00:59:57,520
Speaker 1: Put them on a fucking box on the um upon

1154
00:59:57,600 --> 01:00:01,160
Speaker 1: the goddamn console and just work. Me and the engineers

1155
01:00:01,160 --> 01:00:03,000
Speaker 1: just in there and all like damn nig. The Prince

1156
01:00:03,120 --> 01:00:08,280
Speaker 1: touched this ship. So but you never seen him coming through.

1157
01:00:08,440 --> 01:00:10,640
Speaker 1: And when you do see him walking through, Prince had

1158
01:00:10,680 --> 01:00:12,320
Speaker 1: this walked. It was It wasn't a walk. It was

1159
01:00:12,360 --> 01:00:15,360
Speaker 1: a glide where his head never moved, but you just

1160
01:00:15,400 --> 01:00:17,600
Speaker 1: seemed just glide like he was on a fucking conveyor

1161
01:00:17,640 --> 01:00:21,880
Speaker 1: belt like who the fuck magic shit fucking magic in

1162
01:00:22,000 --> 01:00:25,080
Speaker 1: real life. My nigga like personified it, invited me to

1163
01:00:25,200 --> 01:00:28,560
Speaker 1: his house. No, he was you know, I'm sure that

1164
01:00:28,720 --> 01:00:31,840
Speaker 1: like it made him comfortable that niggas was in the building, bro,

1165
01:00:32,240 --> 01:00:34,440
Speaker 1: and he knowed my music because I'm one of the

1166
01:00:34,560 --> 01:00:36,320
Speaker 1: only people that he cleared a sample for, because he

1167
01:00:36,400 --> 01:00:39,240
Speaker 1: never cleared a sample for nobody. Parts of man. When

1168
01:00:39,280 --> 01:00:42,680
Speaker 1: I sampled fucking Darling Nikki at the end every version, yeah,

1169
01:00:43,200 --> 01:00:45,200
Speaker 1: put that in tuopox record. He was mad at first.

1170
01:00:45,360 --> 01:00:48,240
Speaker 1: Then Nigga just started sitting to ask money. Shit is

1171
01:00:48,280 --> 01:00:51,400
Speaker 1: like all right, coul that and what's your phone number?

1172
01:00:51,720 --> 01:00:54,360
Speaker 1: He never cleared seven seven seven nine three eleven for nobody,

1173
01:00:55,080 --> 01:00:57,120
Speaker 1: But when when I sampled, didn't made it sound right

1174
01:00:57,120 --> 01:01:00,200
Speaker 1: because the Johnny j Rest his soul he produce used

1175
01:01:00,240 --> 01:01:02,400
Speaker 1: it and he was putting music on the one and

1176
01:01:02,760 --> 01:01:05,120
Speaker 1: seven seven seven nine three eleven ain't on the one.

1177
01:01:05,160 --> 01:01:07,880
Speaker 1: It's the accident all around around it. But nothing is

1178
01:01:07,960 --> 01:01:10,840
Speaker 1: on the one. That's why it's like one two three

1179
01:01:11,120 --> 01:01:16,080
Speaker 1: four blank broom, blank doom. They take it to blank whom.

1180
01:01:16,840 --> 01:01:19,600
Speaker 1: Nothing's on the one, not even the singing boom babe,

1181
01:01:20,320 --> 01:01:23,000
Speaker 1: what's your phone you know nothing. So my man was

1182
01:01:23,000 --> 01:01:25,600
Speaker 1: putting music on the one. I'm like, I went and

1183
01:01:25,680 --> 01:01:28,200
Speaker 1: got the CD and resampled it and did it over

1184
01:01:28,280 --> 01:01:32,400
Speaker 1: in tuparc you know, latest vocals, and and Prince he

1185
01:01:32,520 --> 01:01:44,520
Speaker 1: cleared that ship too. That's the question I wanted to

1186
01:01:44,520 --> 01:01:46,040
Speaker 1: ask you. So when you go on the studio, you know,

1187
01:01:46,120 --> 01:01:47,760
Speaker 1: the board, the big board, the question of what that is?

1188
01:01:48,160 --> 01:01:50,960
Speaker 1: So do they do you have to set each one?

1189
01:01:51,160 --> 01:01:53,360
Speaker 1: Or when you plug in the computer it set itself.

1190
01:01:54,160 --> 01:01:57,560
Speaker 1: Um No, you mean as far as like mixing and

1191
01:01:57,720 --> 01:01:59,680
Speaker 1: you know, so the sound board, Yeah, you have to.

1192
01:01:59,680 --> 01:02:02,560
Speaker 1: You have to like all those not not that you

1193
01:02:02,600 --> 01:02:04,440
Speaker 1: got to move them all to a certain thing or

1194
01:02:04,480 --> 01:02:06,760
Speaker 1: the board sets itself. No, I don't say it self. Okay,

1195
01:02:07,120 --> 01:02:10,720
Speaker 1: what it is is it's it's it's a matrix. It's

1196
01:02:10,760 --> 01:02:15,440
Speaker 1: really just one channel and multiplied by a hundred. So

1197
01:02:16,600 --> 01:02:19,000
Speaker 1: if you learn what one channel does all the way

1198
01:02:19,040 --> 01:02:21,959
Speaker 1: from the preamp to the fader, then you in essence

1199
01:02:22,080 --> 01:02:25,600
Speaker 1: know what they all do. So it's all about your

1200
01:02:25,640 --> 01:02:28,400
Speaker 1: application in your ear when you mix a record, you know,

1201
01:02:28,520 --> 01:02:30,919
Speaker 1: and I just I got some of the best ears

1202
01:02:30,960 --> 01:02:32,520
Speaker 1: in the game. How long would it take you to

1203
01:02:32,560 --> 01:02:36,720
Speaker 1: set one? Um? I mixed fast like because yeah, well

1204
01:02:36,720 --> 01:02:39,720
Speaker 1: you get somebody, your second engineer comes in and zeros

1205
01:02:39,720 --> 01:02:42,840
Speaker 1: it out right like nothing's changed. It's just flat. It's

1206
01:02:42,960 --> 01:02:45,440
Speaker 1: nothing's happening. And then you as you you know, you

1207
01:02:45,520 --> 01:02:47,720
Speaker 1: put sound through it. They got kicks and snares and

1208
01:02:47,760 --> 01:02:49,720
Speaker 1: how it hats and vocals. You just go through and

1209
01:02:49,840 --> 01:02:52,040
Speaker 1: dial in how it's supposed to sound like what you

1210
01:02:52,160 --> 01:02:58,160
Speaker 1: you know, give give everything the polished platinum treatment. You know, kicks, snares,

1211
01:02:58,240 --> 01:03:00,600
Speaker 1: how it hats and vocals, and and it's how you

1212
01:03:00,720 --> 01:03:03,520
Speaker 1: blend everything. It's a it's a fucking art. That's that's

1213
01:03:03,680 --> 01:03:06,720
Speaker 1: that's make no mistake. Mixing records is not easy because

1214
01:03:06,720 --> 01:03:09,200
Speaker 1: I've seen people turning the board off, all the buzzs

1215
01:03:09,240 --> 01:03:12,080
Speaker 1: go down. Then when they just turn on, just reseay itself. Yeah,

1216
01:03:12,120 --> 01:03:16,360
Speaker 1: that's that's automation. Yeah, those are that's that's um total recall.

1217
01:03:16,640 --> 01:03:19,640
Speaker 1: That's when boards have you know, a program. Yeah you

1218
01:03:19,680 --> 01:03:22,600
Speaker 1: know what I mean, memories like go back to a song.

1219
01:03:22,920 --> 01:03:25,040
Speaker 1: That's that come in handy when you got we're working

1220
01:03:25,080 --> 01:03:28,800
Speaker 1: with two people and one person does everything different at

1221
01:03:28,880 --> 01:03:30,640
Speaker 1: the time he's done. When you go back in there,

1222
01:03:30,840 --> 01:03:32,360
Speaker 1: if you got to undo all that shit and do

1223
01:03:32,440 --> 01:03:35,360
Speaker 1: your shit again. It just takes like three four hours

1224
01:03:35,400 --> 01:03:37,440
Speaker 1: of lost time. So they made boards where you can

1225
01:03:37,480 --> 01:03:39,720
Speaker 1: automatically just go back to it's called a screen shot,

1226
01:03:40,000 --> 01:03:41,680
Speaker 1: where to take a picture of your mix and then

1227
01:03:41,760 --> 01:03:44,360
Speaker 1: just recall it instantly and everything just fly back to

1228
01:03:44,440 --> 01:03:47,240
Speaker 1: where you kind of over your head right now. I'm

1229
01:03:47,240 --> 01:03:50,280
Speaker 1: just listening, Yeah, Man, shoul Man technology a little bit

1230
01:03:50,280 --> 01:03:53,600
Speaker 1: about it's going back to your question about technology. Technology

1231
01:03:53,720 --> 01:03:57,040
Speaker 1: leads this shit, bro. You know, that's that's why Roger

1232
01:03:57,080 --> 01:03:59,919
Speaker 1: Truman was so popular because he just he was fucking

1233
01:04:00,000 --> 01:04:02,080
Speaker 1: around with them dope ass keyboards and that them talk

1234
01:04:02,160 --> 01:04:04,800
Speaker 1: box that he invented, bro, that he made himself. He

1235
01:04:04,960 --> 01:04:07,120
Speaker 1: just he made that one because they were selling them,

1236
01:04:07,360 --> 01:04:09,360
Speaker 1: but he wanted one with a little more umps. That's

1237
01:04:09,400 --> 01:04:12,160
Speaker 1: why he sounded different than everybody else, you know, different

1238
01:04:12,200 --> 01:04:16,000
Speaker 1: than Stevie Wonder and was my man, the guitar player

1239
01:04:16,120 --> 01:04:18,560
Speaker 1: Peter Frampton, like he got famous doing it, but the

1240
01:04:18,640 --> 01:04:20,480
Speaker 1: way Roger did it, it became a He made it

1241
01:04:20,960 --> 01:04:23,480
Speaker 1: a star, you know what I mean. Do you ever

1242
01:04:23,560 --> 01:04:28,360
Speaker 1: have any experience with Michael Jackson? Yeah, man, look at

1243
01:04:28,400 --> 01:04:33,280
Speaker 1: Michael Jackson. Bro. I booked his studio. We booked the

1244
01:04:33,360 --> 01:04:39,080
Speaker 1: studio Westlake for my first single. Tonight. He moved from

1245
01:04:39,160 --> 01:04:41,760
Speaker 1: our studio to his studio and he wanted to get

1246
01:04:41,800 --> 01:04:46,920
Speaker 1: in there one time. So they was like, um, you know,

1247
01:04:47,440 --> 01:04:49,840
Speaker 1: they came through, warned everybody that you know, Michael's want

1248
01:04:49,880 --> 01:04:52,560
Speaker 1: to come through, and uh, he didn't want nobody to

1249
01:04:52,880 --> 01:04:55,400
Speaker 1: see him coming through or looking right. So we all

1250
01:04:55,440 --> 01:04:57,560
Speaker 1: out there and you know about the pink um, the

1251
01:04:57,680 --> 01:05:01,040
Speaker 1: pool table, kitchen area, you're chilling, we're taking a break

1252
01:05:01,040 --> 01:05:03,800
Speaker 1: from the studio, and these guys come in and they like,

1253
01:05:04,600 --> 01:05:06,760
Speaker 1: he was like, hey, y'all, um, we're about to bring

1254
01:05:06,840 --> 01:05:10,360
Speaker 1: somebody through here. You know, they didn't ask us to leave.

1255
01:05:11,480 --> 01:05:14,360
Speaker 1: They asked us to just turn around and face the

1256
01:05:14,480 --> 01:05:18,160
Speaker 1: wall while you know, they bring the artists through, right,

1257
01:05:18,760 --> 01:05:24,080
Speaker 1: So it's like, are y'all serious, Like it's not a joke.

1258
01:05:24,160 --> 01:05:25,840
Speaker 1: They just like, man, if y'all come on quick, man,

1259
01:05:25,880 --> 01:05:27,280
Speaker 1: if you could just I know who you are, quick,

1260
01:05:27,280 --> 01:05:28,800
Speaker 1: I like your music. If you could just turn around,

1261
01:05:30,240 --> 01:05:32,280
Speaker 1: you know, you know, it'd all be good, all right,

1262
01:05:32,320 --> 01:05:36,320
Speaker 1: all right? So we turn around and shit, this shit

1263
01:05:36,360 --> 01:05:38,720
Speaker 1: seemed weird and shit like police shit, like you know,

1264
01:05:38,960 --> 01:05:42,240
Speaker 1: being hemmed up on the wall. So the door opens pool.

1265
01:05:42,760 --> 01:05:46,480
Speaker 1: Then you just hear some penny look for m right

1266
01:05:46,920 --> 01:05:49,120
Speaker 1: running through the little thing. Turn around. You can see

1267
01:05:49,160 --> 01:05:51,640
Speaker 1: him like this a little hair shit and went in

1268
01:05:51,640 --> 01:05:53,720
Speaker 1: the door closer to him. It's like, oh, y'all cool,

1269
01:05:53,760 --> 01:05:55,800
Speaker 1: y'all can turn around, y'all, every everything's cool. It's like,

1270
01:05:56,280 --> 01:06:02,200
Speaker 1: damn Mike didn't want nobody to look at him right. So, um,

1271
01:06:03,080 --> 01:06:04,840
Speaker 1: that was one experience, and then was another one where

1272
01:06:04,840 --> 01:06:07,840
Speaker 1: he booked our studio, his um Skip Sailors, and he

1273
01:06:07,960 --> 01:06:09,640
Speaker 1: was more cool than it was like I had a

1274
01:06:10,040 --> 01:06:11,520
Speaker 1: one of my little artists I was trying to sign

1275
01:06:11,600 --> 01:06:13,800
Speaker 1: and you know, he didn't really say nothing to us.

1276
01:06:13,840 --> 01:06:16,280
Speaker 1: He just walked walked past. And you know what I mean,

1277
01:06:16,640 --> 01:06:19,000
Speaker 1: whatever he wasn't he wasn't as timid as he was

1278
01:06:19,120 --> 01:06:22,440
Speaker 1: back in ninety one ninety two. He's just more cool.

1279
01:06:22,520 --> 01:06:24,160
Speaker 1: But he didn't. I don't know if he I don't

1280
01:06:24,200 --> 01:06:25,760
Speaker 1: think he either wanna fuck with me. He thought it

1281
01:06:25,800 --> 01:06:34,200
Speaker 1: was blood. Michael's cripp Michaelson is cripping. But yeah, man,

1282
01:06:34,640 --> 01:06:37,480
Speaker 1: but shit, I hung out with Janet Man that was amazing,

1283
01:06:37,920 --> 01:06:41,280
Speaker 1: produced record producer, remixer record for her. We gave her

1284
01:06:41,360 --> 01:06:45,200
Speaker 1: the Icon Award. MTV and shipped a DJ for that's

1285
01:06:45,320 --> 01:06:49,240
Speaker 1: just a boy, Penny Woods. It's a bad motherfucker, bad

1286
01:06:49,320 --> 01:06:54,080
Speaker 1: lady bro, just iconic. I got a list of names.

1287
01:06:54,520 --> 01:06:57,360
Speaker 1: Give me your best interaction or the impact or what

1288
01:06:57,440 --> 01:07:00,439
Speaker 1: they meant to you, uh, in your life, in your career,

1289
01:07:00,560 --> 01:07:03,440
Speaker 1: Easy Easy. I wouldn't be here for him. For Easy Eat.

1290
01:07:03,440 --> 01:07:06,560
Speaker 1: I just bit his whole style, voicing everything you know,

1291
01:07:06,920 --> 01:07:09,920
Speaker 1: and people somebody told me, they said, quick, you are

1292
01:07:10,360 --> 01:07:13,439
Speaker 1: easy Eat and doctor dre put together because you could

1293
01:07:13,440 --> 01:07:14,840
Speaker 1: do what dre do and you do what easy do

1294
01:07:14,920 --> 01:07:17,080
Speaker 1: and you sound like easy Like. I didn't really think

1295
01:07:17,120 --> 01:07:18,520
Speaker 1: of it that way, but hey, I can see that.

1296
01:07:18,840 --> 01:07:22,240
Speaker 1: I take that as a bar. So yeah, um, I

1297
01:07:22,280 --> 01:07:25,040
Speaker 1: wouldn't be here without Eric Easily. That was my biggest inspiration.

1298
01:07:25,320 --> 01:07:31,880
Speaker 1: Kevin Costner. Kevin Costner as an actor. Um. I never

1299
01:07:32,040 --> 01:07:34,439
Speaker 1: got a chance to meet Kevin Costner, but I heard

1300
01:07:34,480 --> 01:07:38,360
Speaker 1: he like niggas heard it. That's what I heard. You

1301
01:07:38,440 --> 01:07:40,920
Speaker 1: got this shit on TV called Yellowstone right now. It's

1302
01:07:40,960 --> 01:07:43,480
Speaker 1: the best ship on TV. Yeah, they have they funking

1303
01:07:43,520 --> 01:07:47,800
Speaker 1: behind the scenes. That's what the best ship on TV. Man,

1304
01:07:47,920 --> 01:07:50,400
Speaker 1: that's the best shit on TV. Yeah, they're talking about

1305
01:07:50,440 --> 01:07:55,240
Speaker 1: it right now on news Um. Dre is the guru.

1306
01:07:55,480 --> 01:07:59,480
Speaker 1: I call him a warlock because just the shit he

1307
01:07:59,640 --> 01:08:03,640
Speaker 1: knows about sonics, you know what I mean, And being

1308
01:08:03,680 --> 01:08:08,080
Speaker 1: in the studio with him, he's very fucking methodical about

1309
01:08:08,280 --> 01:08:11,760
Speaker 1: the way he works on hit and then he has

1310
01:08:11,800 --> 01:08:15,280
Speaker 1: this it's like nothing really excites him. He's like, you know,

1311
01:08:15,400 --> 01:08:18,360
Speaker 1: he's not like, you know, just quick to just jump up. Hey,

1312
01:08:18,600 --> 01:08:21,639
Speaker 1: you know what I mean? He like he's ill. Often say,

1313
01:08:22,600 --> 01:08:26,080
Speaker 1: Dre is not impressed until you play something for him

1314
01:08:26,160 --> 01:08:30,439
Speaker 1: that he's never heard ever, because he's heard everything. Yeah,

1315
01:08:30,520 --> 01:08:32,400
Speaker 1: you gotta do shit for him that he's never heard.

1316
01:08:32,439 --> 01:08:34,240
Speaker 1: That's why. That's why he liked that Indian record that

1317
01:08:34,320 --> 01:08:37,160
Speaker 1: I did for him, you know, because something he never heard.

1318
01:08:37,360 --> 01:08:40,200
Speaker 1: And when in played percussion, playing it all a different way,

1319
01:08:40,280 --> 01:08:42,360
Speaker 1: not just not just in there like Gonnareta Franklin song,

1320
01:08:42,479 --> 01:08:45,280
Speaker 1: just playing the tambourine like we made the tambourina thing,

1321
01:08:45,680 --> 01:08:48,000
Speaker 1: like playing it a whole different way, you know, and

1322
01:08:48,080 --> 01:08:51,200
Speaker 1: took fucking hours to do a fucking tambourine part. But yeah,

1323
01:08:51,280 --> 01:08:53,599
Speaker 1: he's a he's a slave driver in that fucking studio.

1324
01:08:53,720 --> 01:08:55,960
Speaker 1: But when it's all said and done, you hear it

1325
01:08:56,160 --> 01:08:58,920
Speaker 1: it is something that's unique and special. So he just

1326
01:08:59,000 --> 01:09:01,400
Speaker 1: got this kind of force, like a warlock. What's the

1327
01:09:01,400 --> 01:09:05,080
Speaker 1: side of Compton Kevin Costing from? Is he from Compton? Yeah?

1328
01:09:05,560 --> 01:09:08,599
Speaker 1: Fuck out of here, Kevin from CpG. That's why they

1329
01:09:08,600 --> 01:09:10,200
Speaker 1: asked why. That's why they we got him on the list,

1330
01:09:10,360 --> 01:09:12,519
Speaker 1: because that's why we asked you, because he's from Compton.

1331
01:09:12,920 --> 01:09:16,160
Speaker 1: I had no idea. Yeah, you're from that French part

1332
01:09:16,160 --> 01:09:19,760
Speaker 1: of Compton, the French part. You know. I know that

1333
01:09:20,040 --> 01:09:22,600
Speaker 1: George Bush used to live in Compton, though yeah, I

1334
01:09:22,640 --> 01:09:25,519
Speaker 1: don't know out later. No, I had no idea. That's

1335
01:09:25,560 --> 01:09:27,360
Speaker 1: why he got that s whack. That's why he got

1336
01:09:27,400 --> 01:09:30,679
Speaker 1: that part in the body Gun. Great part. No wonder

1337
01:09:30,720 --> 01:09:39,320
Speaker 1: he liked niggas makes sense, makes sense clicked Kendrick Lamar

1338
01:09:40,160 --> 01:09:42,800
Speaker 1: k dot Man before he blew up. I got a

1339
01:09:42,880 --> 01:09:45,519
Speaker 1: chance to work with him on the Sports Game, and

1340
01:09:46,400 --> 01:09:48,720
Speaker 1: if I had known he'd be who he is now,

1341
01:09:49,439 --> 01:09:51,720
Speaker 1: I would have just let him take over the song.

1342
01:09:52,120 --> 01:09:54,040
Speaker 1: But I knew he had something special the way you know,

1343
01:09:54,200 --> 01:09:56,639
Speaker 1: I met him through Jay Rock, and Jay Rock brought

1344
01:09:56,720 --> 01:09:59,080
Speaker 1: him to the studio and cut his vocals like this

1345
01:09:59,200 --> 01:10:02,120
Speaker 1: boy got a I'm like this was before he was like,

1346
01:10:02,240 --> 01:10:04,679
Speaker 1: I didn't hear his rap. Shit, he was just singing

1347
01:10:04,720 --> 01:10:07,639
Speaker 1: the hook, like doing the hook. I'm like, this motherfucking

1348
01:10:07,720 --> 01:10:13,240
Speaker 1: kid's incredible, right, and my dumb ass I'm thinking, Um,

1349
01:10:13,439 --> 01:10:15,400
Speaker 1: you know, like what do I pay him? Like? How

1350
01:10:15,439 --> 01:10:17,080
Speaker 1: do you pay him? Like you know what I mean? Like,

1351
01:10:17,680 --> 01:10:19,760
Speaker 1: you know he's gonna get a credit on the song

1352
01:10:20,080 --> 01:10:23,920
Speaker 1: because it's corrupt merse me Jay Rock, Everybody's on it,

1353
01:10:24,000 --> 01:10:26,439
Speaker 1: and um, Kendrick's doing the shit. So I was like,

1354
01:10:26,760 --> 01:10:29,120
Speaker 1: I just like paid him as an instrumentalist, like you know,

1355
01:10:29,200 --> 01:10:31,519
Speaker 1: like y'all you play a band member. Think I gave

1356
01:10:31,600 --> 01:10:33,200
Speaker 1: him like four or five hundred bucks. I was like, man,

1357
01:10:33,280 --> 01:10:35,479
Speaker 1: thanks for being on here, right, I should get that

1358
01:10:35,560 --> 01:10:38,439
Speaker 1: nigga like two grand, three grands. So he remember me

1359
01:10:39,720 --> 01:10:42,160
Speaker 1: like quick, just treating me like a one fucking bass player.

1360
01:10:42,520 --> 01:10:44,439
Speaker 1: You know what I'm saying. It's like what else was

1361
01:10:44,439 --> 01:10:46,680
Speaker 1: I supposed to do? I didn't know. And and then

1362
01:10:46,680 --> 01:10:49,120
Speaker 1: when I heard section eighty, I was like this is

1363
01:10:49,200 --> 01:10:52,120
Speaker 1: this kid and then it all clicked. It was like wow.

1364
01:10:52,439 --> 01:10:53,920
Speaker 1: So then when I went to reach back to him,

1365
01:10:53,960 --> 01:10:57,360
Speaker 1: like to produce, he's already signed. The aftermath. You know,

1366
01:10:57,400 --> 01:11:00,679
Speaker 1: when once Drake gets you just like it's all bets

1367
01:11:00,720 --> 01:11:03,320
Speaker 1: are off, you know. So I never got back in

1368
01:11:03,360 --> 01:11:07,240
Speaker 1: the studio with him, but you know I loved his trajectory,

1369
01:11:07,920 --> 01:11:11,639
Speaker 1: so deserving. You know, he's from the right side of Compton,

1370
01:11:12,560 --> 01:11:16,800
Speaker 1: you know what I'm saying. So cool, and he fuck

1371
01:11:16,880 --> 01:11:18,880
Speaker 1: with moss Burg. He sampled my shit, he sampled U

1372
01:11:19,520 --> 01:11:24,360
Speaker 1: get naked form his record, King Kunter paid homage to Mossburg,

1373
01:11:24,439 --> 01:11:28,920
Speaker 1: So which was important to mess Burke was my artists. Unfortunately,

1374
01:11:29,680 --> 01:11:31,560
Speaker 1: you know, got killed in fucking two thousand on the

1375
01:11:31,600 --> 01:11:34,479
Speaker 1: fourth of July. Took him break from the studio and

1376
01:11:34,640 --> 01:11:39,360
Speaker 1: went home. And niggas are such creeps. Got that boy

1377
01:11:39,520 --> 01:11:42,040
Speaker 1: during the fucking under the cloak of the fireworks, Like

1378
01:11:42,960 --> 01:11:45,920
Speaker 1: god damn, I've probably known now that we just stayed

1379
01:11:45,920 --> 01:11:47,559
Speaker 1: in the studio all night. We pulled what we did

1380
01:11:47,680 --> 01:11:51,000
Speaker 1: last night, fourteen sixteen hours, like stay out the streets man.

1381
01:11:51,120 --> 01:11:54,280
Speaker 1: But it was a bad boy. But I just feel

1382
01:11:54,280 --> 01:11:57,880
Speaker 1: like Kendrick carried the torch, and you know he deserved it.

1383
01:11:57,920 --> 01:11:59,840
Speaker 1: That he's one of the best at it, I mean,

1384
01:12:00,439 --> 01:12:04,160
Speaker 1: easily important, and he's going to be the kind of

1385
01:12:04,280 --> 01:12:06,519
Speaker 1: kid that inspires everybody to go forward, Like you know,

1386
01:12:06,600 --> 01:12:14,639
Speaker 1: the new generation of artists, the game, jam our DJ forum,

1387
01:12:14,920 --> 01:12:17,200
Speaker 1: the game when he first came out, when his album debut,

1388
01:12:17,360 --> 01:12:21,160
Speaker 1: the documentary went overseas with him and watched the world

1389
01:12:21,240 --> 01:12:23,880
Speaker 1: fall in love with this dude, just his little you know,

1390
01:12:24,000 --> 01:12:27,160
Speaker 1: his you know, just his attitude, just this this fire

1391
01:12:27,320 --> 01:12:31,800
Speaker 1: he had um you know. And of course you know

1392
01:12:31,840 --> 01:12:33,840
Speaker 1: we all and none of us with all our troubles

1393
01:12:33,880 --> 01:12:35,599
Speaker 1: and ship. When I started to seeing getting in trouble,

1394
01:12:35,640 --> 01:12:37,519
Speaker 1: I hated it because it was like, that's the one

1395
01:12:37,560 --> 01:12:39,360
Speaker 1: thing you don't want to do, man, Just fly straight,

1396
01:12:39,479 --> 01:12:42,040
Speaker 1: like you know what I mean, Like stop beating up

1397
01:12:42,080 --> 01:12:44,560
Speaker 1: the DJ radio DJs when they say something slick, or

1398
01:12:44,720 --> 01:12:47,759
Speaker 1: you know, stop fighting in the clubs, stop gang banging

1399
01:12:47,800 --> 01:12:50,720
Speaker 1: in New York Son like kick get you know what

1400
01:12:50,720 --> 01:12:52,920
Speaker 1: I mean. He was like he had to. He's like

1401
01:12:53,000 --> 01:12:55,360
Speaker 1: a pit bull. He was like, let loose. He had to.

1402
01:12:55,479 --> 01:12:57,320
Speaker 1: He was going to settle a score. It's like this

1403
01:12:57,520 --> 01:12:59,439
Speaker 1: new score to settle, you know what I mean. It's

1404
01:12:59,439 --> 01:13:01,280
Speaker 1: like all this shit over this, it's all about you now.

1405
01:13:01,439 --> 01:13:05,080
Speaker 1: Just be you be number one brass. Some fun times.

1406
01:13:05,120 --> 01:13:08,400
Speaker 1: That's some fun times. Went to Paris, then all over

1407
01:13:08,520 --> 01:13:12,680
Speaker 1: Europe and ship the Williams family. Oh man, everybody loves

1408
01:13:12,720 --> 01:13:18,679
Speaker 1: the girls. Bro Um, Serena and Venus. They they they

1409
01:13:18,840 --> 01:13:21,280
Speaker 1: are the first to me. They were the first high

1410
01:13:21,400 --> 01:13:25,040
Speaker 1: profile Compton residents because they that should you know, to

1411
01:13:25,240 --> 01:13:28,639
Speaker 1: be playing in Wimbledon, bro and fucking London and England

1412
01:13:28,720 --> 01:13:31,680
Speaker 1: rather you know in UK, Like what's better than that?

1413
01:13:31,880 --> 01:13:35,000
Speaker 1: What's bigger than that? They they topped out and then

1414
01:13:35,040 --> 01:13:38,000
Speaker 1: to be as good as they are, like just phenoms.

1415
01:13:38,760 --> 01:13:45,679
Speaker 1: It's something in water and Compton. Huh. Cocaine and this ship. Okay,

1416
01:13:45,760 --> 01:13:48,760
Speaker 1: I'm just kidding. Top three cities or countries you performed in.

1417
01:13:50,560 --> 01:13:57,080
Speaker 1: Top three cities, Um, Detroit, Joe Wash, Serina, the loudest

1418
01:13:57,120 --> 01:14:00,800
Speaker 1: ovation I ever heard, San Francisco in the beginning, Um,

1419
01:14:01,479 --> 01:14:07,400
Speaker 1: summer Jam and summer Jam came on. Um, Oakland is

1420
01:14:07,439 --> 01:14:10,400
Speaker 1: the ship though Oakland is just it's just something just

1421
01:14:10,680 --> 01:14:13,120
Speaker 1: special in Oakland. Bro, I can't wait to go tomorrow.

1422
01:14:14,280 --> 01:14:19,960
Speaker 1: People just they just they real it's just fucking it's incredible.

1423
01:14:20,720 --> 01:14:24,720
Speaker 1: Um overseas, I love Australia up in Australia like four

1424
01:14:24,840 --> 01:14:27,920
Speaker 1: or five times. Just got back in November. Um, I

1425
01:14:28,000 --> 01:14:30,920
Speaker 1: set off this whole. I said, It's like after I

1426
01:14:31,000 --> 01:14:33,080
Speaker 1: came back from Australia and I saw she let everybody

1427
01:14:33,120 --> 01:14:36,040
Speaker 1: go like q Man New yorll in New Zealand exhibit snoop,

1428
01:14:36,240 --> 01:14:38,320
Speaker 1: you know what I mean, everybody started going. It's like

1429
01:14:39,320 --> 01:14:45,720
Speaker 1: you're welcome, killing that fucking stage like a teenager. But

1430
01:14:47,040 --> 01:14:51,840
Speaker 1: um also um Canada, certain parts of Canada is the

1431
01:14:51,880 --> 01:14:58,000
Speaker 1: ship like um Quebec keep it qui um BC. Of

1432
01:14:58,080 --> 01:15:00,320
Speaker 1: course the west coast of it. It's just like just

1433
01:15:00,439 --> 01:15:02,519
Speaker 1: like how America is that they got the East coast

1434
01:15:02,680 --> 01:15:05,880
Speaker 1: Toronto and all that East coast and the West coast. Um.

1435
01:15:06,479 --> 01:15:08,200
Speaker 1: But the people out there just sweet, like they just

1436
01:15:08,240 --> 01:15:11,439
Speaker 1: got just natural cool, just sweet people, you know what

1437
01:15:11,479 --> 01:15:15,360
Speaker 1: I mean. UM never been in Africa, that's on my

1438
01:15:15,560 --> 01:15:20,040
Speaker 1: bucket list. On the performed there, but uh I did

1439
01:15:20,200 --> 01:15:25,360
Speaker 1: uh Norway, which was incredible. She was unreal, like she

1440
01:15:25,560 --> 01:15:28,479
Speaker 1: just seemed like a dream bro like all that natural

1441
01:15:28,520 --> 01:15:31,200
Speaker 1: beauty up there on the fresh water and Fiords and

1442
01:15:31,280 --> 01:15:35,400
Speaker 1: all that shit just bawling. And their money is twice

1443
01:15:35,439 --> 01:15:39,040
Speaker 1: as much as ours coroners. So that ship was dope. Um.

1444
01:15:40,040 --> 01:15:42,800
Speaker 1: But I gotta say, out of all of them, you

1445
01:15:42,880 --> 01:15:44,960
Speaker 1: know it's West coast, it is dope. Like when you're

1446
01:15:45,000 --> 01:15:50,160
Speaker 1: killing on the West, like the Forum, you know, uh,

1447
01:15:50,320 --> 01:15:58,959
Speaker 1: Staples Center formerly She's just play on your own Court. Atlanta,

1448
01:15:59,479 --> 01:16:05,040
Speaker 1: Leona's Dope Too, and Houston your favorite tour you've been

1449
01:16:05,080 --> 01:16:07,519
Speaker 1: on it? Who was with you? My favorite tour was

1450
01:16:07,600 --> 01:16:10,879
Speaker 1: my first tour because it was like it was innocence

1451
01:16:11,520 --> 01:16:15,960
Speaker 1: and we was hot as fucking fish brings a MG

1452
01:16:16,120 --> 01:16:20,320
Speaker 1: second and nine and the high see see, you know,

1453
01:16:20,720 --> 01:16:23,439
Speaker 1: there was some shit going on. We h We was

1454
01:16:23,479 --> 01:16:25,320
Speaker 1: getting shot at every night though, because of the whole

1455
01:16:25,360 --> 01:16:28,120
Speaker 1: blood shit. So it got to a point to where

1456
01:16:28,200 --> 01:16:29,920
Speaker 1: it was to be expected. You're gonna be here, It's

1457
01:16:29,920 --> 01:16:33,000
Speaker 1: gonna be some cripts there, the security awarn us. We

1458
01:16:33,120 --> 01:16:35,160
Speaker 1: do little extra shit. I had bulletproof vest and ship

1459
01:16:35,880 --> 01:16:39,479
Speaker 1: security had guns. We do the show. Mother fuckers, We

1460
01:16:39,600 --> 01:16:41,880
Speaker 1: get out. My fucker's come around the back to try

1461
01:16:41,920 --> 01:16:44,760
Speaker 1: to catch us. Security let off some shots and shoot back,

1462
01:16:45,280 --> 01:16:48,360
Speaker 1: but diversion. We get into my fucking van, head back

1463
01:16:48,400 --> 01:16:52,640
Speaker 1: to the hotel, you know, every night, every every night,

1464
01:16:52,720 --> 01:16:55,519
Speaker 1: every night. That's why I stopped touring. When it came

1465
01:16:55,640 --> 01:16:57,920
Speaker 1: time for my second album nineteen ninety two, I stopped

1466
01:16:57,920 --> 01:17:00,800
Speaker 1: touring and it wasn't worth it no more, you know,

1467
01:17:00,960 --> 01:17:03,720
Speaker 1: I was, Um. I guess I was shell shocked from

1468
01:17:03,760 --> 01:17:07,320
Speaker 1: being out there with all that fucking violence. It's my god, damn,

1469
01:17:08,760 --> 01:17:11,400
Speaker 1: how do you have an enemy everywhere you go? Always

1470
01:17:11,439 --> 01:17:15,519
Speaker 1: hats everyone? Now? Yeah? Yeah, he just hated everyone though.

1471
01:17:16,600 --> 01:17:21,920
Speaker 1: Uh craziest fan interaction you've ever had. Uh. I touched

1472
01:17:21,960 --> 01:17:26,120
Speaker 1: his girls on hand and she fainted. M hmm, Michael

1473
01:17:26,160 --> 01:17:30,920
Speaker 1: Jackson say that Michael Jackson effect. Man, she out that

1474
01:17:31,040 --> 01:17:33,439
Speaker 1: day or something that wasn't That's what it was. That

1475
01:17:33,560 --> 01:17:40,960
Speaker 1: hair worked. Let's as jay. I still got my what

1476
01:17:41,080 --> 01:17:47,720
Speaker 1: y'all talking about? Still? I was let girl? Man? No, yeah,

1477
01:17:47,960 --> 01:17:50,719
Speaker 1: girl straight fainted? Bro. I was like, what the fuck?

1478
01:17:53,439 --> 01:17:56,240
Speaker 1: Had to be picked up and carried out? Do you

1479
01:17:56,320 --> 01:17:59,599
Speaker 1: ever made somebody paint? Man? Not that I know about?

1480
01:17:59,840 --> 01:18:04,320
Speaker 1: They asked, what about you? I had a girl cry

1481
01:18:05,200 --> 01:18:08,320
Speaker 1: when she met me. She didn't speak English anything like that.

1482
01:18:08,520 --> 01:18:10,280
Speaker 1: She just started crying that she didn't know my name enough.

1483
01:18:10,320 --> 01:18:12,680
Speaker 1: She just started crying because I was taking pictures with

1484
01:18:12,760 --> 01:18:15,360
Speaker 1: people and she walked by. Just I just start crying.

1485
01:18:15,360 --> 01:18:16,640
Speaker 1: I didn't know my name to knew who I was,

1486
01:18:16,720 --> 01:18:19,760
Speaker 1: But I made a cry. That's cool too, Yeah, that's cool,

1487
01:18:19,800 --> 01:18:22,000
Speaker 1: We'll take it. They count stay to hip hop right now,

1488
01:18:22,120 --> 01:18:24,800
Speaker 1: fifty year anniversary, Stay to hip hop? Thoughts on it.

1489
01:18:25,600 --> 01:18:28,479
Speaker 1: I just spoke at a panel post Star touring. You know,

1490
01:18:28,960 --> 01:18:32,880
Speaker 1: all the heavyweight promoters in the business, and it's a

1491
01:18:32,920 --> 01:18:36,160
Speaker 1: beautiful thing because we had to fight for this to

1492
01:18:36,360 --> 01:18:40,479
Speaker 1: be taken seriously. You know. Um, just some of the

1493
01:18:40,640 --> 01:18:43,479
Speaker 1: things that we went through individually and collectively as artists

1494
01:18:44,160 --> 01:18:47,040
Speaker 1: were you know, we had to really kick the door

1495
01:18:47,120 --> 01:18:49,800
Speaker 1: down for the ship. And now that just lived fifty

1496
01:18:49,880 --> 01:18:53,200
Speaker 1: years and it's become the most important, most influential genre

1497
01:18:53,360 --> 01:18:56,160
Speaker 1: in music. I can't be nothing but proud. I feel

1498
01:18:56,200 --> 01:18:58,080
Speaker 1: like I put a brick in that wall, you know

1499
01:18:58,080 --> 01:18:59,560
Speaker 1: what I mean. I feel like I helped build it.

1500
01:19:00,000 --> 01:19:03,240
Speaker 1: But the sad thing is it's also fifty years, so

1501
01:19:04,080 --> 01:19:09,040
Speaker 1: you know, the the art it's starting to you know,

1502
01:19:09,160 --> 01:19:12,360
Speaker 1: the genre of hip hop is starting to outlive as artists,

1503
01:19:13,800 --> 01:19:16,800
Speaker 1: and that's that's sad. I mean, like, you know, we

1504
01:19:16,920 --> 01:19:19,640
Speaker 1: just lost true Girl from Day Lost Soul, you know

1505
01:19:19,640 --> 01:19:22,400
Speaker 1: what I mean. Shock, I'm still in my heart in

1506
01:19:22,479 --> 01:19:26,240
Speaker 1: my mind to plug too, man, right, come on, man,

1507
01:19:27,160 --> 01:19:29,599
Speaker 1: you know it just shocked me when Shock G died.

1508
01:19:29,640 --> 01:19:31,080
Speaker 1: I was I was looking forward to going back on

1509
01:19:31,160 --> 01:19:34,519
Speaker 1: tour with shocked you know what I mean? Um, but yeah,

1510
01:19:34,560 --> 01:19:37,720
Speaker 1: we lost a lot of too many important members of

1511
01:19:37,840 --> 01:19:40,599
Speaker 1: when Bismarck KEI died and even my men DMX. It's

1512
01:19:40,600 --> 01:19:43,439
Speaker 1: like the fuck man, Like, really, I wish I would

1513
01:19:43,439 --> 01:19:48,040
Speaker 1: have got a chance of meet plug too many. YEA

1514
01:19:48,920 --> 01:19:54,280
Speaker 1: three High and Rising album was amazing, bro Yep, groundbreaking.

1515
01:19:55,000 --> 01:19:58,479
Speaker 1: Any who was some of the younger artists to you

1516
01:19:58,920 --> 01:20:01,680
Speaker 1: you listened to or culture? I like ben Stables. The

1517
01:20:01,800 --> 01:20:03,720
Speaker 1: Stables is hard to me. They were just talking about it.

1518
01:20:04,040 --> 01:20:09,120
Speaker 1: Bench Stables is hard. Um. I like the little girl

1519
01:20:09,439 --> 01:20:12,200
Speaker 1: with the little record, Uh, and you're gonna have it

1520
01:20:12,360 --> 01:20:16,280
Speaker 1: in flight in the night. What's her name? Corey something?

1521
01:20:16,640 --> 01:20:19,720
Speaker 1: Good night? Yeah, I just want to have a night

1522
01:20:20,760 --> 01:20:23,439
Speaker 1: up that record hard. That's what's her name? Daughter? Ain't it?

1523
01:20:24,080 --> 01:20:27,400
Speaker 1: Ben Zino? Daughter? Right? Good on him? Yeah that is

1524
01:20:27,560 --> 01:20:33,080
Speaker 1: it is? Yeah, Yeah, she's dope. Um. Who else knew?

1525
01:20:34,400 --> 01:20:36,040
Speaker 1: I don't know. I've been I've been working on my

1526
01:20:36,120 --> 01:20:38,080
Speaker 1: record lately, so I'm kind of out of the loop.

1527
01:20:38,200 --> 01:20:41,040
Speaker 1: Locked in on your ship. Yeah. When I dropped my ship,

1528
01:20:41,320 --> 01:20:43,360
Speaker 1: and we'll see who it affects and you'll see who

1529
01:20:43,640 --> 01:20:46,680
Speaker 1: what collaborals I do from there. Gavin Newson signed a

1530
01:20:46,720 --> 01:20:50,559
Speaker 1: bill in California limiting lyrics as evidence. What are your

1531
01:20:50,600 --> 01:20:53,320
Speaker 1: thought on that as someone who came from such a

1532
01:20:53,479 --> 01:20:59,080
Speaker 1: violent phase of music. Um, thoughts on that? When did

1533
01:20:59,120 --> 01:21:02,439
Speaker 1: you sign this bill? Wasn't too long ago? Wasn't he's

1534
01:21:02,520 --> 01:21:06,479
Speaker 1: limiting the use of lyrics as evan evidence against it

1535
01:21:06,960 --> 01:21:10,519
Speaker 1: last year? Okay? Well, then Gavin is a hero. Then

1536
01:21:10,880 --> 01:21:12,560
Speaker 1: Gavin is that guy that's what gave me my my

1537
01:21:12,680 --> 01:21:16,800
Speaker 1: day in the bay. You say that, say that? Ye know? Um? Yeah,

1538
01:21:16,880 --> 01:21:22,800
Speaker 1: because in a sense, it is just sensationalism, like you know,

1539
01:21:23,240 --> 01:21:26,760
Speaker 1: we doing that ship back then. You know, if you

1540
01:21:26,840 --> 01:21:28,280
Speaker 1: listen to my first album, I got a song in

1541
01:21:28,320 --> 01:21:30,679
Speaker 1: there called Lope douthood, you swear I was killing everybody

1542
01:21:30,720 --> 01:21:33,720
Speaker 1: every day, right, because it was just sensationalized. It was

1543
01:21:34,000 --> 01:21:37,479
Speaker 1: it was you know, it was fake entertainment. Yeah, exactly. Um.

1544
01:21:38,640 --> 01:21:41,719
Speaker 1: But then it seemed like the lyrics, like when Tupac

1545
01:21:42,240 --> 01:21:45,320
Speaker 1: got killed. It was almost like the lyrics, you know,

1546
01:21:45,800 --> 01:21:49,040
Speaker 1: the lyrics thoughts become things. It was almost like it

1547
01:21:49,160 --> 01:21:51,840
Speaker 1: was scary because now you you say this ship and

1548
01:21:51,880 --> 01:21:53,400
Speaker 1: it can happen to you, you know what I mean,

1549
01:21:53,520 --> 01:21:58,679
Speaker 1: Like the Boogeyman is real type shite, see what I'm saying.

1550
01:21:58,720 --> 01:22:02,519
Speaker 1: So to see the youth have so many to see

1551
01:22:02,640 --> 01:22:06,519
Speaker 1: so many youth deaths, and hip hop is crazy to me,

1552
01:22:06,680 --> 01:22:09,240
Speaker 1: Like all the young rappers that have died, you know,

1553
01:22:09,960 --> 01:22:12,320
Speaker 1: exploiting the guns and ship in their videos and all

1554
01:22:12,360 --> 01:22:14,880
Speaker 1: this violence and then they just get killed. Like and

1555
01:22:15,320 --> 01:22:18,519
Speaker 1: like bro hip hop, at one point a couple of

1556
01:22:18,600 --> 01:22:21,160
Speaker 1: years ago, it was more dangerous than being a construction worker,

1557
01:22:22,200 --> 01:22:25,920
Speaker 1: you know, fucking off of those words. So I'm glad

1558
01:22:25,960 --> 01:22:28,080
Speaker 1: Gavin did that. So you know, motherfucker's could go back

1559
01:22:28,120 --> 01:22:30,479
Speaker 1: to saying the outland dish wall ship they want to say,

1560
01:22:30,920 --> 01:22:33,719
Speaker 1: I mean, express yourself. It's just just fucking but especially

1561
01:22:33,720 --> 01:22:35,360
Speaker 1: to be reality, you know what I'm saying, that's the

1562
01:22:35,439 --> 01:22:38,120
Speaker 1: musical that touches what you're going through, Like, you gotta

1563
01:22:38,160 --> 01:22:40,280
Speaker 1: be able to talk about real life things that go

1564
01:22:40,400 --> 01:22:43,000
Speaker 1: on in the hood for your music to actually touch somebody.

1565
01:22:43,040 --> 01:22:45,280
Speaker 1: You can't just make up some shit on an album.

1566
01:22:45,320 --> 01:22:47,000
Speaker 1: I think that's gonna touch somebody, right, you know what

1567
01:22:47,040 --> 01:22:49,439
Speaker 1: I'm saying. It don't work like that. Music is relative.

1568
01:22:49,680 --> 01:22:52,800
Speaker 1: You make music for people to just say things that

1569
01:22:52,880 --> 01:22:56,760
Speaker 1: they can't say. Your music represents people. That's how it is,

1570
01:22:56,840 --> 01:22:59,960
Speaker 1: and it represents their culture, represents their hood. That's always

1571
01:23:00,000 --> 01:23:02,040
Speaker 1: about you just want to make the music that motherfuckers,

1572
01:23:02,080 --> 01:23:04,120
Speaker 1: that make people feel good and give them a little

1573
01:23:04,200 --> 01:23:07,880
Speaker 1: escapeism although you still obviously got it in you and

1574
01:23:08,600 --> 01:23:11,559
Speaker 1: continuing to do more work. Sitting here at fifty three

1575
01:23:11,640 --> 01:23:13,400
Speaker 1: years old, did you ever think you would send me

1576
01:23:13,439 --> 01:23:15,479
Speaker 1: It's an honor to end up blessing to get this

1577
01:23:15,560 --> 01:23:17,479
Speaker 1: old in the game, because, as we discussed, so many

1578
01:23:17,560 --> 01:23:19,240
Speaker 1: people have lost their lives, and a lot of your

1579
01:23:19,320 --> 01:23:22,040
Speaker 1: friends have lost their lives in it. I have more

1580
01:23:22,240 --> 01:23:26,519
Speaker 1: friends dead than alive. I've lived that long. I got

1581
01:23:26,680 --> 01:23:29,400
Speaker 1: more cemeteries I have to visit than actual niggas I

1582
01:23:29,400 --> 01:23:33,439
Speaker 1: could pull up on them, which is fucked up. But

1583
01:23:33,680 --> 01:23:35,960
Speaker 1: I feel like I'm here for a reason, and I'm

1584
01:23:35,960 --> 01:23:37,720
Speaker 1: gonna keep doing what I do. Bro, I'm gonna keep

1585
01:23:37,760 --> 01:23:40,360
Speaker 1: trying to be Superman at the ship and thug it

1586
01:23:40,400 --> 01:23:42,160
Speaker 1: out for as long as I can, but at the

1587
01:23:42,200 --> 01:23:46,000
Speaker 1: same time try to make music that's not resting on

1588
01:23:46,080 --> 01:23:47,800
Speaker 1: my laurels, not going back and doing the same old

1589
01:23:47,800 --> 01:23:49,880
Speaker 1: shit over and over again, but still trying to pull

1590
01:23:49,920 --> 01:23:51,559
Speaker 1: the best out of artists that I fuck with, whether

1591
01:23:51,640 --> 01:23:54,320
Speaker 1: they're my ogs, people that I worked with, or even

1592
01:23:54,400 --> 01:23:56,880
Speaker 1: new artists that want to, you know, learn how hard

1593
01:23:57,000 --> 01:23:59,960
Speaker 1: is it to stay? I wouldn't want to say relevant,

1594
01:24:00,200 --> 01:24:02,000
Speaker 1: You've eve been relevant. I think you've always been relevant.

1595
01:24:02,640 --> 01:24:05,000
Speaker 1: Stay with the time, so to speak of just the

1596
01:24:05,080 --> 01:24:09,840
Speaker 1: way music is. It's always evolving. Um, I'm a DJ first,

1597
01:24:10,080 --> 01:24:11,800
Speaker 1: So these are records that I play. You gotta like

1598
01:24:11,920 --> 01:24:14,000
Speaker 1: what you play, and you gotta play for people that

1599
01:24:14,160 --> 01:24:17,000
Speaker 1: like what you play. So I stay. I keep my

1600
01:24:17,120 --> 01:24:19,120
Speaker 1: ear to the streets. I keep listening to the records

1601
01:24:19,160 --> 01:24:22,840
Speaker 1: that that work, you know, without biting them. You know,

1602
01:24:23,280 --> 01:24:25,800
Speaker 1: you know you it's to me, it's about my sound.

1603
01:24:25,960 --> 01:24:27,640
Speaker 1: I still do my sound and the way I do it,

1604
01:24:27,960 --> 01:24:31,040
Speaker 1: and that's what makes me unique. But it's not without

1605
01:24:31,080 --> 01:24:33,400
Speaker 1: listening to what's hot. You can't just turn a blind

1606
01:24:33,479 --> 01:24:36,439
Speaker 1: eye to what's chart topping, because you lose your way.

1607
01:24:36,600 --> 01:24:40,080
Speaker 1: You'll be You'll be dated before you know it. You know,

1608
01:24:40,280 --> 01:24:41,920
Speaker 1: I just do. I still love it too. It's still

1609
01:24:42,040 --> 01:24:44,640
Speaker 1: I still have a passion about it, you know what

1610
01:24:44,680 --> 01:24:51,000
Speaker 1: I mean. Finally we finally get the smoke. Oh. I

1611
01:24:51,120 --> 01:24:52,920
Speaker 1: asked if you wanted me to roll you something up? Bro.

1612
01:24:54,560 --> 01:24:56,040
Speaker 1: I thought you said you has something to go for me.

1613
01:24:56,240 --> 01:25:00,040
Speaker 1: I definitely got something to go for you now I

1614
01:25:00,120 --> 01:25:02,479
Speaker 1: smoke with you. Growing up in Compton, I don't want

1615
01:25:02,479 --> 01:25:05,160
Speaker 1: to be high. Oh no, I'm loaded off. I'm so

1616
01:25:05,320 --> 01:25:08,040
Speaker 1: geeked right now, this is the last right we did.

1617
01:25:08,040 --> 01:25:11,360
Speaker 1: We're coming to the closing, closing lines. When I say, uh,

1618
01:25:12,280 --> 01:25:15,559
Speaker 1: growing up in Compton, what would you tell a young

1619
01:25:16,360 --> 01:25:19,720
Speaker 1: DJ Quick that's coming up in Compton right now, that's

1620
01:25:19,920 --> 01:25:22,120
Speaker 1: around all the morness? What would I say to? What

1621
01:25:22,240 --> 01:25:25,120
Speaker 1: would I you but a young producer that's want to

1622
01:25:25,160 --> 01:25:34,680
Speaker 1: be DJ Quick that's growing that's seven leagues. You did

1623
01:25:34,720 --> 01:25:41,479
Speaker 1: that on purpose? D No, that's because it was cold. Okay,

1624
01:25:41,520 --> 01:25:42,960
Speaker 1: that's what it was. Yeah, it was too cold. You

1625
01:25:43,040 --> 01:25:47,000
Speaker 1: gotta heat it up. Yeah, But what would you tell

1626
01:25:47,160 --> 01:25:51,360
Speaker 1: a young producer that's inspiring to be like you, that's

1627
01:25:51,400 --> 01:25:53,280
Speaker 1: growing up in the same predicament you grow up in.

1628
01:25:53,760 --> 01:25:55,439
Speaker 1: What would you tell and what would what advice would

1629
01:25:55,439 --> 01:25:56,840
Speaker 1: you give them so so they would make some of

1630
01:25:56,880 --> 01:26:02,559
Speaker 1: the same mistakes you make. Bro, don't fuck with your family,

1631
01:26:03,600 --> 01:26:10,439
Speaker 1: because family they make shit difficult because they familiarity, breathe, contempt.

1632
01:26:11,600 --> 01:26:13,760
Speaker 1: They will hold your ass down and not give a

1633
01:26:13,840 --> 01:26:17,200
Speaker 1: fuck and don't realize they stopping the fucking the money.

1634
01:26:18,120 --> 01:26:22,160
Speaker 1: You know, um, I would tell me leave your sister along, bro,

1635
01:26:22,760 --> 01:26:25,240
Speaker 1: she don't funk with you like that, and she, you know,

1636
01:26:25,400 --> 01:26:31,160
Speaker 1: she's fucking since then, has been diagnosed with fucking sociopathy psychopathy,

1637
01:26:31,280 --> 01:26:33,760
Speaker 1: So it's like, you know, just don't don't. Don't think

1638
01:26:33,800 --> 01:26:35,800
Speaker 1: your family is all there for you. Some of them

1639
01:26:35,840 --> 01:26:38,560
Speaker 1: have a little envy, so be careful with that. The

1640
01:26:38,640 --> 01:26:41,680
Speaker 1: motherfuckers you think you're hot, protecting yourself from when you

1641
01:26:41,760 --> 01:26:44,479
Speaker 1: lock the door and you know, cock the gauge, they'd

1642
01:26:44,520 --> 01:26:48,320
Speaker 1: be right there behind you inside the house, So be

1643
01:26:48,479 --> 01:26:52,000
Speaker 1: careful with that shit. Family always fucks it up because

1644
01:26:52,040 --> 01:26:56,680
Speaker 1: they you know, they ain't got nothing to lose. Man,

1645
01:26:58,120 --> 01:27:00,960
Speaker 1: keep making go to the left, making music that's just

1646
01:27:01,040 --> 01:27:03,320
Speaker 1: a little bit off the beaten path. You want something

1647
01:27:03,360 --> 01:27:06,680
Speaker 1: that sound different like now today the trend is like

1648
01:27:07,000 --> 01:27:10,320
Speaker 1: like Scarface said, everything sounds like it's one long song.

1649
01:27:10,479 --> 01:27:14,760
Speaker 1: Now it's the same producer like just it's one long song.

1650
01:27:15,760 --> 01:27:20,000
Speaker 1: And our error was for everybody to be diverse. So yeah,

1651
01:27:20,080 --> 01:27:25,040
Speaker 1: no one didn't sound like anybody back then. They cool copycast.

1652
01:27:25,160 --> 01:27:29,160
Speaker 1: Now yeah it's the thing I mean, but hey, man,

1653
01:27:29,360 --> 01:27:32,040
Speaker 1: if it sells, if you know they make way more

1654
01:27:32,120 --> 01:27:35,680
Speaker 1: money now that we did. Yeah, you know, and I'm

1655
01:27:35,720 --> 01:27:37,640
Speaker 1: proud of him for that because that was the whole thing,

1656
01:27:37,840 --> 01:27:44,160
Speaker 1: was financial freedom and above and beyond. But still give

1657
01:27:44,560 --> 01:27:48,560
Speaker 1: the people who are you know, who are that that

1658
01:27:48,760 --> 01:27:52,759
Speaker 1: grow from a very creative record, Still be super creative

1659
01:27:52,800 --> 01:27:57,040
Speaker 1: so you can spark people. That's all I'm saying. Last year,

1660
01:27:57,320 --> 01:28:01,519
Speaker 1: you basically, uh put out some tweets saying that you

1661
01:28:01,520 --> 01:28:03,240
Speaker 1: should be with doctor Dres and basically he was just

1662
01:28:03,280 --> 01:28:04,920
Speaker 1: patting himself on the back because a lot of people

1663
01:28:04,920 --> 01:28:07,200
Speaker 1: don't do it. That's how I took it. Yeah, I've

1664
01:28:07,200 --> 01:28:09,400
Speaker 1: seen how that could have been misconstrued. Like, you know,

1665
01:28:09,760 --> 01:28:12,120
Speaker 1: when I realized that I trenned it when I made

1666
01:28:12,160 --> 01:28:13,800
Speaker 1: it to Australia. I said that before I flew out

1667
01:28:13,800 --> 01:28:16,760
Speaker 1: of America. I was just like, because I helped Doctor

1668
01:28:16,840 --> 01:28:19,599
Speaker 1: Dre was some of the most pivotal songs of his career.

1669
01:28:20,320 --> 01:28:21,960
Speaker 1: And I just feel like, you know, my name don't

1670
01:28:22,000 --> 01:28:25,000
Speaker 1: get shouted enough, like I had a I have a sound,

1671
01:28:25,880 --> 01:28:28,080
Speaker 1: you know, and a lot of people don't know this.

1672
01:28:28,640 --> 01:28:30,840
Speaker 1: And Snoop, Snoop, I hate to put him, you know,

1673
01:28:31,040 --> 01:28:33,800
Speaker 1: put him in this, but Snoop came to me before

1674
01:28:33,840 --> 01:28:37,519
Speaker 1: he did Bitch Please and said, he said, man, I

1675
01:28:37,600 --> 01:28:39,000
Speaker 1: got something for you to hear. He had me on

1676
01:28:39,080 --> 01:28:42,320
Speaker 1: this the dog Food album. He said that, uh, he said, man,

1677
01:28:43,040 --> 01:28:45,439
Speaker 1: he said, because you put doctor Dre back on, I'm like,

1678
01:28:45,520 --> 01:28:47,720
Speaker 1: what you mean? He said, wait to hear this record.

1679
01:28:47,760 --> 01:28:49,640
Speaker 1: So he played Bitch Please for me. And it was

1680
01:28:49,680 --> 01:28:52,559
Speaker 1: the two records that I did for Shaquille O'Neill combined

1681
01:28:52,920 --> 01:28:57,040
Speaker 1: the way he played it clanct them because before that

1682
01:28:57,240 --> 01:29:00,320
Speaker 1: it was you know, Aftermath Presents and the Firm and

1683
01:29:00,479 --> 01:29:02,960
Speaker 1: people was like, you know, damn Dre. His music changed

1684
01:29:03,000 --> 01:29:05,080
Speaker 1: too much. But me, I just kept doing what I

1685
01:29:05,160 --> 01:29:07,920
Speaker 1: was doing. I didn't, you know, I always I'm always

1686
01:29:07,960 --> 01:29:09,880
Speaker 1: there for Dre. I always want to help Dre when

1687
01:29:09,920 --> 01:29:11,519
Speaker 1: he need me. He don't really need me. He got

1688
01:29:12,720 --> 01:29:15,920
Speaker 1: ten twelve beat makers that do everything he needs. But

1689
01:29:16,080 --> 01:29:18,160
Speaker 1: my thing is I'm left handed. I always think a

1690
01:29:18,240 --> 01:29:20,479
Speaker 1: little bit off the beaten path. And I got a bounce.

1691
01:29:20,520 --> 01:29:23,280
Speaker 1: I got my own bounce. So Dre borrowed my bounce

1692
01:29:23,680 --> 01:29:26,680
Speaker 1: and it put him right back home. Why do you

1693
01:29:26,800 --> 01:29:29,280
Speaker 1: feel like you haven't got the respect of love? Is

1694
01:29:29,280 --> 01:29:31,479
Speaker 1: it because you were independent so long? You were getting

1695
01:29:31,560 --> 01:29:34,640
Speaker 1: go main like um what what it is? I don't know.

1696
01:29:34,920 --> 01:29:36,439
Speaker 1: I get anxiety a lot. I don't like to be

1697
01:29:36,479 --> 01:29:37,960
Speaker 1: around people a lot, you know, I mean, I like

1698
01:29:38,000 --> 01:29:41,400
Speaker 1: to be by myself. I'm kind of I'm solitary, you

1699
01:29:41,439 --> 01:29:43,240
Speaker 1: know what I mean. I like to when I come out,

1700
01:29:43,280 --> 01:29:45,280
Speaker 1: I come out. But I'm like the fucking hedgehold bro

1701
01:29:45,680 --> 01:29:48,960
Speaker 1: like you know what I mean, groundholder. Rather I gotta

1702
01:29:48,960 --> 01:29:51,559
Speaker 1: come out and say the weather, I'm back in it. Um.

1703
01:29:52,240 --> 01:29:54,599
Speaker 1: I didn't market myself as much as everybody else, did,

1704
01:29:55,400 --> 01:29:59,560
Speaker 1: you know? And again, I stay reclusive, So that's to me,

1705
01:29:59,640 --> 01:30:02,160
Speaker 1: that's what was more than anything else. But I'm not

1706
01:30:02,240 --> 01:30:04,600
Speaker 1: a camera hog. I'm not like a tension hog. Like

1707
01:30:05,080 --> 01:30:06,320
Speaker 1: I don't like to just do a munch of shit

1708
01:30:06,400 --> 01:30:08,840
Speaker 1: for a tension But I think another thing too, is

1709
01:30:10,120 --> 01:30:12,040
Speaker 1: you got the respect of your peers, and and and

1710
01:30:12,240 --> 01:30:14,400
Speaker 1: and and the real ones in the space say that

1711
01:30:14,640 --> 01:30:16,560
Speaker 1: I mean more than anything else. And that's to me,

1712
01:30:16,680 --> 01:30:18,040
Speaker 1: that's the thing, you know what I mean, Whether you

1713
01:30:18,160 --> 01:30:21,400
Speaker 1: get the huge record and obviously you're knowing around the world,

1714
01:30:21,439 --> 01:30:24,960
Speaker 1: but when you tweeted that shit, I'm just like, he

1715
01:30:25,120 --> 01:30:27,240
Speaker 1: doesn't get the love and respect and the flowers he

1716
01:30:27,280 --> 01:30:30,360
Speaker 1: should get. That's what I've been feeling. I'm like, I'm like,

1717
01:30:30,720 --> 01:30:35,240
Speaker 1: don't wait till I'm dead right, I'm still here. You know, now,

1718
01:30:35,880 --> 01:30:38,200
Speaker 1: y'all should know I'm flying because I'm not putting out

1719
01:30:38,240 --> 01:30:40,920
Speaker 1: bullshit records, not just putting out records because it's time

1720
01:30:40,920 --> 01:30:42,439
Speaker 1: to put out a record. You know, it's been a year.

1721
01:30:42,560 --> 01:30:44,519
Speaker 1: Ain't the wrong with breaking your arm and patting yourself

1722
01:30:44,560 --> 01:30:47,040
Speaker 1: on the back of the man, because, like I love me,

1723
01:30:47,600 --> 01:30:50,400
Speaker 1: you sit around way for people to patch you on

1724
01:30:50,400 --> 01:30:51,880
Speaker 1: the back. You're gonna be sitting there waiting, Bro, you

1725
01:30:51,960 --> 01:30:54,240
Speaker 1: gotta patch yourself in the back time. I'm hard, yeah,

1726
01:30:54,240 --> 01:30:56,840
Speaker 1: because there's too many people with too many different things

1727
01:30:56,880 --> 01:30:59,600
Speaker 1: to focus on. So just don't forget about little o me.

1728
01:31:00,160 --> 01:31:03,280
Speaker 1: Know that I did some really incredible fucking records. I

1729
01:31:03,360 --> 01:31:06,040
Speaker 1: sold one hundred million records when it wasn't popular, bro,

1730
01:31:06,640 --> 01:31:10,479
Speaker 1: with all that tupuc shit, Whitney Houston, Janet Jackson, Deborah Cox,

1731
01:31:10,920 --> 01:31:15,280
Speaker 1: fucking soundtracks above the rim fucking murder was the case

1732
01:31:15,479 --> 01:31:18,840
Speaker 1: my own ship, bro, Like you know, before two thousand,

1733
01:31:19,560 --> 01:31:22,240
Speaker 1: I was already at one hundred million aggre get sales. Bro,

1734
01:31:22,479 --> 01:31:25,280
Speaker 1: the fuck does that that should be? I should be?

1735
01:31:25,439 --> 01:31:27,040
Speaker 1: I should what I gotta do get a tattoo in

1736
01:31:27,120 --> 01:31:30,880
Speaker 1: public on TV, like coming the ship. Motherfucker comed in

1737
01:31:30,960 --> 01:31:33,120
Speaker 1: on my chest. I should have gave you that joint

1738
01:31:33,200 --> 01:31:36,080
Speaker 1: earlier's the ship talking. Yeah, I told you Earli should

1739
01:31:36,080 --> 01:31:38,200
Speaker 1: have gave one of them, ye man, yeah, but Dick's

1740
01:31:38,200 --> 01:31:41,640
Speaker 1: out there. Fuck it, let's go. And I know you

1741
01:31:41,800 --> 01:31:47,680
Speaker 1: got old because I ain't got you. I got a

1742
01:31:47,720 --> 01:31:50,479
Speaker 1: platinum album, but I'm thinking about doing another one because

1743
01:31:50,479 --> 01:31:52,960
Speaker 1: if the first one one platinum. So yeah, I just

1744
01:31:53,040 --> 01:31:57,720
Speaker 1: did that. But I know you got a computer that

1745
01:31:57,800 --> 01:32:00,320
Speaker 1: you ain't opened about thirty years. Let me getting one

1746
01:32:00,320 --> 01:32:02,040
Speaker 1: of them old beats off of there. Man, I don't

1747
01:32:02,040 --> 01:32:06,559
Speaker 1: want another new sh that's too expensive for me. If

1748
01:32:06,800 --> 01:32:09,439
Speaker 1: if if it is old, if I got something in there,

1749
01:32:09,640 --> 01:32:11,559
Speaker 1: I'm gonna touch it anyway to make it sound new

1750
01:32:11,560 --> 01:32:14,439
Speaker 1: because its stated. Yeah, you know, it's like put a car,

1751
01:32:14,600 --> 01:32:17,160
Speaker 1: put a put a put a Ferrari in the garage

1752
01:32:17,240 --> 01:32:19,920
Speaker 1: for twelve years, fourteen years, and then think you're just

1753
01:32:19,960 --> 01:32:21,880
Speaker 1: gonna pull it out and it's just gonna crank up

1754
01:32:21,920 --> 01:32:23,360
Speaker 1: and just dry. You're gonna have to touch it. You

1755
01:32:23,479 --> 01:32:25,439
Speaker 1: gotta do a bunch of shit. Yeah, you know, but

1756
01:32:25,560 --> 01:32:27,599
Speaker 1: it's still a Ferrari. I would be honest to say

1757
01:32:27,600 --> 01:32:30,240
Speaker 1: I gotta he'd tell me. He'd be telling me to

1758
01:32:30,280 --> 01:32:34,439
Speaker 1: come to the studio all the time next time. I

1759
01:32:34,520 --> 01:32:37,200
Speaker 1: got hundreds of beats, Bro, That'll just I love. They

1760
01:32:37,280 --> 01:32:43,240
Speaker 1: just sit there and I'm still me. I'm still sucking around, bro,

1761
01:32:43,400 --> 01:32:46,160
Speaker 1: Like you know, I'm still I'm still around the best

1762
01:32:46,320 --> 01:32:49,880
Speaker 1: motherfucking musicians, you know what I mean. I'm still around

1763
01:32:49,920 --> 01:32:52,519
Speaker 1: the you know, the ones that they're living again. I'm

1764
01:32:52,560 --> 01:32:55,280
Speaker 1: still around the heat. I'm still on tour. I just

1765
01:32:55,920 --> 01:32:59,200
Speaker 1: I got Atlanta this year to two arena shows in

1766
01:32:59,240 --> 01:33:04,280
Speaker 1: Atlanta boom and like you said, fifty three that's incredible feet.

1767
01:33:05,120 --> 01:33:07,120
Speaker 1: I'm still passionate about it though I still wake up

1768
01:33:07,240 --> 01:33:10,120
Speaker 1: sometimes geek and I listened to my ship on my phone.

1769
01:33:10,160 --> 01:33:14,200
Speaker 1: I'll be like, I'm dope. Very few people can say

1770
01:33:14,240 --> 01:33:17,479
Speaker 1: they have their own Zione quick, Bro, I'm very few people.

1771
01:33:18,600 --> 01:33:21,439
Speaker 1: I'm a rarefied air. As they say, you're lefty. That's

1772
01:33:21,479 --> 01:33:23,439
Speaker 1: what it is. That's all it is. I just I'm

1773
01:33:23,479 --> 01:33:27,320
Speaker 1: in my right mind, especially musically. I'm always thinking about

1774
01:33:27,760 --> 01:33:30,240
Speaker 1: what's next. I don't think about what happened. And if

1775
01:33:30,280 --> 01:33:32,760
Speaker 1: I do sample something, I sample something on my new

1776
01:33:32,920 --> 01:33:34,559
Speaker 1: sample shit on my new ship. But it's still Curtis

1777
01:33:34,600 --> 01:33:36,920
Speaker 1: Mayfield that nobody's ever heard, you know what I mean,

1778
01:33:37,880 --> 01:33:40,240
Speaker 1: And the way I freaked it is just cold blooded Jack.

1779
01:33:40,360 --> 01:33:42,960
Speaker 1: I'm cold bloody with that ship. All these people. You know,

1780
01:33:43,240 --> 01:33:45,799
Speaker 1: Kanye had to admit that, you know, Yeah, I sample

1781
01:33:45,880 --> 01:33:48,479
Speaker 1: some of your drums before I'm like, I hear you, bro.

1782
01:33:49,040 --> 01:33:51,360
Speaker 1: His whole ship was explosive. You always like that break

1783
01:33:51,439 --> 01:33:55,720
Speaker 1: off the Doctor Dre's explosive Boucatte Boukatte. So he that

1784
01:33:55,880 --> 01:33:58,560
Speaker 1: was his whole shit. Every record was, you know, on

1785
01:33:58,680 --> 01:34:01,519
Speaker 1: that West Coast shit. But it wouldn't be no him

1786
01:34:01,600 --> 01:34:04,320
Speaker 1: without me. I'm one of the first guys to do

1787
01:34:04,439 --> 01:34:09,000
Speaker 1: the whole, to be the complete package, the musician, the producer,

1788
01:34:09,240 --> 01:34:14,519
Speaker 1: and the artist. Yeah, it is that weird, Huh. We

1789
01:34:14,600 --> 01:34:18,479
Speaker 1: should have gave it to you earlier. Five Dinner Guest

1790
01:34:18,560 --> 01:34:23,960
Speaker 1: Dead Alive again Five Dinner Guest Dead Alive? Um? Who

1791
01:34:24,000 --> 01:34:27,800
Speaker 1: I would eat with? I keep saying his name, but yeah,

1792
01:34:27,840 --> 01:34:39,519
Speaker 1: Curtis Mayfield, George Clinton, Um, what's my man's name? My goodness?

1793
01:34:41,280 --> 01:34:45,160
Speaker 1: Just the rare one is Gil Scott Heron and he

1794
01:34:45,280 --> 01:34:52,320
Speaker 1: was doing all the revolutionary music. Um, Aliyah you know.

1795
01:34:52,760 --> 01:34:58,719
Speaker 1: Um and that's the first alia we got and Tupac

1796
01:34:58,760 --> 01:35:07,000
Speaker 1: again again again we broke bread a lot mm hm hmmm. Uh.

1797
01:35:08,720 --> 01:35:12,200
Speaker 1: One album you can listen to with no no skips,

1798
01:35:12,479 --> 01:35:15,559
Speaker 1: without not not none of your shit somebody else's uh

1799
01:35:15,680 --> 01:35:27,439
Speaker 1: no skip records? Uh the chronic One Doggy Style, um one,

1800
01:35:27,720 --> 01:35:30,400
Speaker 1: Who who is that? Who is that? It's not digital underground?

1801
01:35:31,200 --> 01:35:34,360
Speaker 1: Um X Clan, m M to the East Black Orts

1802
01:35:35,040 --> 01:35:40,000
Speaker 1: easily record, y'all, y'all, don't hear my brother to the

1803
01:35:40,200 --> 01:35:43,679
Speaker 1: Ease with Brother J. To this day, it's greatest voice

1804
01:35:43,760 --> 01:35:48,280
Speaker 1: in hip hop easily. Um Criminal Minded Booky Down Productions

1805
01:35:48,680 --> 01:35:56,320
Speaker 1: is a no skipper um Uh, Slick Ricks Children's story

1806
01:35:57,040 --> 01:36:01,640
Speaker 1: is dope kind of all the way through. Um And

1807
01:36:02,160 --> 01:36:06,080
Speaker 1: if I had to do one more hip hop or

1808
01:36:06,160 --> 01:36:10,080
Speaker 1: R and B, whatever you want, because you know hip

1809
01:36:10,120 --> 01:36:12,200
Speaker 1: hop is you know, hip hop has his moments of greatness.

1810
01:36:12,280 --> 01:36:15,280
Speaker 1: But um, Marvin Gays was going on, it's a fucking

1811
01:36:15,320 --> 01:36:19,200
Speaker 1: great record. Yeah, cold Blooded still prolific to this day.

1812
01:36:20,280 --> 01:36:26,920
Speaker 1: Um all Luther Vandross's first albums. Don't ask me why,

1813
01:36:27,920 --> 01:36:32,040
Speaker 1: Fat fat Fat Luther. That's the only man that ever

1814
01:36:32,080 --> 01:36:35,559
Speaker 1: starts struck me. Bro I wrote a flight. Ironically enough,

1815
01:36:35,800 --> 01:36:39,080
Speaker 1: after we did the Madnessist Square Garden show, I flew

1816
01:36:39,200 --> 01:36:43,880
Speaker 1: home early Sugart me an early flight, and I'm sitting

1817
01:36:43,880 --> 01:36:45,519
Speaker 1: in first class with this guy sitting here in the

1818
01:36:45,560 --> 01:36:48,320
Speaker 1: fucking Versassi shirt. Before I ever knew where Versati was,

1819
01:36:48,720 --> 01:36:50,920
Speaker 1: his little perm was sticking up, and shit, I'm like, fuck,

1820
01:36:51,040 --> 01:36:52,800
Speaker 1: is this thing I'm hanging over like a little bit,

1821
01:36:52,880 --> 01:36:55,479
Speaker 1: you know whatever. My man gets up to go pee

1822
01:36:55,479 --> 01:36:58,680
Speaker 1: and it's Luther Van Ross and oh my god, like

1823
01:36:58,960 --> 01:37:01,000
Speaker 1: you was sitting next to him, yeah, right in first

1824
01:37:01,040 --> 01:37:02,920
Speaker 1: class like I was in one A and he was

1825
01:37:02,960 --> 01:37:05,200
Speaker 1: like in one seed in the middle row, a little

1826
01:37:05,200 --> 01:37:08,560
Speaker 1: bit forward. But I wanted to tell him everything his

1827
01:37:08,760 --> 01:37:11,160
Speaker 1: music meant to me, but the words wouldn't come out.

1828
01:37:11,920 --> 01:37:19,479
Speaker 1: Starstruck Bro finally met that dude. Um and um um

1829
01:37:24,240 --> 01:37:28,120
Speaker 1: painting for Eric B and Raccoon. Do you have even

1830
01:37:28,160 --> 01:37:31,400
Speaker 1: Chinese arithmetic? People didn't like that record. I like it.

1831
01:37:31,680 --> 01:37:32,960
Speaker 1: Did you have? Do you have? Do you have a

1832
01:37:33,040 --> 01:37:39,120
Speaker 1: favorite project you've done? Um? I'm super proud of they

1833
01:37:39,240 --> 01:37:42,680
Speaker 1: all have something magic in them. Uh. And not to

1834
01:37:42,800 --> 01:37:45,200
Speaker 1: just keep saying this, but my new record is a

1835
01:37:45,280 --> 01:37:49,120
Speaker 1: no skip. It's like it's just fucking funky and my tone.

1836
01:37:49,160 --> 01:37:50,760
Speaker 1: I changed my whole tone, Like I don't wrapping the

1837
01:37:50,840 --> 01:37:53,599
Speaker 1: high pitch voice no more what you're wrapping this high voice?

1838
01:37:53,960 --> 01:37:56,160
Speaker 1: No on this album. I'm just in and I'm you know,

1839
01:37:56,280 --> 01:37:59,040
Speaker 1: I'm more like chill, you know what I mean, like high,

1840
01:37:59,160 --> 01:38:03,240
Speaker 1: like oh yeah, high pitched all that, like you're high,

1841
01:38:03,600 --> 01:38:06,439
Speaker 1: the high voice, the chill, that's yeah. Yeah. They ain't

1842
01:38:06,479 --> 01:38:08,599
Speaker 1: just about being high. It's like I'm trying to make

1843
01:38:08,640 --> 01:38:13,280
Speaker 1: that a persona dang now you know cool Now I didn't.

1844
01:38:13,600 --> 01:38:15,720
Speaker 1: You know I used to be hyper. Motherfucker's accusing me

1845
01:38:15,760 --> 01:38:18,559
Speaker 1: of being goofy. And shit, if I if I seem goofy,

1846
01:38:18,680 --> 01:38:21,719
Speaker 1: it's because I'm just being happy that I'm here because

1847
01:38:21,760 --> 01:38:24,360
Speaker 1: I see too much tragedy here and that's my reaction

1848
01:38:24,400 --> 01:38:27,400
Speaker 1: to that shit Like nigga, I can still breathe. Yeah,

1849
01:38:27,800 --> 01:38:30,679
Speaker 1: I mean all that if you want to, I'm happy.

1850
01:38:30,840 --> 01:38:33,000
Speaker 1: Fuck that. So if I see if I seem over

1851
01:38:33,120 --> 01:38:41,880
Speaker 1: zealous just because I'm here, Compton, that's hard, that's hard.

1852
01:38:42,200 --> 01:38:49,120
Speaker 1: Um Compton. Huh damn Um, I'm gonna I'm gonna I'm

1853
01:38:49,120 --> 01:38:54,360
Speaker 1: gonna say ice que because of n wa um MC

1854
01:38:54,520 --> 01:38:56,880
Speaker 1: eight is dope at fu on the on the mic

1855
01:38:57,200 --> 01:38:59,679
Speaker 1: you camp front. You know, we had our little issues.

1856
01:39:00,280 --> 01:39:03,280
Speaker 1: MC eight is the shit UM still to today and

1857
01:39:03,400 --> 01:39:06,479
Speaker 1: he's on kendricks album, which is monumental. The album hip

1858
01:39:06,520 --> 01:39:08,160
Speaker 1: hop album has been on the charts longer than any

1859
01:39:08,200 --> 01:39:11,760
Speaker 1: other album. So as a hell of a comeback. Um,

1860
01:39:11,960 --> 01:39:14,519
Speaker 1: I'm cold blooded with an inkpen. I show off when

1861
01:39:14,560 --> 01:39:19,320
Speaker 1: I show off. We know that UM king t as

1862
01:39:19,320 --> 01:39:22,000
Speaker 1: a beast. You know, that's one of the records that

1863
01:39:22,680 --> 01:39:24,840
Speaker 1: inspired me to be who I am. Is act a

1864
01:39:24,920 --> 01:39:32,720
Speaker 1: fool Capitol Records, UM, And I like YG. He's for

1865
01:39:32,800 --> 01:39:35,960
Speaker 1: the kids, you know what I mean. He's for the generation, right,

1866
01:39:36,080 --> 01:39:39,720
Speaker 1: you know generation whether they z you know, I'm axer

1867
01:39:39,880 --> 01:39:43,880
Speaker 1: they they are millennials, right, So he's for them. But

1868
01:39:44,400 --> 01:39:48,680
Speaker 1: I get it. I know why it's hot. Um yea

1869
01:39:48,840 --> 01:39:54,240
Speaker 1: and mc raynalds a beast, two c RNs cold and

1870
01:39:54,439 --> 01:39:59,559
Speaker 1: I feel like I'm forgetting somebody. But you say Kendricks, Kendrick,

1871
01:39:59,600 --> 01:40:03,919
Speaker 1: don't count Kendrick. He's on the He's beyond Compton. Compton's

1872
01:40:03,960 --> 01:40:07,600
Speaker 1: too small for him. He's on the world stage and

1873
01:40:08,120 --> 01:40:11,000
Speaker 1: he just so happens to be from Compton, ironically enough.

1874
01:40:11,120 --> 01:40:15,479
Speaker 1: But yeah, he Kendrick could have made it in any state,

1875
01:40:15,600 --> 01:40:18,519
Speaker 1: any city. If y'all know what I'm saying, I hope

1876
01:40:18,520 --> 01:40:20,800
Speaker 1: I ain't overdoing it. But he just seemed like he

1877
01:40:20,840 --> 01:40:22,640
Speaker 1: could have just made it anywhere. He just he he

1878
01:40:22,720 --> 01:40:28,640
Speaker 1: has this thing that nobody has. Yeah, I'll say Kendrick, Well,

1879
01:40:28,680 --> 01:40:32,240
Speaker 1: Kendrick's number one at this point because he writes. He

1880
01:40:32,360 --> 01:40:35,680
Speaker 1: writes shit that you like at any age, kids and us,

1881
01:40:36,400 --> 01:40:38,320
Speaker 1: he got both of them. How do you do that?

1882
01:40:38,800 --> 01:40:41,120
Speaker 1: How do you make that last a long time? And

1883
01:40:41,240 --> 01:40:46,840
Speaker 1: that nigga last album was bonkers? That fucking album is sick.

1884
01:40:49,400 --> 01:40:53,479
Speaker 1: Your Mount Rushmore of hip hop top four in your

1885
01:40:53,520 --> 01:40:58,280
Speaker 1: opinion top four of hip hop rap or hip hop

1886
01:40:58,680 --> 01:41:10,280
Speaker 1: rap um easily rock him and his prodigal son Nash

1887
01:41:10,439 --> 01:41:17,840
Speaker 1: Biggiean Tupac. H m hmm. You know, even though ice

1888
01:41:17,880 --> 01:41:20,880
Speaker 1: Cube is still a fucking beast always some guys just

1889
01:41:21,000 --> 01:41:24,880
Speaker 1: like that's Mount Westmore Rushmore. Rather, if you can see

1890
01:41:25,080 --> 01:41:27,479
Speaker 1: one person on our show, who would it be? But

1891
01:41:27,640 --> 01:41:29,559
Speaker 1: y'all had too short yet, but you have to help

1892
01:41:29,680 --> 01:41:32,280
Speaker 1: us get your answer on the show. We have yeah

1893
01:41:32,439 --> 01:41:34,960
Speaker 1: short already. Yeah, they't afordy together at the same time.

1894
01:41:35,240 --> 01:41:40,519
Speaker 1: That's fun. You know that was a fun self fucking Um,

1895
01:41:41,840 --> 01:41:45,360
Speaker 1: somebody does in hip hop or any genre whoever. You

1896
01:41:45,439 --> 01:41:47,760
Speaker 1: want to see that you can help get on here.

1897
01:41:48,520 --> 01:41:50,559
Speaker 1: Yeah you heard that part though, right, But you gotta

1898
01:41:50,600 --> 01:41:54,559
Speaker 1: help him. You gotta help us get them when you know. Okay,

1899
01:41:54,960 --> 01:42:01,519
Speaker 1: but there's gotta be somebody that's worth worth the hour. Doctor,

1900
01:42:04,560 --> 01:42:07,519
Speaker 1: I missed the hint that it was. It was that

1901
01:42:07,680 --> 01:42:11,120
Speaker 1: seven leagues. Y'all tell me who y'all think? Who was

1902
01:42:11,200 --> 01:42:15,160
Speaker 1: y'all like for me to oh the good doctor? Oh yeah,

1903
01:42:15,240 --> 01:42:20,320
Speaker 1: doctor yeah, yeah, Doctor Drake. I see yeah, I see

1904
01:42:20,439 --> 01:42:24,640
Speaker 1: Doctor dre being hella busy. Yeah, like I see him

1905
01:42:24,680 --> 01:42:29,000
Speaker 1: being super busy, um, you know, enjoying his time in

1906
01:42:29,040 --> 01:42:32,040
Speaker 1: the studio again. He's working on a secret project with

1907
01:42:32,200 --> 01:42:34,519
Speaker 1: with Dog and they're having fun. I mean, it's really

1908
01:42:34,560 --> 01:42:37,000
Speaker 1: not a secret snoop snoop posted all the time. But

1909
01:42:37,680 --> 01:42:39,920
Speaker 1: the title is the Ship and if it comes off,

1910
01:42:40,000 --> 01:42:42,880
Speaker 1: it's gonna be is when it comes out, it's gonna

1911
01:42:42,880 --> 01:42:44,840
Speaker 1: be a motherfucking beast. But when speaking of coming and

1912
01:42:44,880 --> 01:42:51,160
Speaker 1: whens your project coming out? Um? April five is my date? Serious?

1913
01:42:52,000 --> 01:42:57,040
Speaker 1: Come on? Man? If not third, if I missed that,

1914
01:42:58,280 --> 01:43:01,320
Speaker 1: I gott shoot videos just did my artwork covering over

1915
01:43:01,600 --> 01:43:04,479
Speaker 1: how many songs I'm gonna do Chen just like d

1916
01:43:04,600 --> 01:43:06,840
Speaker 1: Chocs Drake. I got that from dre. If you can't

1917
01:43:06,840 --> 01:43:08,240
Speaker 1: get them with Chan, you can't get them. But they

1918
01:43:08,320 --> 01:43:11,679
Speaker 1: just gotta beat the Chen. No skips, you know, everything

1919
01:43:11,720 --> 01:43:15,599
Speaker 1: else is filler, like yeah, it's it's it's a beast

1920
01:43:15,640 --> 01:43:20,040
Speaker 1: bro um first single is supposed to be next month?

1921
01:43:21,520 --> 01:43:25,479
Speaker 1: What is it March seventeen? Any features? I didn't really

1922
01:43:25,479 --> 01:43:28,160
Speaker 1: want no features on this. I have enough to talk about.

1923
01:43:28,640 --> 01:43:30,200
Speaker 1: I got second and none of them doing that thing

1924
01:43:30,240 --> 01:43:32,680
Speaker 1: on their inn amg because it is my brothers. But

1925
01:43:32,880 --> 01:43:34,840
Speaker 1: I got them at a high level, like what was

1926
01:43:34,880 --> 01:43:37,600
Speaker 1: y'all sound like? Now you know I motivated them to

1927
01:43:37,680 --> 01:43:42,640
Speaker 1: get to go in, But yeah, no real features. I

1928
01:43:42,800 --> 01:43:46,439
Speaker 1: got this. Well, man, we appreciate your time. We want

1929
01:43:46,439 --> 01:43:48,640
Speaker 1: to make sure you know how important you are to

1930
01:43:48,800 --> 01:43:51,360
Speaker 1: all of us and how great you are. And uh man,

1931
01:43:51,400 --> 01:43:53,519
Speaker 1: it's an honor to call you a friend. Come on, Matt,

1932
01:43:53,560 --> 01:43:55,200
Speaker 1: do you know you're my guy? Bro? You gave me

1933
01:43:55,280 --> 01:43:58,679
Speaker 1: some of the fun times, bro, Like damn that football

1934
01:43:58,760 --> 01:44:01,920
Speaker 1: game farking had that playback, I would have checked that

1935
01:44:01,920 --> 01:44:05,479
Speaker 1: little Nega out of Bounce scrore on me. I sc

1936
01:44:05,760 --> 01:44:07,880
Speaker 1: trying to get his flag. I should just pop his nds.

1937
01:44:09,240 --> 01:44:12,880
Speaker 1: We still want though. Yeah, that was a great day, bro.

1938
01:44:13,040 --> 01:44:14,800
Speaker 1: We appreciate you man. Come on, man, thank you for

1939
01:44:14,880 --> 01:44:18,000
Speaker 1: your time. Appreciate you you man. Wait hard, I'll see

1940
01:44:18,040 --> 01:44:21,040
Speaker 1: if you see, we're gonna make it work. Doctor dr

1941
01:44:21,800 --> 01:44:25,360
Speaker 1: he said, called doctor Dre. Well, that's a rap DJ

1942
01:44:25,560 --> 01:44:29,760
Speaker 1: quick all the smoke, great, La, run bro brother as

1943
01:44:29,800 --> 01:44:32,160
Speaker 1: we do catch Oh back to sweaty pumps. You can

1944
01:44:32,200 --> 01:44:37,599
Speaker 1: catch his more. You're wet. Let My hands are not sweaty, bro,

1945
01:44:38,600 --> 01:44:41,880
Speaker 1: My hands are wet now. Anyway, we'll get us catching

1946
01:44:41,920 --> 01:44:45,599
Speaker 1: us shows, hot basketball, YouTube and the iHeart platform Black Effects.

1947
01:44:46,080 --> 01:44:47,160
Speaker 1: We'll see y'all next time.