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Speaker 1: Thanks to chronic Goals, this is not your average shows.

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Speaker 2: You're now tuned into the rail.

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Speaker 1: Streets.

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Speaker 3: Welcome to the gainst the Chronicles podcast, the production of

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Speaker 3: iHeart Radio and Black Effect podcast Network. Make sure you

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Speaker 3: download the iHeart app and subscribe to Against the Chronicles.

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Speaker 3: For my Apple users, hit the purple Michael on your

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Speaker 3: front screen. Subscribed Against the Chronicles, leave a five star

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Speaker 3: rating the comment what do it do?

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Speaker 2: Won't you ship? I ain't doing ship man, Just another day,

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Speaker 2: another dollar, you know what I'm saying, Uh, getting ready

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Speaker 2: for this summer. Man. I think I'm finna go back

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Speaker 2: to coaching. Manh you going back over there? Yeah's man,

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Speaker 2: I'm uh, you know, when we're not doing the podcast

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Speaker 2: and you know, got a lot of things going. You

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Speaker 2: know what I'm saying. We do the podcast and we

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Speaker 2: trying to get our other show going. You know what

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Speaker 2: I'm saying. Uh, we don't like to talk too much

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Speaker 2: because you know, sometimes when you talk, you give other niggas.

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Speaker 3: Stealing right now, but.

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Speaker 2: You know, we got the podcast going, I got this

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Speaker 2: other show we about to kick off. You know, you

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Speaker 2: doing your thing on the side. I still got motherfucking

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Speaker 2: shows and ship coming up. I got a show coming

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Speaker 2: up in Cleveland. Then I got uh, I got Bakersfield

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Speaker 2: coming up. Then I got Atlanta coming up? Are you

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Speaker 2: going out to atl Yeah?

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Speaker 3: Who you on there with? Ain't you on it with? Ball?

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Speaker 2: MJZ Ball, m JG, Scarface and somebody else.

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Speaker 3: That's a good card right there.

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Speaker 2: So, you know, but most of my days, you know,

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Speaker 2: when I'm sitting home writing songs or you know, we're

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Speaker 2: not doing the podcast. Uh, I feel that, you know,

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Speaker 2: maybe you know my my knowledge of you football, you

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Speaker 2: know is you know my son, you know, Karan is

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Speaker 2: in college now. A lot of my you know, past friends, coaches,

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Speaker 2: you know, they have now moved up in the organization,

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Speaker 2: you know, president's vice presidents and you know. So I

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Speaker 2: got a call from two you know, three great good

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Speaker 2: friends of mine who's still in the organization. Shout out

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Speaker 2: Corona Chargers. So one of my good one of my assistants,

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Speaker 2: he's now vice president. So he gave me a call

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Speaker 2: and asked me would I come back and coach eleven

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Speaker 2: twelve year olds.

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Speaker 3: Man, he put the magic on you because he had

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Speaker 3: called me out of like, man, you had the wrong number.

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Speaker 2: I guess you know it never burnt me out coaching

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Speaker 2: with the kids. It was a lot.

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Speaker 3: You was a it's a coach. I was a president

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Speaker 3: when I ran my organization. I ain't doing itever again.

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Speaker 3: Them parents is off the hook man crazy.

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Speaker 2: I never but see, I guess that's and I guess

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Speaker 2: that goes.

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Speaker 3: With it's fun coaching.

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Speaker 2: I guess that goes with through the organization and where

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Speaker 2: you come from. I could honestly say coaching for the

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Speaker 2: Corona Chargers for twelve thirteen years, I never had not

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Speaker 2: one bad incident with a parent. You now, I don't

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Speaker 2: know what motherfuckers might have been saying behind closed doors

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Speaker 2: or behind my back. You know, I coach with Snoop,

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Speaker 2: Yeah right, I mean I coached a year at Snoop's league.

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Speaker 1: Yeah, I never had that.

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Speaker 3: Yeah, you know, speaking the wis we're about to hit

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Speaker 3: them with the megaplex tonight, megaplex? Is we on this

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Speaker 3: motherfucker ranking. So when I get this speaking like that

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Speaker 3: in the building, yeah, you know, it's nothing but out at.

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Speaker 2: I don't trip off of stel with the soul trained

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Speaker 2: Don Cornelius, Mike Tonight. You know, we ad the result, we.

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Speaker 3: Got the improvise. But see, I made sure y'all had.

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Speaker 1: This stuff and the thing. So that's what we're doing.

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Speaker 3: At the improvise. You know, you missing the thing and

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Speaker 3: I'm mixed, Max, So I wanted to make it look

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Speaker 3: like you know, it's the interview money.

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Speaker 2: We got the We got the creator of g Funk

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Speaker 2: in the building. You know what I'm saying. Indeed, with

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Speaker 2: whatever your dispute is right now, you know what I'm saying,

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Speaker 2: sit back, kick back, and relax, man, and we'll take

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Speaker 2: you through a little history. And y'all you know my

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Speaker 2: man one seven is in the building. Let me cut

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Speaker 2: my damn phone off.

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Speaker 3: So I'm gonna start it right off. Man, you know

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Speaker 3: I'm gonna jump eight. Tell me I like controversy, right,

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Speaker 3: It's not really controverse. It's just facts, man. Some people

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Speaker 3: think it's you know, telling the truth is dangerous, man.

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Speaker 3: The truth is a very dangerous thing nowadays, you know,

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Speaker 3: because you have so many people out here trying to rewrite.

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Speaker 1: History, history hustlers.

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Speaker 3: So then correct me at any point if I'm wrong.

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Speaker 1: Get it.

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Speaker 3: You are responsible man for creating a new production. Sound.

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Speaker 1: Yeah.

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Speaker 3: That took a lot of the OZ stuff. You know,

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Speaker 3: you y'all incorporated a lot of live instrumentation in yall music,

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Speaker 3: right you had, you know, of course, y'all that Hugs,

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Speaker 3: that Willie Hucks Lineax, that Willie Huck's bloodline, you know,

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Speaker 3: the Mac and several other great songs you know.

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Speaker 4: Rock Brown, Yeah, you know, yeah, you know my uncle,

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Speaker 4: my father, you know, they wrote for a lot of

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Speaker 4: the Motown stuff. So I grew up in it, like sonically,

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Speaker 4: you know, all I know is soul in my life

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Speaker 4: so far as far as that's concerned, you know. So

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Speaker 4: I had to integrate that and being a musician, I

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Speaker 4: had to integrate that into when we started developing Above

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Speaker 4: the Law because I was on you know, out of

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Speaker 4: the homies, I was the only one that was a

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Speaker 4: musician out of everybody. Everybody else was more like DJs

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Speaker 4: and rappers. I was like more than a musicians. So

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Speaker 4: I was my role was to do the music because

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Speaker 4: I knew the studio from Hella Young. So I was like,

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Speaker 4: that's like when you just do it. We didn't spend

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Speaker 4: our money and that that's how we created. That's how

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Speaker 4: we created that sound. You know what, a lot of

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Speaker 4: people don't know what we really created it to be

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Speaker 4: different than n W A when we came to the table,

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Speaker 4: it was like, Okay, how we gonna fit in?

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Speaker 1: You know, how we fit in?

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Speaker 4: We were talking about the same shit really, you know,

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Speaker 4: just the reality was going on in the hood, but

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Speaker 4: from a different perspective. So I always wanted to I

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Speaker 4: wanted to bring something different. The dop part about it

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Speaker 4: is that easy back to play, so he didn't have to.

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Speaker 4: He could have been like, well, let Dre do. But

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Speaker 4: I had actually developed a buzzer law before we got

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Speaker 4: the roofless.

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Speaker 3: Yeah, this is what I want to go back, man,

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Speaker 3: because y'all from different parts of the city. A lot

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Speaker 3: of people think the Pomona is the I E. But

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Speaker 3: Pomona is actually La Pomona is.

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Speaker 2: People get stopped, people get that confused, just the last

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Speaker 2: stop before you hit the I E. You know, and

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Speaker 2: a lot of people probably weren't too familiar with you know,

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Speaker 2: because back in the early you know, hip hop days,

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Speaker 2: I don't know, you know, where were you at, hutch

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Speaker 2: I know where I was when I first discovered hip

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Speaker 2: hop or street music. Well, for me, it was it

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Speaker 2: was it was listen. It was getting a hold of

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Speaker 2: one of Toddy t and Spades tapes. That's what turned

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Speaker 2: me on to street music. Now, before that, we used

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Speaker 2: to you know, my family is rooted in Mississippi, so

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Speaker 2: we used to take family reunion trips. And with Mississippi

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Speaker 2: being down south, I guess a little more closer to

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Speaker 2: the East Coast, my cousins had rap records. Now I'm

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Speaker 2: I'm eleven twelve, I never heard of rap music, you know,

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Speaker 2: Like I said, back in them days, I don't know

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Speaker 2: how it was. But out out here, nigga, all you

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Speaker 2: had was top forty Casey Cason and ship like that,

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Speaker 2: you know, Pat Benatar and Duran Duran right, it was

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Speaker 2: more euro pop exactly, or it was super dance. Hip

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Speaker 2: hop started coming, I guess in the form of techno

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Speaker 2: hop for you, the early night Dogg in the Wax.

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Speaker 2: Even before that, it was a lot of you right,

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Speaker 2: or or or or or the mixed dudes. You know,

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Speaker 2: we we we heard ship, you know, craft Work or

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Speaker 2: It's Time or Electric Siberian Knights, Electric Kingdom and ship

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Speaker 2: like that. That's yeah, definitely. So my first being turned

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Speaker 2: on the street music was being introduced to the Tide

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Speaker 2: Spade mixed master Ken tape. That's where I got my

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Speaker 2: first taste of niggas talking about, like you said, what

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Speaker 2: was going on? Because I was a young nigga trying

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Speaker 2: to gang bang there you go, you know, trying to

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Speaker 2: trying to indulge in the street activities me.

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Speaker 3: As as they to. You know what I noticed by

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Speaker 3: them coming from it was a lot more pimping going on.

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Speaker 3: It was like a more of a smoother player.

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Speaker 1: Like the biggest blade is, oh yeah, it's the biggest blade.

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Speaker 4: That's an international blade. Whole boulevard is the international blade.

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Speaker 4: So in the seventies that was that was huge going

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Speaker 4: on into the eighties. We grew up around all that

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Speaker 4: pimp and ship, but we hustling, so and you got

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Speaker 4: to realize, like our connection is Pomona, South Central and Compton.

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Speaker 4: It's that because we hustled, you know what I mean.

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Speaker 4: We was in the dope game, so we weren't allowed

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Speaker 4: to gang bang. Really, we was allowed to be from

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Speaker 4: a neighborhood. We was getting so much money in the eighties,

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Speaker 4: we went like our big home that was the mind state.

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Speaker 2: Y'all were y'all like, I mean, because that was that

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Speaker 2: was sort of like Todd, you give me Todd lived

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Speaker 2: in Track, New But I don't know if you really

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Speaker 2: want to say, Todd was like, I'm traged new get me.

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Speaker 2: But everyone in the hood knew him, and so he

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Speaker 2: got that that respect from a lot of the homies

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Speaker 2: like he knew like like he talking about niggas that

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Speaker 2: I was those were my ol g's, Like when I

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Speaker 2: was with brother and their old rector was a pop

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Speaker 2: locker and ship, like those are niggas. That to them

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Speaker 2: was bangers. Them was my old g bangers. So it

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Speaker 2: was sort of like in where you where you was

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Speaker 2: representing Pomona, What was that? What was the what was

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Speaker 2: the what was the outlook like? Or was it pimping?

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Speaker 2: Was it banging? Was it drugs? Of all three?

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Speaker 4: Because you got to realize back then pimping was really

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Speaker 4: huge and gang bang was at his all time high.

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Speaker 4: But then you got to realize it's the crack era

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Speaker 4: right when crack first hit. So ahead our city hard.

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Speaker 4: Our city is more like if you look at our city,

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Speaker 4: it's more industrial, it's more like warehouses. Back then general

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Speaker 4: dynamics with everybody, or when they was doing when they

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Speaker 4: opened the Ontario Airport, so a lot of people from

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Speaker 4: La moved out there for jobs. So most of us

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Speaker 4: are the kids of La people moving to Pomona. So

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Speaker 4: when we started growing up in it and the drugs came,

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Speaker 4: it kind of like tore that little city apart, like

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Speaker 4: it was a war zone basically because it was a

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Speaker 4: lot of money. There's a lot of money in the

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Speaker 4: eighties and Pomona like crazy money, you know.

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Speaker 3: And Yo was glowing because word on the street. Allegedly,

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Speaker 3: that's how y'all knew easy. Yeah, that's how we met.

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Speaker 3: That's how we all met. The connection is you know,

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Speaker 3: law lay law, rest in peace, go.

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Speaker 4: Mad and Big Am, which was our boss at the time,

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Speaker 4: like the head of our whole little thing, you know,

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Speaker 4: our whole little organization.

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Speaker 1: They knew easy.

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Speaker 4: So what they do we was we was making like

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Speaker 4: mixed tapes at the dope spot and was like, you know,

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Speaker 4: giving it to the homies, niggas jumping their low riders

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Speaker 4: and big ass trucks and rolling around bumping and ship

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Speaker 4: you know. Now, mind you we hustled with niggs from La.

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Speaker 4: We hustle when niggas will come all over, you know

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Speaker 4: what I mean, Because back then that's how it was.

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Speaker 4: You got a dope from the city, you go with

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Speaker 4: these other cities exactly know what I mean, That's how

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Speaker 4: it was. And it was that connection definitely, you know.

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Speaker 4: So what happened was they got they had a spot

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Speaker 4: that they it was. It was a front, it was

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Speaker 4: a it was a barber shop that was really a

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Speaker 4: trip house really or a crackhouse and you know, like

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Speaker 4: a Grand Citrus station where you come and get you work.

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Speaker 4: So they bumped it. They bumped it. The Homies was

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Speaker 4: a little homies. My brother Eve, they was out there

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Speaker 4: bumping it at the spot.

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Speaker 1: Law heard it. He said, give me that tape. It

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Speaker 1: was a demo living like hustlers.

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Speaker 4: He took it to Easy that was about to go

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Speaker 4: on straight out of Compton tour and he was like,

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Speaker 4: I'm anna signing niggas when I get back, tell them

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Speaker 4: niggas don't do nothing.

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Speaker 1: Mind you.

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Speaker 4: It's when we first we started getting out rhythm at

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Speaker 4: this time, like getting money. We get money, like I mean,

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Speaker 4: and now we're a little grown like we out of

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Speaker 4: that teenage phase like that young were probably like eighteen nineteen,

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Speaker 4: so we filling out that we.

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Speaker 2: Buying cars that world. Mentally, you can't tell me my challenge.

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Speaker 1: Yeah, we ain't listen to the big Homies and none

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Speaker 1: of that shit.

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Speaker 2: So so so Lauren Cube.

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Speaker 4: They was on the break, Lauren Cube came to one

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Speaker 4: of our parties. It was like, man, and they went

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Speaker 4: back and told Easy like, man, niggas out there tripping, Man,

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Speaker 4: niggas get money, the niggas wild, Man, they ain't listen

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Speaker 4: to none of nothing were talking about. Man, then we

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Speaker 4: can go crazy. The niggas might be locked up by

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Speaker 4: the time we get off tour. So Easy called me

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Speaker 4: and said, hey, Man, I see what you're doing out there.

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Speaker 1: Man, So how you know how? Motherfuckers told me Man,

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Speaker 1: you out there wild? Man, y'all out there wild.

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Speaker 4: And he said, how I'm gonna sign you motherfuckers if

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Speaker 4: you're gonna be in prison? Homie Like I can't. I

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Speaker 4: can't put no niggas out in jail. And I was

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Speaker 4: like he was like Man. I was like, well, you

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Speaker 4: gotta show me the bread because I'm making real money

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Speaker 4: right now in the game.

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Speaker 1: And the homies was like, man, what they gonna do.

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Speaker 4: So we go out on the camp and to and

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Speaker 4: we see everything, the whole lay out, all the money,

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Speaker 4: all that shit the road there.

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Speaker 1: Yeah, exactly.

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Speaker 4: So just he said, come out, let me show you,

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Speaker 4: said you want. He said, all right, little nigga, you

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Speaker 4: wanna talk that shit, come out here and see some

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Speaker 4: real money. So I go out and I saw some

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Speaker 4: real money, legitimate money. So we come back. We we

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Speaker 4: probably played maybe two three months, you know what I mean,

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Speaker 4: and we shut everything down.

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Speaker 1: They get off tour.

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Speaker 4: We did Living like Hustlers, and we already had a

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Speaker 4: lot of it done because we was taking our work

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Speaker 4: money and finishing the album myself. So by the time

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Speaker 4: they got off tour, I was like eighty ninety percent done.

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Speaker 1: You know.

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Speaker 4: All me and Dre did was bumped it up to

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Speaker 4: because I was doing them a little spots here there there,

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Speaker 4: you know, like that, and Dre me and Dre bumped

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Speaker 4: it up to a twenty four track with the audio

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Speaker 4: achievement and bumped him up, recut everything, mostly everything, and

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Speaker 4: then we did like three songs that we did. A

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Speaker 4: last song I want to say, we did Freedom was Speech,

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Speaker 4: and then we did this record called Kicking Lyrics.

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Speaker 1: Everything else was done already.

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Speaker 3: For the last song. Of course you did that because

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Speaker 3: back then the Ruthless had all the posty. Because I

293
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Speaker 3: was listening on the way here, Rion showed his ass

294
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Speaker 3: from that moment. Oh yeah, he was on their busting.

295
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Speaker 3: Rihan showed his ass on there the rin on them

296
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Speaker 3: Posse cuts dog. Rihan shows up and shows.

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Speaker 4: Him it was the coldest, you know, shout out to

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Speaker 4: the mc wren man. You know, emc wren is probably

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Speaker 4: one of the coldest MC's. It is that I witnessed.

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Speaker 4: Definitely that I witnessed what I witnessed him make records,

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Speaker 4: you know what I mean. Besides that, it was probably Doc,

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Speaker 4: but Wren is probably the you know. And it's crazy because,

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Speaker 4: you know what, we got the witness as some young

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Speaker 4: niggas coming up in you know, in the streets. We

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Speaker 4: got the witness like greatness on accident. Like for instance,

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Speaker 4: we didn't even know that shit was gonna work because

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Speaker 4: when we met them, it was still in the embryo

308
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Speaker 4: stages of it blowing up, like it hadn't blown yet.

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Speaker 4: It hadn't blown So when we first met them, it

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Speaker 4: hadn't blown up yet, you know what I mean. And

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Speaker 4: by the time we looked up that shit was worll known,

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Speaker 4: you know, like we didn't we didn't think we we

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Speaker 4: we knew fuck the police was a big record and

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Speaker 4: all that. But when you're looking at it from dope

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Speaker 4: man all the way up, like you're like, this ship

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Speaker 4: might not work.

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Speaker 1: And y'all gotta realize.

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Speaker 3: And you were there.

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Speaker 1: You were there. It's the late eighties. It could work

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Speaker 1: or not work, you know what I mean.

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Speaker 4: So that's why I tell everybody that that the Witness,

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Speaker 4: that ship is amazing, Like the Witness, everybody just coming up.

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Speaker 1: Yeah, music was.

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Speaker 2: Music hadn't taken that turn yet, not for us, not

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Speaker 2: for us as us in the West. It started turning

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Speaker 2: on the East coast. You know, like I said, you

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Speaker 2: went from you went from the the UTFO era, the

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Speaker 2: Riots and era, Big Daddy Kane, Biz Markie you know,

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Speaker 2: the run DMC, Beastie Boys era, and and then that's

330
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Speaker 2: came rock Kim. Yeah, that's came EPMD.

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Speaker 1: ME.

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Speaker 2: That's what changed a lot of how you know, we

333
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Speaker 2: started looking at rap right because rap was fun, right,

334
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Speaker 2: you know, it was fun. It was gimmicky, you know. Uh,

335
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Speaker 2: we had niggas like Young MC, tone Lok, you know,

336
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Speaker 2: wild Thang, everybody Wild Thang, you know that was that

337
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Speaker 2: was one of the you know, that was one of

338
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Speaker 2: the pop songs of all time.

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Speaker 3: You know, came it was soft as Mediicati cutting out.

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Speaker 4: Yeah, because I come on cause I think I think

341
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Speaker 4: we came from you know, W always say this, I

342
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Speaker 4: always say this them.

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Speaker 1: You know, the music is a reflection of the environment.

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Speaker 4: So I think the way we came out, when we

345
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Speaker 4: came out, when we all collectively came out, will that's

346
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Speaker 4: what we saw.

347
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Speaker 1: So we just rapped about it.

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Speaker 4: It wasn't really like it wasn't like a big you know,

349
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Speaker 4: it wasn't like a big jump. It's just they gravitated

350
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Speaker 4: to it. Because if you think about it, everybody everywhere

351
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Speaker 4: we went was going through that ship the reality of

352
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Speaker 4: the hood, you know what I mean. It wasn't about

353
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Speaker 4: dancing at that point, because it's you gotta realize. Were

354
00:18:11,760 --> 00:18:14,600
Speaker 4: talking about gang banging as all the time, all all

355
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Speaker 4: time high in the crack era.

356
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Speaker 2: But I I I took gang banging for what it was.

357
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Speaker 2: It was gang banging. I never thought that gang banging

358
00:18:25,640 --> 00:18:29,679
Speaker 2: and music would cross each other because I was gang

359
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Speaker 2: banging listening to Egyptian Lover. I was gang banging listening

360
00:18:34,640 --> 00:18:40,160
Speaker 2: to Young and See You get Me. Because Ryan Ryan.

361
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Speaker 4: Pays turned the corner too. That turned the corner for

362
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Speaker 4: us right when Ice dropped it because it was more reality.

363
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Speaker 2: Ice Ice Ice dropped six in the Morning and it started.

364
00:18:48,960 --> 00:18:53,680
Speaker 2: It started making nigga. Oh wow, nigga, we could talk

365
00:18:53,720 --> 00:18:57,840
Speaker 2: about you know. But then, like I said, we had Todd,

366
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Speaker 2: and Todd was motherfucker and create. Todd was already creating

367
00:19:03,720 --> 00:19:08,280
Speaker 2: what Ice Tea had put on records. See, Todd didn't

368
00:19:08,320 --> 00:19:12,200
Speaker 2: have the avenue of records yet Ice t did because

369
00:19:12,200 --> 00:19:16,440
Speaker 2: he was fucking with Unknown and Unknown had techno. How So,

370
00:19:16,600 --> 00:19:20,240
Speaker 2: even though Ice Tea had put out You Don't Quit,

371
00:19:20,760 --> 00:19:23,920
Speaker 2: which wasn't a street record, then he put out Dog

372
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Speaker 2: in the Wax, which wasn't a street record, Okay, but

373
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Speaker 2: being in La him seeing the scene listening to just

374
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Speaker 2: like Todd said, remember he's seen Ice Tea and all

375
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Speaker 2: of that niggas and they heard his tape. They knew

376
00:19:39,280 --> 00:19:42,720
Speaker 2: the direction you give me because Todd was like nigga,

377
00:19:43,760 --> 00:19:46,359
Speaker 2: remember he had that vision, Like fuck that what if

378
00:19:46,400 --> 00:19:46,840
Speaker 2: you think.

379
00:19:46,720 --> 00:19:49,040
Speaker 4: About the Better Ram, think about the Battle Ram, There's

380
00:19:49,119 --> 00:19:52,200
Speaker 4: no there's no other record that we can kind of say,

381
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Speaker 4: like I said, definitively, that's like the record that's like

382
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Speaker 4: our holy grail.

383
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Speaker 2: Really, yeah, that's what kicked it off.

384
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Speaker 1: Like that's kind of.

385
00:19:58,960 --> 00:20:01,240
Speaker 4: Like it like the record that was a record, and

386
00:20:02,760 --> 00:20:06,240
Speaker 4: so for us that was like, okay, that was everything

387
00:20:06,280 --> 00:20:08,400
Speaker 4: that we was going through at that moment. Like we're

388
00:20:08,400 --> 00:20:11,439
Speaker 4: talking about reality. I think that that spent that launched

389
00:20:11,480 --> 00:20:13,520
Speaker 4: the boys in the hood, that launched records.

390
00:20:13,280 --> 00:20:16,439
Speaker 1: Like right, because that's when it became more reality. My

391
00:20:16,480 --> 00:20:17,480
Speaker 1: nigga told the story.

392
00:20:17,560 --> 00:20:20,720
Speaker 2: Remember he was like he like, and then we got

393
00:20:20,800 --> 00:20:24,120
Speaker 2: it before it even hit the record, like we got

394
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Speaker 2: it on a TDK tape where he was busting off

395
00:20:27,440 --> 00:20:31,600
Speaker 2: of he would busting off of the original battle round

396
00:20:31,720 --> 00:20:35,639
Speaker 2: was off the rapping Duke. And remember he turned around

397
00:20:35,680 --> 00:20:40,360
Speaker 2: and flipped, he flipped Houdini, the motherfucking the freaks come out,

398
00:20:40,359 --> 00:20:44,640
Speaker 2: the clucks come out at night, and then motherfucking clucking

399
00:20:44,680 --> 00:20:48,679
Speaker 2: got you busted. And then he turned us like damn

400
00:20:48,960 --> 00:20:52,159
Speaker 2: because that's what ship with Niggas was already seeing. But

401
00:20:52,520 --> 00:20:56,240
Speaker 2: I didn't know that it was possible to do that shit.

402
00:20:56,720 --> 00:21:00,159
Speaker 2: You get because from what you've been hearing on the

403
00:21:00,280 --> 00:21:05,000
Speaker 2: radio and from at the high school dances and the DJs, like,

404
00:21:05,280 --> 00:21:06,560
Speaker 2: don't nobody got no shit.

405
00:21:06,520 --> 00:21:07,280
Speaker 3: Like this real?

406
00:21:07,480 --> 00:21:09,200
Speaker 1: You know, you know what was crazy? What was crazy

407
00:21:09,200 --> 00:21:10,000
Speaker 1: about what you're saying?

408
00:21:10,520 --> 00:21:13,760
Speaker 4: If you think about Easy like you think about Easy, right,

409
00:21:13,760 --> 00:21:15,960
Speaker 4: you think about what Easy did. Easy looked at what

410
00:21:16,040 --> 00:21:20,280
Speaker 4: todden was doing, and he turned it into more of

411
00:21:20,920 --> 00:21:23,720
Speaker 4: a commercial street. And I don't mean commercial in a

412
00:21:23,720 --> 00:21:27,080
Speaker 4: bad way. I mean like, no, it's what he did.

413
00:21:27,160 --> 00:21:29,800
Speaker 4: What he did is he said okay. And I could

414
00:21:29,800 --> 00:21:32,720
Speaker 4: see Eric's vision now after the fact because he said okay.

415
00:21:32,760 --> 00:21:35,919
Speaker 4: He said, look, okay, if we're talking about it, let's

416
00:21:36,160 --> 00:21:40,879
Speaker 4: dress it up like it came with the whole program.

417
00:21:40,960 --> 00:21:42,840
Speaker 4: He didn't just come with the song. He came with

418
00:21:42,880 --> 00:21:45,520
Speaker 4: the look, all the image, everything.

419
00:21:45,680 --> 00:21:47,280
Speaker 1: You know. He brought that shit to life. That had

420
00:21:47,280 --> 00:21:47,760
Speaker 1: a vision.

421
00:21:48,040 --> 00:21:53,119
Speaker 4: And I think what's dope is what Toddenham did is

422
00:21:53,160 --> 00:21:56,680
Speaker 4: that they gave us a blueprint to like the reality

423
00:21:56,720 --> 00:21:59,240
Speaker 4: of it, but Easy put.

424
00:21:59,080 --> 00:22:02,800
Speaker 2: It into more easy. Easy was an Easy was a

425
00:22:03,000 --> 00:22:07,080
Speaker 2: He was a dope dealer. Get me Todd Niam wasn't

426
00:22:07,520 --> 00:22:11,639
Speaker 2: remember Todd was like nigga. I never planned on making record.

427
00:22:12,440 --> 00:22:15,439
Speaker 2: I just wanted to make a better tape than the

428
00:22:15,520 --> 00:22:16,800
Speaker 2: nigga across the street.

429
00:22:17,440 --> 00:22:17,600
Speaker 1: Right.

430
00:22:18,160 --> 00:22:21,480
Speaker 2: Spade was making the tapes. Remember, like he said, Spade

431
00:22:21,600 --> 00:22:24,920
Speaker 2: was taking all his wraps from other niggas and putting

432
00:22:24,960 --> 00:22:28,240
Speaker 2: them on tapes and selling them right, and they were

433
00:22:28,320 --> 00:22:33,160
Speaker 2: going so good. Todd's vision was never nigga, I want

434
00:22:33,160 --> 00:22:36,640
Speaker 2: to make a record niggas and sell platinum or like

435
00:22:36,720 --> 00:22:37,720
Speaker 2: that's I'm gonna.

436
00:22:37,520 --> 00:22:39,720
Speaker 1: Tell you something. But that wasn't even his vision. No,

437
00:22:40,280 --> 00:22:43,000
Speaker 1: that wasn't even easy vision. Easy just had the vision

438
00:22:43,040 --> 00:22:47,680
Speaker 1: to wear this could be bigger than just the hood because.

439
00:22:47,359 --> 00:22:49,440
Speaker 4: Nobody was a lot of us. None of us was

440
00:22:49,520 --> 00:22:51,280
Speaker 4: thinking and platinum or goals.

441
00:22:51,640 --> 00:22:54,760
Speaker 2: No, but it was really easy got to easy, got

442
00:22:54,760 --> 00:22:58,680
Speaker 2: to rub shoulders with these motherfuckers who were putting out

443
00:22:58,720 --> 00:23:04,480
Speaker 2: these cheesy records. Right, hit me, I'm a hustler if

444
00:23:04,560 --> 00:23:08,800
Speaker 2: I turned around, because let's just I don't know what

445
00:23:08,840 --> 00:23:10,600
Speaker 2: the fuck boys in the hood gonna.

446
00:23:10,359 --> 00:23:11,639
Speaker 1: Do, right exactly.

447
00:23:11,720 --> 00:23:14,160
Speaker 2: I'm not no rapp. Remember Todd says seeing the nigga

448
00:23:14,200 --> 00:23:16,240
Speaker 2: coming out of Lonzo's and he like, nigga, what the

449
00:23:16,280 --> 00:23:19,440
Speaker 2: fuck you doing over here? Or they got me rapping? Now, nigga,

450
00:23:19,480 --> 00:23:21,760
Speaker 2: you're not a rapper, you're fucking drug Then you're a

451
00:23:21,840 --> 00:23:26,280
Speaker 2: hustler that the hood, Like he knew, I don't know

452
00:23:26,320 --> 00:23:28,560
Speaker 2: what the fuck. But once boys in the hood hit

453
00:23:28,720 --> 00:23:33,200
Speaker 2: that's right, Once it hit that ship, took off like WildFly.

454
00:23:33,320 --> 00:23:34,960
Speaker 1: I will agree with you on one thing. Hey, he

455
00:23:35,080 --> 00:23:36,160
Speaker 1: thowt like a drug dealer.

456
00:23:36,200 --> 00:23:40,640
Speaker 4: He got because when everything started left collectively popping, he

457
00:23:40,720 --> 00:23:41,440
Speaker 4: looked at it like.

458
00:23:41,480 --> 00:23:44,280
Speaker 1: Modope, mo money and come on, that's that's the way

459
00:23:44,320 --> 00:23:51,200
Speaker 1: he look at it. Let me go ahead because I

460
00:23:51,200 --> 00:23:52,160
Speaker 1: won't say what he did.

461
00:23:52,320 --> 00:23:54,920
Speaker 3: Yeah, I'm sorry for colling. I gotta get it for

462
00:23:55,040 --> 00:23:57,919
Speaker 3: I forget. Now you seeing something you see some of

463
00:23:57,960 --> 00:24:01,320
Speaker 3: above love or some content some members of the I was.

464
00:24:01,280 --> 00:24:04,080
Speaker 1: Saying we connected with them, but see it's you gotta realize,

465
00:24:04,119 --> 00:24:05,359
Speaker 1: go Mack. He from South Central.

466
00:24:06,240 --> 00:24:09,639
Speaker 4: So in the in our clique, a lot of people

467
00:24:09,680 --> 00:24:13,040
Speaker 4: in our clickers from South Central and the cats is

468
00:24:13,040 --> 00:24:15,320
Speaker 4: in South Central got money with niggas from Compton.

469
00:24:15,400 --> 00:24:16,320
Speaker 1: So it was that connection.

470
00:24:16,440 --> 00:24:20,400
Speaker 4: So that's that whole connection, you know, And that's how

471
00:24:20,400 --> 00:24:22,240
Speaker 4: we collectively all plugged up together.

472
00:24:22,920 --> 00:24:26,240
Speaker 1: That connection. So you Pomona, Yeah, we was out in Pomona.

473
00:24:26,440 --> 00:24:29,199
Speaker 1: So so half of us is you gotta realize that.

474
00:24:29,320 --> 00:24:32,679
Speaker 4: Me camg rest in Peace and my brother Djao, we're

475
00:24:32,680 --> 00:24:36,119
Speaker 4: from Pomona. But we go and then the rest of

476
00:24:36,119 --> 00:24:39,399
Speaker 4: our clique like my my, my, my other brother. Won't

477
00:24:39,720 --> 00:24:42,320
Speaker 4: my brother a are from South Central, so half of

478
00:24:42,320 --> 00:24:45,160
Speaker 4: our clickers from South Central and the other half from Pomona.

479
00:24:45,280 --> 00:24:50,320
Speaker 3: Okay. So originally in the at year in the Bah

480
00:24:50,320 --> 00:24:52,639
Speaker 3: the Law, it was cocaine, right.

481
00:24:52,560 --> 00:24:55,680
Speaker 1: Well that's later cocaine. I bought cocaine to the table.

482
00:24:55,760 --> 00:24:55,920
Speaker 3: Yeah.

483
00:24:56,280 --> 00:25:02,840
Speaker 2: Later that it was gold Man Chaos one A seven,

484
00:25:03,320 --> 00:25:05,399
Speaker 2: and then KMG that was yeah.

485
00:25:05,320 --> 00:25:08,280
Speaker 4: Four, and then there's two more cats and I clicked,

486
00:25:08,320 --> 00:25:09,600
Speaker 4: but all of us because it used to be the

487
00:25:09,680 --> 00:25:11,720
Speaker 4: Ranch Boy. It used to be two clicks, to be

488
00:25:11,760 --> 00:25:13,760
Speaker 4: two dope clicks. It was the Ranch Boys and the

489
00:25:13,960 --> 00:25:17,760
Speaker 4: HBC so come from Yeah, that's where it comes from.

490
00:25:18,160 --> 00:25:20,879
Speaker 4: But we put both clicks together and created.

491
00:25:20,520 --> 00:25:22,200
Speaker 1: Above the Law. Okay, I got that's what I wanted

492
00:25:22,200 --> 00:25:26,680
Speaker 1: to cruise that. Remember everybody had dope cruise Oh yeah, yeah, yeah,

493
00:25:26,760 --> 00:25:27,400
Speaker 1: the Enterprise.

494
00:25:27,560 --> 00:25:29,639
Speaker 4: We had our shoe you know what I mean. But

495
00:25:29,760 --> 00:25:31,760
Speaker 4: we was a young thing of all of that. We

496
00:25:31,760 --> 00:25:34,560
Speaker 4: was a young about y'all. And I want to confirm

497
00:25:34,560 --> 00:25:37,120
Speaker 4: it to that, so you can you know, I'm gonna

498
00:25:37,160 --> 00:25:39,440
Speaker 4: ask you some ship man, so it's all good. It's

499
00:25:39,480 --> 00:25:41,720
Speaker 4: a leged MANX. Y'all got a lot of equipment because

500
00:25:41,760 --> 00:25:42,560
Speaker 4: y'all had that O G.

501
00:25:42,800 --> 00:25:45,080
Speaker 3: Sound right, y'all was able to get them real funk

502
00:25:45,200 --> 00:25:48,600
Speaker 3: sounds right. Yeah, dude, Ike Turner said, did y'all buy

503
00:25:48,680 --> 00:25:50,159
Speaker 3: Ike Turner's equipment when he was smoking?

504
00:25:50,359 --> 00:25:54,119
Speaker 4: Turner used to buy dope from us, and we bought

505
00:25:54,600 --> 00:25:57,400
Speaker 4: like half of his studio when we was like seventeen

506
00:25:57,480 --> 00:25:59,320
Speaker 4: years old. He used to come. He brought all that

507
00:25:59,359 --> 00:26:01,720
Speaker 4: shit because his house. We had a spot in North

508
00:26:01,720 --> 00:26:04,640
Speaker 4: side Pomona. If y'all know Norse Side Pomoa's a borderline

509
00:26:04,640 --> 00:26:07,159
Speaker 4: of a city called Clarimont. Yes, right, I turned to

510
00:26:07,359 --> 00:26:09,639
Speaker 4: a house in Clarimont. It needs to come down. He

511
00:26:09,640 --> 00:26:11,480
Speaker 4: didn't want to go all through Pomona, so he just

512
00:26:11,560 --> 00:26:14,560
Speaker 4: hit our spot and like man, what man? He would

513
00:26:14,600 --> 00:26:18,840
Speaker 4: come upon his bass pianos, all that ship, everything over

514
00:26:18,880 --> 00:26:19,600
Speaker 4: half his studio.

515
00:26:19,920 --> 00:26:22,240
Speaker 2: Oh No, Crack was a motherfucker man, And I heard that.

516
00:26:22,400 --> 00:26:25,440
Speaker 2: I heard that on the Man. Crack was a motherfucker nigga.

517
00:26:25,480 --> 00:26:25,880
Speaker 1: Crack Hot.

518
00:26:25,920 --> 00:26:28,600
Speaker 2: You taking your motherfucking baby grant and give it to

519
00:26:28,640 --> 00:26:29,960
Speaker 2: a nigga for fifty dollars.

520
00:26:33,160 --> 00:26:38,639
Speaker 1: It ain't gonna come back. But that's why they want to.

521
00:26:38,680 --> 00:26:40,679
Speaker 2: They want to cut that deal because they wanted to

522
00:26:40,720 --> 00:26:42,600
Speaker 2: make you think no, I don't need that much, my

523
00:26:43,080 --> 00:26:45,440
Speaker 2: young brother. Just give me a little fifty or double

524
00:26:45,520 --> 00:26:47,320
Speaker 2: leuve or something, because they won't make you think they

525
00:26:47,400 --> 00:26:49,359
Speaker 2: coming back for it. But Nigga ain't coming back for

526
00:26:49,680 --> 00:26:51,720
Speaker 2: He coming back selling some motions.

527
00:26:51,400 --> 00:26:53,320
Speaker 1: The next thing, exactly the next time he came coming

528
00:26:53,359 --> 00:26:55,160
Speaker 1: back motion else.

529
00:26:55,240 --> 00:26:58,680
Speaker 3: Let me ask you, y'all have some hell of equipment

530
00:26:59,200 --> 00:27:04,800
Speaker 3: with songs? Did y'all make white turners? Living like us

531
00:27:04,920 --> 00:27:06,600
Speaker 3: is the whole thing because you living like us in

532
00:27:06,640 --> 00:27:09,439
Speaker 3: a do spot. That's all that we wrote that record

533
00:27:09,440 --> 00:27:11,679
Speaker 3: in the Dope Spot.

534
00:27:12,480 --> 00:27:14,520
Speaker 1: Show. All that ship you heard on the first album

535
00:27:14,600 --> 00:27:15,160
Speaker 1: is wrote.

536
00:27:15,240 --> 00:27:16,639
Speaker 2: My ship was flow on me.

537
00:27:16,920 --> 00:27:19,080
Speaker 1: That was one. Yeah, that was my ship.

538
00:27:19,600 --> 00:27:22,920
Speaker 3: You and Cam she had a certain tone to itself,

539
00:27:23,000 --> 00:27:26,320
Speaker 3: man to where you know it was it.

540
00:27:26,200 --> 00:27:30,680
Speaker 2: Was you had they had to me. They had the

541
00:27:31,320 --> 00:27:34,080
Speaker 2: distinctive New York because you know a lot of New

542
00:27:34,160 --> 00:27:37,240
Speaker 2: York niggas would go switch up back and forth, and

543
00:27:37,960 --> 00:27:40,680
Speaker 2: they would go back and forth. That was something that

544
00:27:40,760 --> 00:27:44,200
Speaker 2: me and the Chill appreciated being groups back there because

545
00:27:44,200 --> 00:27:47,280
Speaker 2: you know, everybody started off with the groups and Ship.

546
00:27:47,480 --> 00:27:50,119
Speaker 4: Knew us before we got down us when we was

547
00:27:50,160 --> 00:27:52,520
Speaker 4: in We all met each other in high school We

548
00:27:52,560 --> 00:27:54,320
Speaker 4: used to go to this, it's out here in Clarimont.

549
00:27:54,320 --> 00:27:56,000
Speaker 1: We should go to that. It was the battle on

550
00:27:56,040 --> 00:27:58,640
Speaker 1: that on that remember that that college station. Oh yeah, yeah,

551
00:27:58,680 --> 00:28:00,320
Speaker 1: yeah yeah, Biggs.

552
00:28:00,840 --> 00:28:01,960
Speaker 3: Yeah, chill.

553
00:28:02,080 --> 00:28:04,639
Speaker 2: We used to come all battle on there. Yeah, the

554
00:28:04,640 --> 00:28:06,919
Speaker 2: battle snoop. I used to battle a lot of niggas.

555
00:28:06,920 --> 00:28:10,440
Speaker 2: I was a battle rapper in my in my beginning stages.

556
00:28:11,200 --> 00:28:13,520
Speaker 4: But then everybody grew up. Where you got the everybody

557
00:28:13,560 --> 00:28:15,400
Speaker 4: you got a little older and start selling dope.

558
00:28:15,480 --> 00:28:17,679
Speaker 2: That's where you got the m C from. Because I

559
00:28:17,840 --> 00:28:21,840
Speaker 2: just I considered myself to be a true just MC

560
00:28:22,359 --> 00:28:24,880
Speaker 2: even though I was calmmed in and tragnew and all

561
00:28:24,920 --> 00:28:27,480
Speaker 2: of that. I got a lot of my influence from

562
00:28:27,520 --> 00:28:28,879
Speaker 2: New York, you get me.

563
00:28:29,080 --> 00:28:31,480
Speaker 1: So we didn't have a choice. So exactly that one.

564
00:28:31,680 --> 00:28:34,439
Speaker 3: Knows to the college station and just bus, oh.

565
00:28:34,320 --> 00:28:36,880
Speaker 4: Yeah that we just you could call in, you could

566
00:28:36,960 --> 00:28:39,080
Speaker 4: call in from you just pull out there and call

567
00:28:39,120 --> 00:28:41,120
Speaker 4: in and say, hey, I want to get in. And

568
00:28:41,160 --> 00:28:43,960
Speaker 4: it's the Dust Brothers. The Dust Brothers who they was

569
00:28:44,000 --> 00:28:46,000
Speaker 4: in college at the time, the Dust Brothers who produced

570
00:28:46,040 --> 00:28:49,560
Speaker 4: some Bacie Boys. They used to run the show. They

571
00:28:49,640 --> 00:28:51,320
Speaker 4: was in college at the time, and they just if

572
00:28:51,360 --> 00:28:51,760
Speaker 4: you if.

573
00:28:51,680 --> 00:28:54,000
Speaker 1: You could get up there, you get you call in,

574
00:28:54,160 --> 00:28:56,280
Speaker 1: when you go to the door, you call it, I want.

575
00:28:56,080 --> 00:28:58,120
Speaker 4: To get in, woo whoop, and they'll just let you in.

576
00:28:58,720 --> 00:29:00,960
Speaker 4: And then you get out on there and you bus.

577
00:29:01,160 --> 00:29:04,719
Speaker 3: This you know this doue. Yeah, yeah, y'all had some

578
00:29:04,760 --> 00:29:07,120
Speaker 3: mother cats. Like when did y'all win because y'all had

579
00:29:07,160 --> 00:29:08,240
Speaker 3: Snoop and Warren first?

580
00:29:08,360 --> 00:29:12,440
Speaker 4: Yeah, yeah, Snoop, well Warren, you know we had Warren first.

581
00:29:13,040 --> 00:29:16,600
Speaker 4: You know, Warren was studying under me as a producer.

582
00:29:17,360 --> 00:29:19,400
Speaker 4: He used to always be talking about this kid, Snoop Dogg,

583
00:29:19,440 --> 00:29:21,640
Speaker 4: Snoop Dogg, Snoop Dogg. When when he come back out

584
00:29:21,640 --> 00:29:24,320
Speaker 4: of it, I think Snoop was in Mississippi somewhere. He

585
00:29:24,480 --> 00:29:26,160
Speaker 4: was somewhere, and then he came back and he bought

586
00:29:26,200 --> 00:29:28,440
Speaker 4: him right to me. And then Nate got out the

587
00:29:28,480 --> 00:29:31,360
Speaker 4: military and he came. That was originally two one three

588
00:29:31,680 --> 00:29:33,800
Speaker 4: we had him, but that's when we was at Ruthless.

589
00:29:34,080 --> 00:29:36,360
Speaker 4: They would have been on Ruthless, you know, so.

590
00:29:36,360 --> 00:29:38,880
Speaker 3: Y'all was giving them up to go get them signed over.

591
00:29:38,720 --> 00:29:40,360
Speaker 4: It, Well, they would have been signed to us. They

592
00:29:40,360 --> 00:29:42,600
Speaker 4: would have been yo. Because you got to realize above

593
00:29:42,640 --> 00:29:45,360
Speaker 4: the law. We were our own thing at Ruthless. We

594
00:29:45,480 --> 00:29:48,960
Speaker 4: never operated up under like Dre or Easy Another. We

595
00:29:48,960 --> 00:29:51,480
Speaker 4: was our own thing. We had our own studio. We

596
00:29:51,560 --> 00:29:53,760
Speaker 4: had you know, if you came over there, it's like

597
00:29:53,840 --> 00:29:56,400
Speaker 4: a label within a label. If you came over to

598
00:29:56,400 --> 00:30:00,360
Speaker 4: our spot, it was like that, you know, out out

599
00:30:00,360 --> 00:30:02,400
Speaker 4: shout out to Bark Palladino, you know what said the

600
00:30:02,520 --> 00:30:05,320
Speaker 4: Eds recording studio. Yeah, and then shout out to Donovan,

601
00:30:05,720 --> 00:30:10,920
Speaker 4: you know, out of your achievement. But when Snooping them

602
00:30:10,920 --> 00:30:12,959
Speaker 4: came around, all Snoop used to do is just sit

603
00:30:12,960 --> 00:30:13,960
Speaker 4: in the corner and freestyle.

604
00:30:15,400 --> 00:30:16,720
Speaker 1: And I was like, that kid got it.

605
00:30:16,880 --> 00:30:20,680
Speaker 4: So finally we was gonna put him on and I

606
00:30:20,680 --> 00:30:24,800
Speaker 4: guess Dre got a tape that they did, and Dre

607
00:30:24,920 --> 00:30:27,720
Speaker 4: pulls up on me and he said, yeah, I heard

608
00:30:27,720 --> 00:30:28,040
Speaker 4: this tape.

609
00:30:28,080 --> 00:30:29,360
Speaker 1: I heard you got this kid, Snoop.

610
00:30:29,640 --> 00:30:31,600
Speaker 4: But I want to do something with him, you know,

611
00:30:31,720 --> 00:30:34,160
Speaker 4: at the time we was about to break camp, like

612
00:30:34,200 --> 00:30:35,800
Speaker 4: he was like, I'm you know, I'm I'm gonna do.

613
00:30:35,720 --> 00:30:38,000
Speaker 1: This thing with sug and I want, you know, I

614
00:30:37,960 --> 00:30:38,360
Speaker 1: want to.

615
00:30:38,320 --> 00:30:40,040
Speaker 4: See if I can sign this kid, if that's cool

616
00:30:40,040 --> 00:30:42,800
Speaker 4: with you, Because I had him under me at the time,

617
00:30:43,360 --> 00:30:45,560
Speaker 4: I said, no problem do hard y'a might as well

618
00:30:45,600 --> 00:30:47,440
Speaker 4: do it because we was kind of stuck in the

619
00:30:47,480 --> 00:30:48,600
Speaker 4: contract we couldn't do.

620
00:30:48,800 --> 00:30:49,040
Speaker 1: See.

621
00:30:49,080 --> 00:30:52,040
Speaker 4: The story that people don't know about when we had

622
00:30:52,160 --> 00:30:54,800
Speaker 4: had two one three is that it's at the same

623
00:30:54,840 --> 00:30:58,000
Speaker 4: time the NWA broke up and the Click split, but

624
00:30:58,320 --> 00:31:01,520
Speaker 4: we were gonna go to death Row too because none

625
00:31:01,560 --> 00:31:03,440
Speaker 4: of us wanted to be under Jerry Heller no more.

626
00:31:03,800 --> 00:31:05,360
Speaker 4: Had none to do with Easy really.

627
00:31:05,160 --> 00:31:08,480
Speaker 3: So everybody was bouncing because Jerry, right, yeah, that's real

628
00:31:08,560 --> 00:31:09,280
Speaker 3: talk like that.

629
00:31:09,400 --> 00:31:11,440
Speaker 4: You know, I'm giving you some real I'm giving you

630
00:31:11,440 --> 00:31:15,400
Speaker 4: some real food right now. So since we couldn't since

631
00:31:15,400 --> 00:31:17,280
Speaker 4: we couldn't leave, I was like, well, shit, I want

632
00:31:17,280 --> 00:31:19,840
Speaker 4: to hold them up. So we stayed and you know,

633
00:31:20,400 --> 00:31:23,640
Speaker 4: stayed with Easy because contractually we couldn't leave Above Law.

634
00:31:23,680 --> 00:31:26,200
Speaker 4: Cocaine couldn't leave at the time, so it was we

635
00:31:26,200 --> 00:31:29,080
Speaker 4: was in a fresh contract because my contract when I

636
00:31:29,160 --> 00:31:33,360
Speaker 4: when I signed to Ruthless Sony, which is Ruthless Epic,

637
00:31:33,640 --> 00:31:34,840
Speaker 4: was over Epic.

638
00:31:35,880 --> 00:31:37,920
Speaker 1: I took Cocaine there. He was.

639
00:31:38,160 --> 00:31:40,800
Speaker 4: It was the other artist that I brought because it

640
00:31:40,880 --> 00:31:43,360
Speaker 4: was a three album Dealer was Above the Law, Pop, Broken,

641
00:31:43,400 --> 00:31:47,400
Speaker 4: Lonely and then Cocaine was above the law two unnamed groups.

642
00:31:47,680 --> 00:31:50,440
Speaker 4: And then remember and I feel that Slot and dra

643
00:31:50,600 --> 00:31:54,760
Speaker 4: Ball Poor Broken Lonely there our artist year, so that

644
00:31:54,840 --> 00:31:59,280
Speaker 4: we bought with that deal, but ours was a newer deal.

645
00:32:00,080 --> 00:32:04,120
Speaker 4: So Pop Broken Lonely got stuck there and they were

646
00:32:04,160 --> 00:32:07,840
Speaker 4: allowed to go on and start death Row. We had

647
00:32:07,880 --> 00:32:10,880
Speaker 4: to stay. So that that's how it broke up. And

648
00:32:10,880 --> 00:32:14,560
Speaker 4: then and then we didn't we didn't have Snoop. We

649
00:32:14,560 --> 00:32:16,640
Speaker 4: were just developing Snoop. We didn't have him like under

650
00:32:16,680 --> 00:32:19,120
Speaker 4: paperwork like that was more of a development thing, that's

651
00:32:19,120 --> 00:32:21,440
Speaker 4: trying to find the sound. And and then we had

652
00:32:22,000 --> 00:32:24,840
Speaker 4: Miss Kelo, we had Cocaine. Well, Cocaine was really the

653
00:32:24,840 --> 00:32:26,240
Speaker 4: person that was in the chair at the time.

654
00:32:26,360 --> 00:32:29,720
Speaker 2: What y'all find from She was hard as fucking that's

655
00:32:29,760 --> 00:32:32,720
Speaker 2: a little homegirl. Was hard as a mother, fall all

656
00:32:32,760 --> 00:32:36,320
Speaker 2: over a home that was my ship. You don't even

657
00:32:36,360 --> 00:32:39,680
Speaker 2: rapping up like you don't know that cut nigga all

658
00:32:39,720 --> 00:32:43,440
Speaker 2: over ho on the Minister Society soundtrack, all.

659
00:32:43,240 --> 00:32:45,200
Speaker 1: Over say she a female me?

660
00:32:45,400 --> 00:32:47,240
Speaker 2: That motherfucker was hard at fun?

661
00:32:47,400 --> 00:32:49,480
Speaker 3: Did she go un the rufless?

662
00:32:49,800 --> 00:32:50,440
Speaker 1: We did well?

663
00:32:50,480 --> 00:32:54,000
Speaker 4: We signed her the jive and uh we did a

664
00:32:54,040 --> 00:32:57,560
Speaker 4: record on her and then she got sick. She got

665
00:32:57,600 --> 00:33:00,000
Speaker 4: see she had kidney failure or something, and then she recovered.

666
00:33:00,480 --> 00:33:02,520
Speaker 4: But then once she recovered, she didn't really want to

667
00:33:02,560 --> 00:33:03,080
Speaker 4: do it no more.

668
00:33:03,120 --> 00:33:03,840
Speaker 1: She got married.

669
00:33:05,000 --> 00:33:07,160
Speaker 3: And that's what happened with females usual. That's why it's

670
00:33:07,160 --> 00:33:09,000
Speaker 3: hard with female artists. They have a kid, they want

671
00:33:09,000 --> 00:33:10,920
Speaker 3: to focus on their kids, and you go, yeah, you

672
00:33:10,920 --> 00:33:12,040
Speaker 3: know what they're supposed to do.

673
00:33:12,120 --> 00:33:14,320
Speaker 4: She was amazing, she and she I talked to her

674
00:33:15,720 --> 00:33:17,920
Speaker 4: once a week. She's amazing though, she's she has a

675
00:33:17,960 --> 00:33:21,080
Speaker 4: great life and you know, but she was incredible. And

676
00:33:21,680 --> 00:33:26,760
Speaker 4: the thing is, like, like I say about was that

677
00:33:26,960 --> 00:33:28,720
Speaker 4: we all knew that Snoop would be Snoop.

678
00:33:29,320 --> 00:33:31,640
Speaker 1: To be honest, That's why I couldn't be a hater.

679
00:33:31,760 --> 00:33:32,360
Speaker 1: I couldn't be.

680
00:33:32,400 --> 00:33:34,840
Speaker 3: Let's talk about the business, because it is a business

681
00:33:34,880 --> 00:33:38,640
Speaker 3: behind it. You could have theoretically said, hey, Drake, you

682
00:33:38,680 --> 00:33:40,160
Speaker 3: know what, I'm gonna let him go, but I gotta

683
00:33:40,200 --> 00:33:42,800
Speaker 3: have a piece of that. Yeah, you know I've done

684
00:33:42,840 --> 00:33:45,800
Speaker 3: this and that so I feel you know, do this. Yeah,

685
00:33:46,000 --> 00:33:47,240
Speaker 3: you could have done it if you want to, and

686
00:33:47,280 --> 00:33:48,480
Speaker 3: you just so you just would have.

687
00:33:48,440 --> 00:33:51,200
Speaker 1: Just killed game because me and Dre like this, you know,

688
00:33:51,600 --> 00:33:52,920
Speaker 1: and Drake would have followed my.

689
00:33:52,840 --> 00:33:56,760
Speaker 2: Play, well you offered any production on his project when

690
00:33:56,800 --> 00:33:58,160
Speaker 2: they were starting to work on it.

691
00:33:58,240 --> 00:34:01,640
Speaker 1: No, you know why because we split.

692
00:34:01,840 --> 00:34:04,160
Speaker 2: Right at that time the Ruthless Death Row.

693
00:34:04,400 --> 00:34:09,399
Speaker 1: Yeah, exactly. Yeah, even though we even though we did

694
00:34:09,520 --> 00:34:11,000
Speaker 1: work on the deep.

695
00:34:10,840 --> 00:34:13,400
Speaker 4: Cover soundtrack, because I got a record with Cocaine on

696
00:34:13,440 --> 00:34:16,680
Speaker 4: that I produced, and I was gonna produce. I was

697
00:34:16,719 --> 00:34:20,560
Speaker 4: gonna be on deep Cover. That's why they emulate me

698
00:34:20,600 --> 00:34:24,320
Speaker 4: on that. It's one eight seven that's undercover of cop.

699
00:34:24,200 --> 00:34:26,799
Speaker 3: I was you seeing that on them?

700
00:34:27,040 --> 00:34:28,880
Speaker 1: Yeah, that's that's that's why they did it like that.

701
00:34:29,040 --> 00:34:29,759
Speaker 1: I'm on the line.

702
00:34:30,120 --> 00:34:33,200
Speaker 4: I'm on the Somebody said they seen some notes that

703
00:34:33,239 --> 00:34:37,279
Speaker 4: they turned into that I was on it, like featuring me,

704
00:34:37,640 --> 00:34:38,440
Speaker 4: Snoop and Dre.

705
00:34:39,160 --> 00:34:41,440
Speaker 1: You know, they seen the notes from the studio.

706
00:34:43,000 --> 00:34:46,759
Speaker 4: But it's crazy because if that would have happened, the

707
00:34:46,840 --> 00:34:49,919
Speaker 4: vision that sug had for me and Dre was more

708
00:34:50,040 --> 00:34:52,600
Speaker 4: like Jimmy jam and Terry Lewis at hip hop.

709
00:34:52,960 --> 00:34:55,719
Speaker 1: That was his vision. You know, we wasn't thinking like that.

710
00:34:55,800 --> 00:34:57,480
Speaker 4: We was just thinking about getting because you know, I

711
00:34:57,560 --> 00:35:00,319
Speaker 4: studied under Dre for like two years almost too ears,

712
00:35:00,760 --> 00:35:03,160
Speaker 4: you know, just just making record, learn how to make

713
00:35:03,160 --> 00:35:03,439
Speaker 4: it back.

714
00:35:03,520 --> 00:35:06,240
Speaker 3: You learned the sonics from Dre. What is the biggest

715
00:35:06,239 --> 00:35:07,440
Speaker 3: pickup you think you got from Dre?

716
00:35:09,520 --> 00:35:13,839
Speaker 4: I would say probably it's two things. He always told

717
00:35:13,880 --> 00:35:17,000
Speaker 4: me keep it simple. And he always told me like,

718
00:35:17,440 --> 00:35:23,880
Speaker 4: if you have a complex idea, always know what's the

719
00:35:23,880 --> 00:35:27,360
Speaker 4: most important thing as you as you layarn it, you

720
00:35:27,400 --> 00:35:29,480
Speaker 4: know what I mean, don't don't never lose sight of

721
00:35:29,520 --> 00:35:33,200
Speaker 4: that simple idea. So and sonically, I think sonically I

722
00:35:33,239 --> 00:35:36,120
Speaker 4: didn't really because I had my own sound in my head.

723
00:35:36,120 --> 00:35:38,720
Speaker 1: I always tell people a producer has his own vision.

724
00:35:39,080 --> 00:35:41,200
Speaker 4: So even though I might listen to how you do

725
00:35:41,280 --> 00:35:45,719
Speaker 4: it and how it's laid out, I would say I

726
00:35:45,840 --> 00:35:48,480
Speaker 4: had my own sonics in my own head. So if

727
00:35:48,480 --> 00:35:50,399
Speaker 4: I wanted to make you know, because creating g funk

728
00:35:50,520 --> 00:35:52,960
Speaker 4: was like it's like a gumbo, you know, it's like

729
00:35:53,000 --> 00:35:57,719
Speaker 4: taking jazz funk classical. It's all these different things rolled

730
00:35:57,760 --> 00:36:02,520
Speaker 4: into one blues. So for me, he taught me how

731
00:36:02,560 --> 00:36:06,440
Speaker 4: to make the madness of it structure. You know, when

732
00:36:06,480 --> 00:36:08,920
Speaker 4: I was just a kid trying to throw everything in everything,

733
00:36:08,960 --> 00:36:12,279
Speaker 4: and he was like, oh man, turn that down, what's love?

734
00:36:12,640 --> 00:36:14,239
Speaker 1: Turn this around? Okay, do this.

735
00:36:14,200 --> 00:36:16,440
Speaker 4: But my vision was always to put the singing on

736
00:36:16,520 --> 00:36:19,200
Speaker 4: top of it and all these melodies and bring cards

737
00:36:19,239 --> 00:36:22,160
Speaker 4: on top. That's why Warren say that cards, melody, strings

738
00:36:22,160 --> 00:36:24,319
Speaker 4: and all that. All that stuff was you know, that

739
00:36:24,480 --> 00:36:26,400
Speaker 4: was my whole theory.

740
00:36:27,320 --> 00:36:28,640
Speaker 3: Warren definitely give it up.

741
00:36:28,680 --> 00:36:28,839
Speaker 1: Though.

742
00:36:33,160 --> 00:36:36,080
Speaker 3: One thing I will say about shout out to Warren Warren.

743
00:36:37,480 --> 00:36:39,480
Speaker 3: Warren always go tell the truth, though there you go.

744
00:36:39,680 --> 00:36:41,640
Speaker 3: Warren is never gon Lie. Warren is one of them

745
00:36:41,719 --> 00:36:45,600
Speaker 3: dudes go say, well, and he's gonna tell the truth,

746
00:36:45,640 --> 00:36:48,080
Speaker 3: no matter whose feelings it might hurt. So shut out

747
00:36:48,120 --> 00:36:51,600
Speaker 3: the g dub you go. So was was it any

748
00:36:51,719 --> 00:36:54,279
Speaker 3: ever any hard feelings? Were easy because he knew y'all

749
00:36:54,360 --> 00:36:55,480
Speaker 3: was obviously about the bounce.

750
00:36:57,400 --> 00:37:00,719
Speaker 1: No, but it was a direct It was a I wreck.

751
00:37:02,200 --> 00:37:06,839
Speaker 4: Check that we weren't leaving, because when we wanted to leave,

752
00:37:07,440 --> 00:37:10,120
Speaker 4: we you know, we sat, you know, we sat with everybody,

753
00:37:10,239 --> 00:37:15,839
Speaker 4: you know, sugar Dre, everybody's in the room and shads.

754
00:37:15,920 --> 00:37:19,120
Speaker 4: He just told everybody said, look you can go.

755
00:37:19,239 --> 00:37:21,359
Speaker 1: He did, just like this. You can go, you can go,

756
00:37:21,440 --> 00:37:22,520
Speaker 1: you can go, you can go.

757
00:37:22,760 --> 00:37:25,680
Speaker 4: He said, but a bther law coming with me, you

758
00:37:25,719 --> 00:37:27,960
Speaker 4: know what I mean, that's the future on my label,

759
00:37:28,680 --> 00:37:31,800
Speaker 4: So I ain't letting that go, basically saying he already

760
00:37:31,800 --> 00:37:33,799
Speaker 4: had a run with them, you know what I mean.

761
00:37:33,840 --> 00:37:36,640
Speaker 4: So he told michell A the d O C. Dre,

762
00:37:37,239 --> 00:37:39,319
Speaker 4: y'all can go with sugar if you want to. But

763
00:37:39,440 --> 00:37:41,319
Speaker 4: y'all but a buzz of law. You ain't getting a

764
00:37:41,320 --> 00:37:43,520
Speaker 4: buzz of law. And and and the thing is, I

765
00:37:43,520 --> 00:37:45,840
Speaker 4: think we probably could have gotten out of the contract,

766
00:37:45,880 --> 00:37:47,960
Speaker 4: but it would have been heavy to get out of

767
00:37:47,960 --> 00:37:50,440
Speaker 4: a contract that you know that early.

768
00:37:51,800 --> 00:37:55,320
Speaker 2: Record company wouldn't after your first first I mean because

769
00:37:55,400 --> 00:37:59,600
Speaker 2: usually you usually you saw back then he was signing

770
00:37:59,680 --> 00:38:06,640
Speaker 2: for like seven albums, that's so. And then and then

771
00:38:08,760 --> 00:38:12,520
Speaker 2: Epic Sony was a major motherfucker. They were major.

772
00:38:13,360 --> 00:38:19,440
Speaker 1: So you know why we left Epic, right, you know that?

773
00:38:19,920 --> 00:38:23,200
Speaker 4: Because they announced that Drey wasn't gonna do the second record,

774
00:38:23,280 --> 00:38:25,560
Speaker 4: he wasn't gonna do black Mouth for your life. In

775
00:38:25,680 --> 00:38:29,799
Speaker 4: our contracts was Dre had to always assist me. He

776
00:38:29,920 --> 00:38:32,320
Speaker 4: had to be the head, and I had to be

777
00:38:32,480 --> 00:38:36,440
Speaker 4: the the like the apprentice all the time, you know

778
00:38:36,440 --> 00:38:39,480
Speaker 4: what I mean. And and that's just untold in the paperwork.

779
00:38:39,920 --> 00:38:43,440
Speaker 4: But once they found out I wasn't the apprentice no more,

780
00:38:43,480 --> 00:38:45,560
Speaker 4: and I moved in the first chair. They was like, no,

781
00:38:46,200 --> 00:38:48,200
Speaker 4: it's a breach, and that's.

782
00:38:47,960 --> 00:38:50,400
Speaker 2: How they dropped the project.

783
00:38:50,440 --> 00:38:51,720
Speaker 1: That's why we went to Warner Brothers.

784
00:38:52,960 --> 00:38:56,360
Speaker 4: So you know, and it's and it's and it's crazy

785
00:38:56,440 --> 00:38:59,759
Speaker 4: because living like hustlers, if living like hustles, don't get

786
00:38:59,760 --> 00:39:02,080
Speaker 4: done and stuff like this. In his contract he had

787
00:39:02,120 --> 00:39:04,640
Speaker 4: incentatives like you get a pool in your house, you

788
00:39:04,719 --> 00:39:07,359
Speaker 4: get this. And I was the young dude in there

789
00:39:07,360 --> 00:39:10,760
Speaker 4: doing all the work. I was going home and hooking

790
00:39:10,760 --> 00:39:12,759
Speaker 4: everything up and coming back like here we go ja.

791
00:39:14,360 --> 00:39:17,200
Speaker 4: And you know, because he had he had, he had

792
00:39:17,239 --> 00:39:19,680
Speaker 4: it where if he was done in sixty days he

793
00:39:19,719 --> 00:39:22,680
Speaker 4: could get a new pool and fifty thousand dollars extra

794
00:39:22,760 --> 00:39:24,960
Speaker 4: on top of that. It was ship like that going on.

795
00:39:25,120 --> 00:39:29,520
Speaker 4: He had the football and send him. Yeah, but he

796
00:39:29,600 --> 00:39:31,080
Speaker 4: was a guy. He was a guy then you know

797
00:39:31,120 --> 00:39:34,440
Speaker 4: he was Yeah, was the break. He was the time

798
00:39:34,520 --> 00:39:36,880
Speaker 4: Brady of our team. So it was it was it

799
00:39:36,960 --> 00:39:38,759
Speaker 4: was solid, you know, and plus for me as a

800
00:39:38,800 --> 00:39:41,399
Speaker 4: young producer, I just wanted to get my music hurt.

801
00:39:42,360 --> 00:39:44,880
Speaker 3: This consistent though. Man, there's none of your motherfuckers like

802
00:39:44,960 --> 00:39:45,560
Speaker 3: Jerry Hiller.

803
00:39:46,080 --> 00:39:49,239
Speaker 4: Yeah, you know, I love Jerry Hiller, but I hate him,

804
00:39:49,640 --> 00:39:51,960
Speaker 4: you know, for for the reason of this.

805
00:39:52,600 --> 00:39:54,319
Speaker 3: It's the business behind it.

806
00:39:54,640 --> 00:39:58,239
Speaker 4: Yeah, you know people people say, people say this was

807
00:39:58,280 --> 00:40:01,680
Speaker 4: it still ain't going on. It wasn't fair, like I

808
00:40:01,719 --> 00:40:04,960
Speaker 4: have to defend Cube on one thing. Cube left because

809
00:40:05,000 --> 00:40:08,359
Speaker 4: it wasn't fair. That's why that's you know, And it

810
00:40:08,400 --> 00:40:11,480
Speaker 4: wasn't fair to the degree of like it was because

811
00:40:11,600 --> 00:40:15,720
Speaker 4: Jerry Heller was making it too easy that it was fair.

812
00:40:15,800 --> 00:40:18,000
Speaker 1: But it really wasn't, you know what I mean.

813
00:40:18,120 --> 00:40:21,799
Speaker 4: Like for instance, if you say, like say they you know,

814
00:40:21,840 --> 00:40:24,600
Speaker 4: Straight out of Compton was like a major success because

815
00:40:24,640 --> 00:40:27,240
Speaker 4: it was a major success most of those records that

816
00:40:27,400 --> 00:40:29,680
Speaker 4: were done. He's highly instrumental in that.

817
00:40:29,840 --> 00:40:30,240
Speaker 1: Right.

818
00:40:30,360 --> 00:40:34,000
Speaker 4: So now when they get ready, now when it blows up,

819
00:40:34,160 --> 00:40:37,640
Speaker 4: it's like being a ballplayer, you need to renegotiate and

820
00:40:37,800 --> 00:40:39,560
Speaker 4: want to renegotiate. They didn't want to, you know, they

821
00:40:39,600 --> 00:40:41,520
Speaker 4: didn't want to change it up. And I take it

822
00:40:41,560 --> 00:40:43,680
Speaker 4: for two I take it for two things. Eric was

823
00:40:43,680 --> 00:40:46,440
Speaker 4: a young executive and Jerry was having his way with

824
00:40:46,520 --> 00:40:47,440
Speaker 4: a young executive.

825
00:40:47,800 --> 00:40:49,319
Speaker 1: You know, he didn't know the game like that.

826
00:40:49,280 --> 00:40:52,720
Speaker 2: I could pull the string exactly because he didn't really

827
00:40:52,840 --> 00:40:56,920
Speaker 2: like he didn't he was a block hustler wasn't a

828
00:40:57,040 --> 00:40:58,480
Speaker 2: corporate record exactly.

829
00:40:58,840 --> 00:41:01,080
Speaker 1: No, he Jerry, Jerry.

830
00:41:00,840 --> 00:41:05,520
Speaker 2: Figured all the ship that I want to get away with.

831
00:41:06,200 --> 00:41:09,800
Speaker 2: I can basically manipulate through this young dude.

832
00:41:09,840 --> 00:41:12,080
Speaker 1: But you know what, but you know what I loved

833
00:41:12,120 --> 00:41:12,959
Speaker 1: about Jerry Hiller.

834
00:41:13,400 --> 00:41:16,520
Speaker 4: We would never be who we are without him walking

835
00:41:16,600 --> 00:41:21,760
Speaker 4: us to epic priority Warner Brothers.

836
00:41:21,840 --> 00:41:23,920
Speaker 2: So is that your Is that your catch twenty two?

837
00:41:24,440 --> 00:41:29,240
Speaker 2: Do you feel like do you feel like your dues

838
00:41:29,280 --> 00:41:31,479
Speaker 2: were paid by getting fucked over?

839
00:41:32,040 --> 00:41:32,320
Speaker 1: Well?

840
00:41:32,440 --> 00:41:34,520
Speaker 4: I think I think our dues was paid by not

841
00:41:34,680 --> 00:41:37,880
Speaker 4: but by taking the taking a can we say, the sports,

842
00:41:37,920 --> 00:41:41,040
Speaker 4: by taking that rookie deal and just getting and just

843
00:41:41,080 --> 00:41:43,080
Speaker 4: getting it, just going on a championship.

844
00:41:43,080 --> 00:41:46,279
Speaker 2: Because I have a sort of I have a I

845
00:41:46,320 --> 00:41:53,440
Speaker 2: have a similar complaint like I wrote all my raps.

846
00:41:53,960 --> 00:41:56,640
Speaker 2: Nobody ever wrote a rap, which means I should have

847
00:41:56,719 --> 00:41:59,919
Speaker 2: kept all the dyme of publishing. But a nigga stole

848
00:42:00,120 --> 00:42:03,439
Speaker 2: my publisher. He didn't write none of my raps. But

849
00:42:03,520 --> 00:42:07,479
Speaker 2: the story that you get when you talk to some

850
00:42:07,560 --> 00:42:13,040
Speaker 2: of his peers or people that know him, is you

851
00:42:13,080 --> 00:42:17,000
Speaker 2: should be grateful because look at what you turned out

852
00:42:17,040 --> 00:42:20,160
Speaker 2: to me, even though a nigga fucked you for your

853
00:42:20,280 --> 00:42:24,680
Speaker 2: first two three years of publishing. Look where so doing?

854
00:42:24,840 --> 00:42:30,080
Speaker 2: Is that the same? Should we feel like? Fuck it?

855
00:42:30,160 --> 00:42:32,839
Speaker 2: I had to pay my due because I tell everybody

856
00:42:33,040 --> 00:42:36,440
Speaker 2: when you come in this business, you're gonna get fucked.

857
00:42:37,080 --> 00:42:40,880
Speaker 2: There's no INFENSI but don't take you're gonna get fucked.

858
00:42:42,040 --> 00:42:47,480
Speaker 2: Sure you look at that and go, hmm, I got fucked.

859
00:42:48,719 --> 00:42:49,840
Speaker 2: But look at me now.

860
00:42:50,120 --> 00:42:53,200
Speaker 4: Well yeah, in a sense, it's almost like a passage

861
00:42:53,480 --> 00:42:55,560
Speaker 4: in a sense, in a sense, I'll say this, I'll

862
00:42:55,600 --> 00:42:58,040
Speaker 4: say this. When me and you came in the game, it.

863
00:42:57,920 --> 00:43:00,879
Speaker 2: Was it was easy to do that, if exactly, very

864
00:43:01,000 --> 00:43:03,359
Speaker 2: very easy because we didn't know shit green as fuck

865
00:43:03,719 --> 00:43:05,160
Speaker 2: so and we were just trying to get out of

866
00:43:05,160 --> 00:43:08,040
Speaker 2: the streets honestly, you know meigause my father was a

867
00:43:08,080 --> 00:43:12,600
Speaker 2: fucking assembly line worker for General Motors, and my mother

868
00:43:12,800 --> 00:43:18,359
Speaker 2: was a motherfucking CNA or a nurse's assistant or whatever. Right, Yeah,

869
00:43:18,800 --> 00:43:22,280
Speaker 2: he had no you know, I didn't have no none

870
00:43:22,360 --> 00:43:22,560
Speaker 2: of that.

871
00:43:22,760 --> 00:43:25,480
Speaker 1: So we you know, like I said, I was, I was.

872
00:43:26,200 --> 00:43:30,160
Speaker 1: I was. My parents had retired at that time. They

873
00:43:30,239 --> 00:43:32,640
Speaker 1: wasn't even really in the music business any longer.

874
00:43:32,920 --> 00:43:36,080
Speaker 4: Motown had passed, so they were just living off publishing

875
00:43:36,120 --> 00:43:37,359
Speaker 4: and living off living their life.

876
00:43:37,360 --> 00:43:39,120
Speaker 1: They were just like, did you get this right? Did

877
00:43:39,120 --> 00:43:40,439
Speaker 1: you get that right? Yeah?

878
00:43:40,719 --> 00:43:43,319
Speaker 4: Kind of what all they told me is go get

879
00:43:43,360 --> 00:43:46,399
Speaker 4: attorney before you signed anything, right, and then make sure

880
00:43:46,480 --> 00:43:49,319
Speaker 4: that you know all your ship is in order, like

881
00:43:49,560 --> 00:43:51,640
Speaker 4: you know in the liner notes and who wrote was

882
00:43:51,719 --> 00:43:54,319
Speaker 4: and who? But then put it like this when I

883
00:43:54,520 --> 00:43:56,719
Speaker 4: was like you, when I got the fucking line of notes,

884
00:43:56,719 --> 00:43:59,200
Speaker 4: it was a hundred motherfuckers on the song that I wrote.

885
00:43:59,719 --> 00:44:01,879
Speaker 2: I didn't get and I was like, what the fuck

886
00:44:01,960 --> 00:44:06,719
Speaker 2: is this? I was seventeen, green, selling crack. I had

887
00:44:06,719 --> 00:44:10,520
Speaker 2: a struggling mama. Father was, you know, in another state.

888
00:44:11,440 --> 00:44:15,000
Speaker 2: Like I started writing raps Nigga, and Nigga saw me

889
00:44:15,120 --> 00:44:17,080
Speaker 2: and heard me and was like, Nigga, I'm finna make

890
00:44:17,120 --> 00:44:20,400
Speaker 2: me a meal ticket. And I didn't know nothing about

891
00:44:20,840 --> 00:44:23,560
Speaker 2: publishing writers and all.

892
00:44:23,400 --> 00:44:23,919
Speaker 1: Of that shit.

893
00:44:24,280 --> 00:44:27,360
Speaker 2: All I'm like, Nigga, I'm like here, I'm like, Hutch,

894
00:44:27,719 --> 00:44:29,200
Speaker 2: I just want my shit to be heard.

895
00:44:29,280 --> 00:44:29,719
Speaker 1: That's right.

896
00:44:30,640 --> 00:44:33,040
Speaker 3: I didn't publishing too well, No.

897
00:44:32,920 --> 00:44:34,400
Speaker 1: I mean really it was. It was.

898
00:44:34,440 --> 00:44:37,239
Speaker 4: What it was is that when we sat down and

899
00:44:37,280 --> 00:44:40,160
Speaker 4: put everything together, every it was so many people with

900
00:44:40,280 --> 00:44:42,680
Speaker 4: their names on it, and they publishing companies and there

901
00:44:42,840 --> 00:44:44,560
Speaker 4: you ain't never gonna see no money for real.

902
00:44:44,560 --> 00:44:46,799
Speaker 1: One hundred motherfuckers on it. It's like like he's saying,

903
00:44:46,800 --> 00:44:49,160
Speaker 1: if you wrote the song yourself, why Joe blow on

904
00:44:49,200 --> 00:44:51,040
Speaker 1: the song? Why the nigga that played the whistle on

905
00:44:51,040 --> 00:44:51,319
Speaker 1: the song?

906
00:44:51,360 --> 00:44:54,759
Speaker 2: Why my name was on that motherfucker? But I wasn't

907
00:44:54,760 --> 00:44:57,600
Speaker 2: getting no money from nigga. The money was going to

908
00:44:57,719 --> 00:45:00,760
Speaker 2: grandma's hands, And I'm like, who the fuck his grandma

909
00:45:01,200 --> 00:45:06,680
Speaker 2: was tip for fucking my ship was going there grab

910
00:45:06,719 --> 00:45:10,680
Speaker 2: ball's heads and I'm like, hein my father fucking grandma?

911
00:45:10,880 --> 00:45:13,560
Speaker 2: What is this ship? We was in three different deals.

912
00:45:13,560 --> 00:45:15,680
Speaker 2: We was in law House, uh huh.

913
00:45:15,719 --> 00:45:18,759
Speaker 4: We was in a record, we was in a production deal.

914
00:45:19,640 --> 00:45:23,319
Speaker 4: We was in law House Publishing, and we was in

915
00:45:23,840 --> 00:45:27,799
Speaker 4: Ruthless in epic and it was four parties in our dia.

916
00:45:27,920 --> 00:45:29,600
Speaker 1: Yeah, right now, I.

917
00:45:29,560 --> 00:45:31,399
Speaker 3: Was signed to laylaw right.

918
00:45:31,520 --> 00:45:32,839
Speaker 1: He bought to the table? Yeah?

919
00:45:32,920 --> 00:45:36,759
Speaker 3: He who bought to the table. Definitely it was I'm

920
00:45:36,760 --> 00:45:38,640
Speaker 3: gonna tell law House because it used to be a

921
00:45:38,680 --> 00:45:41,080
Speaker 3: bunch of g niggas that hung around niggas and learned

922
00:45:41,080 --> 00:45:43,680
Speaker 3: the game and they would come scoop niggas. I remember

923
00:45:43,719 --> 00:45:45,319
Speaker 3: this one nigga that I ain't gonna say his name

924
00:45:45,320 --> 00:45:47,680
Speaker 3: because he's still on me to this day. But he

925
00:45:47,760 --> 00:45:49,600
Speaker 3: came to the crib and scooped me up. This when

926
00:45:49,640 --> 00:45:51,959
Speaker 3: I was living in bel Monsha. I was twenty four,

927
00:45:52,360 --> 00:45:54,719
Speaker 3: twenty four years old. He came and picked me up

928
00:45:54,760 --> 00:45:58,480
Speaker 3: in the BMW. I said, okay. He text me up

929
00:45:58,920 --> 00:46:01,920
Speaker 3: by Ice Tea's crib and he tells me, Okay, we're

930
00:46:01,960 --> 00:46:04,080
Speaker 3: gonna get you some khakis and some loakes, and you're

931
00:46:04,080 --> 00:46:05,879
Speaker 3: gonna start seeing you from the hood and we gonna

932
00:46:05,880 --> 00:46:07,360
Speaker 3: take you there and get a deal. They would position

933
00:46:07,400 --> 00:46:09,560
Speaker 3: me to go get a deal. But what wouldn't work

934
00:46:09,600 --> 00:46:11,440
Speaker 3: it is I wouldn't gonna do the phone you shot

935
00:46:11,480 --> 00:46:14,600
Speaker 3: out many y'all. I'm not from no game, even though

936
00:46:14,600 --> 00:46:18,279
Speaker 3: these niggas, I'm not saying I'm from your neighborhood. All

937
00:46:18,280 --> 00:46:21,160
Speaker 3: the shit y'all got going on. But a lot of

938
00:46:21,320 --> 00:46:24,319
Speaker 3: ghetto executives was looking for deals back then because they

939
00:46:24,360 --> 00:46:26,720
Speaker 3: can do. If they bought an artist to the table,

940
00:46:26,840 --> 00:46:29,719
Speaker 3: they man could go get a deal and you signed them,

941
00:46:30,120 --> 00:46:32,200
Speaker 3: they gonna do a deal somewhere you wind up getting.

942
00:46:32,440 --> 00:46:33,799
Speaker 2: It was a lot of young It was a lot

943
00:46:33,800 --> 00:46:39,080
Speaker 2: of young talent floating around. When when our when our

944
00:46:39,320 --> 00:46:45,120
Speaker 2: artistic expression started to evolve, when you started having niggas

945
00:46:45,160 --> 00:46:51,359
Speaker 2: like Hutch eight Chill, Easy Cube, you know, and for

946
00:46:51,400 --> 00:46:56,520
Speaker 2: the most part in the term nigga, I'm fresh off

947
00:46:56,560 --> 00:46:59,879
Speaker 2: the porch nigga, I don't know nothing about but how

948
00:47:00,160 --> 00:47:03,200
Speaker 2: motherfucking break down the rock? And I know this a

949
00:47:03,360 --> 00:47:06,239
Speaker 2: five people. I know this is five. I know this

950
00:47:06,320 --> 00:47:10,360
Speaker 2: is ten dollars. I know this worth twenty nigga publishing

951
00:47:10,480 --> 00:47:15,320
Speaker 2: contracts and motherfucking nigga. I saw a ride on magazine

952
00:47:15,400 --> 00:47:17,319
Speaker 2: Nigga with a nigga in a limousine and a big

953
00:47:17,360 --> 00:47:20,280
Speaker 2: dookie chain on, and you said, that's me. That's that's

954
00:47:20,320 --> 00:47:23,000
Speaker 2: that's what I need right there, And once a nigga

955
00:47:23,080 --> 00:47:26,400
Speaker 2: give it to me, I'm thinking, I'm complete. You couldn't

956
00:47:26,440 --> 00:47:29,960
Speaker 2: have told me back then, nigga. You get paid alright,

957
00:47:30,000 --> 00:47:32,360
Speaker 2: and you get paid for writing your wraps.

958
00:47:32,400 --> 00:47:34,879
Speaker 1: You know that, like really you know.

959
00:47:34,800 --> 00:47:37,399
Speaker 3: That she was influential back niggas. I'm gonna tell you

960
00:47:38,400 --> 00:47:40,719
Speaker 3: what made me want to come to California was an

961
00:47:40,760 --> 00:47:44,360
Speaker 3: album cover. Yeah, my homeboy. You know you got a

962
00:47:44,400 --> 00:47:46,319
Speaker 3: homeboy in the early days of hip hop that just

963
00:47:46,400 --> 00:47:48,799
Speaker 3: know about every hit. Oh yeah, yeah, yeah, he got

964
00:47:48,800 --> 00:47:51,759
Speaker 3: the new album. He got the new album. I went

965
00:47:51,880 --> 00:47:54,160
Speaker 3: to was passing Homie Mike stoop He on the stup.

966
00:47:54,160 --> 00:47:56,960
Speaker 3: We living in a progect at that time. I passed

967
00:47:56,960 --> 00:47:59,040
Speaker 3: his stupid. He said, Nigga, you heard Ice t Yeah,

968
00:47:59,080 --> 00:48:03,560
Speaker 3: I said, who is Ice? And it's the sixth in

969
00:48:03,560 --> 00:48:07,520
Speaker 3: the morning, and I hear from the beginning to the end. Man,

970
00:48:07,600 --> 00:48:09,200
Speaker 3: I say there and did that. And I looked at

971
00:48:09,200 --> 00:48:11,800
Speaker 3: this nigga on the cover with that bad wall, that woman.

972
00:48:11,840 --> 00:48:14,440
Speaker 3: You know this man, it looked like he had to

973
00:48:14,480 --> 00:48:15,160
Speaker 3: get the bag.

974
00:48:15,480 --> 00:48:18,680
Speaker 2: Oh yeah, that was the power and our album album.

975
00:48:18,400 --> 00:48:21,600
Speaker 3: Well whatever that album was that I wanted to be

976
00:48:21,760 --> 00:48:23,759
Speaker 3: that nigga. I said, I want a woman like that.

977
00:48:24,120 --> 00:48:26,279
Speaker 3: I want a chain with an oozy like that, and

978
00:48:26,320 --> 00:48:28,040
Speaker 3: I want a silk soup just like that.

979
00:48:28,120 --> 00:48:29,719
Speaker 2: Then he had to cover where he was in the

980
00:48:29,800 --> 00:48:33,840
Speaker 2: porch with lem and yeah, man, that's.

981
00:48:35,880 --> 00:48:37,239
Speaker 1: Heard standing over him and.

982
00:48:39,160 --> 00:48:42,560
Speaker 2: Evil that's either hm G or Evil East Evil.

983
00:48:42,840 --> 00:48:43,560
Speaker 1: Yeah.

984
00:48:43,719 --> 00:48:45,719
Speaker 3: I wanted to be that, And I'm gonna tell you,

985
00:48:45,920 --> 00:48:49,960
Speaker 3: I think that's why I gravitated so much as slanging,

986
00:48:50,640 --> 00:48:53,080
Speaker 3: because I really wanted to beat that ship was really

987
00:48:53,120 --> 00:48:54,840
Speaker 3: in life to me. That was like a moment in

988
00:48:54,920 --> 00:48:58,160
Speaker 3: my life to where everything in Cleveland became real small

989
00:48:58,200 --> 00:49:00,080
Speaker 3: to me. After that, I was like, man, I'm trying

990
00:49:00,080 --> 00:49:02,359
Speaker 3: to get somewhere, and I'm gonna do whatever I gotta

991
00:49:02,360 --> 00:49:04,800
Speaker 3: do to get somewhere. Man, Cleveland was the ghett was

992
00:49:04,880 --> 00:49:07,759
Speaker 3: motherfucker place in this so much. There's a lot of

993
00:49:07,760 --> 00:49:09,480
Speaker 3: people that got a lot of money out of Cleveland.

994
00:49:09,840 --> 00:49:11,080
Speaker 2: You take them trips, man.

995
00:49:11,800 --> 00:49:13,719
Speaker 3: A lot of jail time came out of Cleveland too,

996
00:49:14,320 --> 00:49:16,279
Speaker 3: a lot of jail time, a lot of jail time.

997
00:49:17,560 --> 00:49:21,800
Speaker 2: Oklahoma, Detroit. Yeah, then was the Then was the places man.

998
00:49:21,800 --> 00:49:24,879
Speaker 1: Little Rock, Yeah, Yeah, y'all.

999
00:49:25,080 --> 00:49:27,600
Speaker 3: Y'all was heavy really and you hear it on the albums.

1000
00:49:27,640 --> 00:49:31,160
Speaker 3: Man like y'all was really heavy into the dope game.

1001
00:49:31,200 --> 00:49:34,719
Speaker 3: And actually you got you got cracked a little. Yeah

1002
00:49:35,040 --> 00:49:39,640
Speaker 3: you did some did some fair time. But that's it's

1003
00:49:39,719 --> 00:49:42,279
Speaker 3: behind me that it's behind you met, thank god. Man.

1004
00:49:42,760 --> 00:49:48,279
Speaker 2: And this rap this rap game sometimes, well, how have

1005
00:49:48,360 --> 00:49:51,160
Speaker 2: you result to some of your old ways? If you not,

1006
00:49:53,719 --> 00:49:58,920
Speaker 2: because it's like you said, our era of music didn't

1007
00:49:58,960 --> 00:50:03,160
Speaker 2: get its just as if you see niggas today, right,

1008
00:50:04,080 --> 00:50:08,399
Speaker 2: can you imagine if we got our just dude, with

1009
00:50:08,560 --> 00:50:11,120
Speaker 2: real with our you know, if we got the right

1010
00:50:11,239 --> 00:50:14,080
Speaker 2: money and we got the right deals and what was

1011
00:50:14,160 --> 00:50:17,240
Speaker 2: old to us. You know, you see niggas pushing rolls,

1012
00:50:17,360 --> 00:50:22,440
Speaker 2: Royces and bent Lee's and niggas private jets and helicopters

1013
00:50:22,480 --> 00:50:27,239
Speaker 2: and shit. We got fucked in our area. We got

1014
00:50:27,280 --> 00:50:28,080
Speaker 2: really fucked in.

1015
00:50:28,360 --> 00:50:30,600
Speaker 4: We kind of still had to have like if we real,

1016
00:50:30,760 --> 00:50:33,799
Speaker 4: like we real niggas, you know, honestly, we still had

1017
00:50:33,800 --> 00:50:36,080
Speaker 4: to keep our toe in the water exactly. I mean,

1018
00:50:36,120 --> 00:50:38,279
Speaker 4: because the money wasn't streaming like that. For us, it

1019
00:50:38,360 --> 00:50:41,080
Speaker 4: wasn't no you know, even even when you think about touring,

1020
00:50:41,800 --> 00:50:44,759
Speaker 4: like we wasn't playing no big shows like that, not

1021
00:50:44,760 --> 00:50:46,040
Speaker 4: not real tours.

1022
00:50:45,719 --> 00:50:49,680
Speaker 3: Y'all was considered like I think people like to see

1023
00:50:49,800 --> 00:50:51,200
Speaker 3: m W's.

1024
00:50:51,520 --> 00:50:54,080
Speaker 2: I got to piggyback off a couple of niggas, you know,

1025
00:50:54,160 --> 00:50:55,640
Speaker 2: I got on a couple of tours.

1026
00:50:55,680 --> 00:50:57,839
Speaker 3: What was in the major movie? I think that made

1027
00:50:57,880 --> 00:51:01,400
Speaker 3: you even it made you a stuff.

1028
00:51:01,440 --> 00:51:03,000
Speaker 4: I think what I'm trying to say eight is like

1029
00:51:03,080 --> 00:51:05,479
Speaker 4: think about it, the type of rap that we did,

1030
00:51:06,120 --> 00:51:09,600
Speaker 4: they wouldn't even cover us, Like I have done tours

1031
00:51:09,600 --> 00:51:12,399
Speaker 4: with a bunch of East Coach motherfuckers and stuff, like that,

1032
00:51:12,480 --> 00:51:15,480
Speaker 4: but like real, like our real essence of that, in

1033
00:51:15,600 --> 00:51:16,799
Speaker 4: our real heyday of it.

1034
00:51:17,160 --> 00:51:19,440
Speaker 1: They didn't want to book hardcore rap. They didn't want to.

1035
00:51:20,000 --> 00:51:21,719
Speaker 4: It wasn't trying to book that, you did, you had

1036
00:51:21,760 --> 00:51:23,920
Speaker 4: to jump in with a gangstar or.

1037
00:51:25,440 --> 00:51:28,880
Speaker 2: Yeah. Yeah, like that. Our first show at the Celebrity Theater,

1038
00:51:29,040 --> 00:51:33,160
Speaker 2: it was us, it was them, it was low profile

1039
00:51:33,400 --> 00:51:34,560
Speaker 2: and it was gang star.

1040
00:51:34,960 --> 00:51:36,040
Speaker 1: That was our first show.

1041
00:51:36,080 --> 00:51:40,560
Speaker 4: That's in peace Guru too, shout out my nigga primo,

1042
00:51:40,760 --> 00:51:42,160
Speaker 4: what's good.

1043
00:51:44,120 --> 00:51:47,920
Speaker 2: It's crazy because you see how wide open the music

1044
00:51:48,000 --> 00:51:53,080
Speaker 2: that recreated is today. You see niggas banging and dope

1045
00:51:53,120 --> 00:51:57,200
Speaker 2: selling and killing left and right. But you know, we

1046
00:51:57,239 --> 00:51:59,759
Speaker 2: couldn't get radio, we couldn't get ready. We were so

1047
00:52:01,160 --> 00:52:07,759
Speaker 2: because I think of the publicized ship that they put

1048
00:52:07,800 --> 00:52:11,920
Speaker 2: on gangs back in our early eighties and whatever. Then

1049
00:52:12,040 --> 00:52:16,640
Speaker 2: movies like Colors and shit like it really terrified motherfuckers.

1050
00:52:17,040 --> 00:52:20,920
Speaker 2: So to have these young black men coming out of

1051
00:52:21,000 --> 00:52:26,000
Speaker 2: cities like Pomona camped and Long Beach and representing, you know,

1052
00:52:26,880 --> 00:52:30,600
Speaker 2: to the extent of but this is, this is what

1053
00:52:30,640 --> 00:52:32,160
Speaker 2: we're about, this is what we know.

1054
00:52:32,280 --> 00:52:35,000
Speaker 4: And then you know, we dare to call ourselves you know,

1055
00:52:35,080 --> 00:52:37,080
Speaker 4: the most hated, you know type of things. When you

1056
00:52:37,360 --> 00:52:39,759
Speaker 4: call yourself most wanted and you call yourself above the law,

1057
00:52:40,400 --> 00:52:43,120
Speaker 4: you already gotta get ready for you know what's gonna come.

1058
00:52:43,600 --> 00:52:45,840
Speaker 4: And that was when we got Our first single was

1059
00:52:45,920 --> 00:52:47,879
Speaker 4: Murder Rapper. Shit, it got banned, so.

1060
00:52:47,960 --> 00:52:48,560
Speaker 1: You know shit.

1061
00:52:48,640 --> 00:52:51,640
Speaker 2: I had an album called Music to Drive, so you

1062
00:52:51,640 --> 00:52:53,719
Speaker 2: know that was That was one of the reasons why

1063
00:52:53,840 --> 00:52:57,359
Speaker 2: Sony and Epic decided to drop the C MW shit

1064
00:52:57,680 --> 00:53:00,319
Speaker 2: and just go with MC eight from now on. GOT

1065
00:53:00,440 --> 00:53:06,799
Speaker 2: because Compton's Most Wanted put fear in a lot of

1066
00:53:07,640 --> 00:53:12,560
Speaker 2: promoters clubs, you know, as opposed to saying MC eighty

1067
00:53:12,680 --> 00:53:16,239
Speaker 2: is coming here, as opposed to going ship Compton's Most

1068
00:53:16,280 --> 00:53:20,279
Speaker 2: Wanted is gonna be here tonight. You're already attracting all

1069
00:53:20,320 --> 00:53:21,520
Speaker 2: the worst of the worst.

1070
00:53:21,440 --> 00:53:23,640
Speaker 3: Y'all gonna have see. You gotta think about how our

1071
00:53:23,680 --> 00:53:27,560
Speaker 3: promoter think. Right, they already scared because they say, man,

1072
00:53:27,600 --> 00:53:30,239
Speaker 3: that motherfucker who have a gang and his people up here,

1073
00:53:30,880 --> 00:53:34,719
Speaker 3: they go start and the enemy comes biggas, GOT will

1074
00:53:34,760 --> 00:53:36,719
Speaker 3: tear up some ship. And it might have been some

1075
00:53:36,840 --> 00:53:38,680
Speaker 3: ship that got tore up in that at that time,

1076
00:53:38,880 --> 00:53:41,560
Speaker 3: was some ship going on a just though still think

1077
00:53:41,600 --> 00:53:41,920
Speaker 3: about this.

1078
00:53:42,360 --> 00:53:44,919
Speaker 4: The only way really we really could even get any

1079
00:53:45,000 --> 00:53:47,440
Speaker 4: traction is the going them hoods and bus is the

1080
00:53:47,880 --> 00:53:49,960
Speaker 4: we couldn't We couldn't sell no records. If we couldn't

1081
00:53:50,000 --> 00:53:52,719
Speaker 4: do that, like we had to do that. I think

1082
00:53:52,800 --> 00:53:55,040
Speaker 4: our era in hip hop was gladiator. You know, it

1083
00:53:55,120 --> 00:53:57,840
Speaker 4: was a gladiator world. It was like to build your career,

1084
00:53:58,160 --> 00:54:00,520
Speaker 4: you had to go to them high schools and enemyighborhoods.

1085
00:54:00,560 --> 00:54:03,399
Speaker 4: You had to go to them their clubs, record stores

1086
00:54:03,400 --> 00:54:04,400
Speaker 4: of the enemy neighborhoods.

1087
00:54:04,400 --> 00:54:06,040
Speaker 1: You had to do all that. If else you wasn't

1088
00:54:06,080 --> 00:54:08,479
Speaker 1: gonna get felt. They wasn't even gonna feel your shit

1089
00:54:08,560 --> 00:54:11,319
Speaker 1: because it wasn't no Instagram, it wasn't no radio.

1090
00:54:11,719 --> 00:54:15,000
Speaker 4: Rapp was paid played overnight or college radio. So the

1091
00:54:15,120 --> 00:54:16,960
Speaker 4: only way you gonna get to the to the kids

1092
00:54:17,120 --> 00:54:19,120
Speaker 4: in the hood is to go in their hoods and

1093
00:54:19,320 --> 00:54:20,560
Speaker 4: serve and service them.

1094
00:54:20,920 --> 00:54:21,120
Speaker 1: You know.

1095
00:54:21,400 --> 00:54:23,839
Speaker 2: It was no other way, like you know, because that's

1096
00:54:23,880 --> 00:54:26,759
Speaker 2: where we was going. We was hitting college radios at

1097
00:54:26,880 --> 00:54:31,839
Speaker 2: midnight to do interviews and yeah, and certain in certain towns. Yeah,

1098
00:54:32,120 --> 00:54:35,200
Speaker 2: you wouldn't go on the major radio. You would go

1099
00:54:35,320 --> 00:54:38,080
Speaker 2: to college radio at twelve. Look at jo you look at.

1100
00:54:37,960 --> 00:54:40,359
Speaker 1: Your promo tour. When you look at your promo tour,

1101
00:54:40,480 --> 00:54:41,799
Speaker 1: you go see your press day.

1102
00:54:42,120 --> 00:54:44,120
Speaker 4: Your press day will start from ten o'clock in the

1103
00:54:44,200 --> 00:54:47,600
Speaker 4: morning to five o'clock in the next morning like that.

1104
00:54:48,120 --> 00:54:50,719
Speaker 1: Especially had to really start trading off. Will go interview. Now,

1105
00:54:50,719 --> 00:54:52,800
Speaker 1: I'm taking a nap. You go do it. You know,

1106
00:54:52,920 --> 00:54:54,759
Speaker 1: we had to start trading off like that. That ship

1107
00:54:54,880 --> 00:54:56,560
Speaker 1: was so crazy just to get your ship hurt.

1108
00:54:56,760 --> 00:54:59,239
Speaker 3: I remember, you know, I remember hearing Bahama d on

1109
00:54:59,320 --> 00:55:01,759
Speaker 3: an interview and she was so mad. Dog you can

1110
00:55:01,800 --> 00:55:03,720
Speaker 3: get hear your lyth. Boy. She was just like, I'm tired.

1111
00:55:03,760 --> 00:55:05,760
Speaker 3: You'll ask me all this dumb ass stuff at.

1112
00:55:05,640 --> 00:55:06,600
Speaker 1: Four o'clock in the morning.

1113
00:55:06,920 --> 00:55:07,160
Speaker 2: She was.

1114
00:55:07,520 --> 00:55:08,879
Speaker 3: She sounded like she was on one.

1115
00:55:09,200 --> 00:55:12,160
Speaker 2: Yeah, because because when you're doing the ship all day,

1116
00:55:12,239 --> 00:55:16,520
Speaker 2: it becomes it becomes just frustrating and yeah, I.

1117
00:55:17,239 --> 00:55:19,840
Speaker 4: Have my press day. Epic we would do ours and

1118
00:55:19,920 --> 00:55:21,920
Speaker 4: they be waiting the hallway to do theirs. We was

1119
00:55:22,000 --> 00:55:23,360
Speaker 4: like like a soul trainer.

1120
00:55:24,160 --> 00:55:28,520
Speaker 2: That was when that's when the epics and the Sony's

1121
00:55:28,520 --> 00:55:32,240
Speaker 2: would get cheap and they would run all the hip.

1122
00:55:32,080 --> 00:55:36,359
Speaker 1: Hop sea like our press day would be the same day.

1123
00:55:36,719 --> 00:55:38,759
Speaker 2: Fuck it, we're gonna put a poster out and we're

1124
00:55:38,760 --> 00:55:40,840
Speaker 2: gonna put all three of them on the poster. We

1125
00:55:40,920 --> 00:55:43,920
Speaker 2: ain't gonna even give them their own I remember they did.

1126
00:55:43,960 --> 00:55:49,240
Speaker 2: They ran that campaign when Cocaine had to change his names, right, yeah, yeah.

1127
00:55:49,239 --> 00:55:49,680
Speaker 1: Who am I?

1128
00:55:50,080 --> 00:55:52,960
Speaker 2: It was we had we was dropping, We was dropping

1129
00:55:53,560 --> 00:55:57,680
Speaker 2: music to drive By, Cocaine was dropping his record Who

1130
00:55:57,760 --> 00:56:00,480
Speaker 2: am I? And then I think y'all was getting ready

1131
00:56:00,520 --> 00:56:04,719
Speaker 2: to drop Yeah, I was just yeah, yeah that three

1132
00:56:04,880 --> 00:56:08,160
Speaker 2: cars added three card promotion. Every time you will go

1133
00:56:08,280 --> 00:56:11,719
Speaker 2: in the record store, it was music to drive By,

1134
00:56:12,640 --> 00:56:16,399
Speaker 2: living like hustlers and who am I? Because Cocaine had

1135
00:56:16,440 --> 00:56:19,719
Speaker 2: to change his name, so Epic would not put out

1136
00:56:19,840 --> 00:56:21,120
Speaker 2: no record with Cocaine.

1137
00:56:21,160 --> 00:56:22,880
Speaker 1: But they had already had a problem with a buzzer

1138
00:56:22,920 --> 00:56:25,200
Speaker 1: low before. It was like no way.

1139
00:56:26,040 --> 00:56:27,880
Speaker 3: That's why they liked y'all, niggas. Do you know that

1140
00:56:27,960 --> 00:56:29,920
Speaker 3: because y'all was profitable, they ain't have to spend no

1141
00:56:30,000 --> 00:56:32,279
Speaker 3: money for you on y'all. They will put y'all all

1142
00:56:32,680 --> 00:56:37,680
Speaker 3: on the same flyers and all that stuff. Even if

1143
00:56:37,760 --> 00:56:39,280
Speaker 3: you're going to seal three hundred thousand.

1144
00:56:39,800 --> 00:56:41,959
Speaker 2: If you sold three hundred, then they was gonna flip

1145
00:56:42,040 --> 00:56:44,960
Speaker 2: you back. Oh, another good run. They gave you another run.

1146
00:56:45,480 --> 00:56:46,520
Speaker 2: That's what they did with me.

1147
00:56:46,680 --> 00:56:48,960
Speaker 3: You know the cold part about that math. Now check

1148
00:56:49,040 --> 00:56:51,080
Speaker 3: this math out. Tell me what this makes sense? All right?

1149
00:56:51,920 --> 00:56:55,520
Speaker 3: Three million, three, three hundred thousand dollars a six six

1150
00:56:55,560 --> 00:56:56,759
Speaker 3: dollars a pop. I'm gonna free it is.

1151
00:56:56,800 --> 00:56:59,680
Speaker 1: That it's way more than they gave us. Tell you

1152
00:56:59,760 --> 00:57:04,800
Speaker 1: that it's like one, let's.

1153
00:57:04,640 --> 00:57:08,200
Speaker 3: Say it's one point six How much how much was

1154
00:57:08,239 --> 00:57:08,720
Speaker 3: y'all budgets?

1155
00:57:09,120 --> 00:57:10,120
Speaker 1: Fifty? If that?

1156
00:57:10,960 --> 00:57:15,080
Speaker 2: No, my budget was never two hundreds my budget when

1157
00:57:15,160 --> 00:57:20,240
Speaker 2: I when I was able to get Unknown out the deal,

1158
00:57:22,200 --> 00:57:27,360
Speaker 2: then they cut my budget by one hundred grand between

1159
00:57:27,800 --> 00:57:32,160
Speaker 2: anknown in Orpheus because that's what's my deal. A known

1160
00:57:32,400 --> 00:57:36,360
Speaker 2: got a deal with Orpheus. Orpheus had a label deal

1161
00:57:36,680 --> 00:57:41,920
Speaker 2: with Epic. Okay Orpheus had. Orpheus was owned by Charles Huggins,

1162
00:57:42,040 --> 00:57:48,160
Speaker 2: Melbmore's husband. Okay, So Orpheus had a deal with Capital,

1163
00:57:49,960 --> 00:57:55,520
Speaker 2: but they track record was garbage as far as hip

1164
00:57:55,520 --> 00:58:00,400
Speaker 2: hop concern, only success they had was with Melbamore. So

1165
00:58:01,760 --> 00:58:05,520
Speaker 2: Capital was basically like Nigga, We about to be done

1166
00:58:05,560 --> 00:58:11,200
Speaker 2: with y'all. They had put out garbage like Arabian prince.

1167
00:58:11,640 --> 00:58:11,800
Speaker 1: Right.

1168
00:58:14,920 --> 00:58:19,040
Speaker 2: They Basically Orpheus was trying and it wasn't sticking. So

1169
00:58:21,720 --> 00:58:26,720
Speaker 2: we basically walked in the door at Orpheus Capital when

1170
00:58:26,840 --> 00:58:31,000
Speaker 2: Capitol was shutting the door. Our first album is a

1171
00:58:31,120 --> 00:58:35,800
Speaker 2: comptant thing, got over the Orpheus Capital, but Capitol had

1172
00:58:35,920 --> 00:58:38,080
Speaker 2: just closed the door on them. I think we did

1173
00:58:38,160 --> 00:58:45,160
Speaker 2: about two hundred thousand. It's a comptant thing. So Epic

1174
00:58:45,640 --> 00:58:49,960
Speaker 2: ended up giving Orpheus a deal. So that's how we

1175
00:58:50,120 --> 00:58:55,320
Speaker 2: got and they were given they were giving Orpheus a

1176
00:58:55,520 --> 00:59:01,720
Speaker 2: quarter of a meal. Okay. Orpheus just did nothing for

1177
00:59:01,880 --> 00:59:06,360
Speaker 2: CMW Records. They didn't bring in a producer, they didn't

1178
00:59:06,400 --> 00:59:11,560
Speaker 2: write a song, nothing. They took a buck sixty off

1179
00:59:11,680 --> 00:59:17,360
Speaker 2: the top, right, okay, which laugh about ninety grand. Let's

1180
00:59:17,400 --> 00:59:21,600
Speaker 2: do some math real quick, unknoon took ninety grand and

1181
00:59:21,760 --> 00:59:26,080
Speaker 2: will pocketed. He'd give me probably four or five grand

1182
00:59:26,520 --> 00:59:29,680
Speaker 2: and give slip about four or five grand. And that's

1183
00:59:29,720 --> 00:59:32,000
Speaker 2: how we were doing comptences most wanted records.

1184
00:59:32,120 --> 00:59:34,040
Speaker 3: Let me do some math from y'all, real quick, okay,

1185
00:59:34,920 --> 00:59:38,600
Speaker 3: So above the law always so between three, let's give

1186
00:59:38,640 --> 00:59:40,880
Speaker 3: them the benefit of the doubt. Three hundred thousand, right, yeah,

1187
00:59:41,240 --> 00:59:44,640
Speaker 3: records they generate one point eight million dollars, and I'm

1188
00:59:44,920 --> 00:59:47,280
Speaker 3: with y'all getting to do it.

1189
00:59:47,680 --> 00:59:51,040
Speaker 4: Yeah, we probably was getting and I'm saying two hundred

1190
00:59:51,040 --> 00:59:54,480
Speaker 4: and fifty thousand all in that's recording, that's what samples,

1191
00:59:54,600 --> 00:59:55,680
Speaker 4: that's what money in our pock.

1192
00:59:55,800 --> 00:59:58,520
Speaker 1: We probably only see as the group. We probably would

1193
00:59:58,520 --> 01:00:01,120
Speaker 1: only see, like he said, like eighty as the group

1194
01:00:01,200 --> 01:00:05,600
Speaker 1: after everybody law House, getting his studio, getting theirs and

1195
01:00:05,680 --> 01:00:07,560
Speaker 1: all that, only.

1196
01:00:07,480 --> 01:00:09,160
Speaker 3: For them to come back and tell you, hey, we're

1197
01:00:09,200 --> 01:00:11,640
Speaker 3: going to do another album. But you still owe us

1198
01:00:11,680 --> 01:00:13,200
Speaker 3: millions of dollars because.

1199
01:00:14,560 --> 01:00:17,080
Speaker 2: Because that doesn't account towards, that doesn't account for the

1200
01:00:17,160 --> 01:00:18,120
Speaker 2: money that we gave you.

1201
01:00:18,240 --> 01:00:20,160
Speaker 3: The money gave you, you have to pay off that

1202
01:00:20,240 --> 01:00:22,040
Speaker 3: little five or ten percent that you're getting on.

1203
01:00:22,120 --> 01:00:26,200
Speaker 2: Then you get seventy cents a record, so you have.

1204
01:00:26,200 --> 01:00:29,280
Speaker 3: To pay that back off your seventy cent You owe forever. Absolutely,

1205
01:00:29,520 --> 01:00:31,320
Speaker 3: so if you look at now, you go still be

1206
01:00:31,400 --> 01:00:33,800
Speaker 3: in the red, even though you may have sold up

1207
01:00:33,840 --> 01:00:34,160
Speaker 3: the date.

1208
01:00:34,640 --> 01:00:37,000
Speaker 4: Man, you're not really in the red if you sail

1209
01:00:37,040 --> 01:00:39,440
Speaker 4: three hundred thousand, because you really already passed it. But

1210
01:00:39,560 --> 01:00:42,320
Speaker 4: what they do is they end up piecing.

1211
01:00:42,880 --> 01:00:45,760
Speaker 1: It's like the statement only be like for like say,

1212
01:00:45,800 --> 01:00:48,520
Speaker 1: for instance, it only be for seventy thousand records. This

1213
01:00:48,680 --> 01:00:52,040
Speaker 1: is the lick, right, never is for all of those records.

1214
01:00:52,760 --> 01:00:56,640
Speaker 2: My my lick is I never received the royalty check.

1215
01:00:57,400 --> 01:01:01,400
Speaker 2: I never received a royalty check. I would always get budgets,

1216
01:01:01,600 --> 01:01:04,080
Speaker 2: and that's how I would get money. I never got

1217
01:01:04,120 --> 01:01:10,840
Speaker 2: a royalty check because because what would happen is Sony

1218
01:01:10,920 --> 01:01:15,200
Speaker 2: would give me one hundred and eighty grand, right, then

1219
01:01:15,280 --> 01:01:19,600
Speaker 2: they would turn around and go, you did two videos,

1220
01:01:20,240 --> 01:01:24,880
Speaker 2: then was eighty a piece. Okay, So now you're at

1221
01:01:24,920 --> 01:01:26,840
Speaker 2: about three hundred and something grand.

1222
01:01:27,200 --> 01:01:27,520
Speaker 1: Okay.

1223
01:01:31,240 --> 01:01:35,040
Speaker 2: To negotiate your whole deal took about three months. We're

1224
01:01:35,080 --> 01:01:39,800
Speaker 2: gonna charge you for that. Okay. You did a promo

1225
01:01:39,960 --> 01:01:43,880
Speaker 2: tour that costs about thirty forty grand. We're gonna charge

1226
01:01:43,920 --> 01:01:46,240
Speaker 2: you back for that. At the end of the day,

1227
01:01:46,840 --> 01:01:50,560
Speaker 2: I think I was getting what ten eleven points a record.

1228
01:01:51,080 --> 01:01:54,440
Speaker 2: One point is equivalent to what seven cents, So I

1229
01:01:54,600 --> 01:01:58,240
Speaker 2: was getting maybe seventy cents a record. They expect me

1230
01:01:58,400 --> 01:02:03,200
Speaker 2: to pay back that fucking four hundred thousand out of

1231
01:02:03,400 --> 01:02:04,560
Speaker 2: seventy cents.

1232
01:02:05,440 --> 01:02:07,320
Speaker 1: Yeah, there is there, There is.

1233
01:02:07,440 --> 01:02:10,040
Speaker 2: The but then they're gonna go, They're gonna come back

1234
01:02:10,120 --> 01:02:14,400
Speaker 2: and they're gonna go okay. Similar like Music to Drive By.

1235
01:02:14,880 --> 01:02:19,840
Speaker 2: You sold four hundred thousand records. Okay, we spent four

1236
01:02:19,960 --> 01:02:23,120
Speaker 2: hundred to do it. You owe me four hundred out

1237
01:02:23,160 --> 01:02:26,600
Speaker 2: of your seventy cents. But Music to Drive By just

1238
01:02:26,680 --> 01:02:30,120
Speaker 2: sold four hundred thousand. They've made a profit of almost

1239
01:02:30,240 --> 01:02:34,640
Speaker 2: two point something million dollars. But that you would think

1240
01:02:34,800 --> 01:02:38,240
Speaker 2: they would go, okay, we gave you four hundred. It

1241
01:02:38,440 --> 01:02:42,000
Speaker 2: just made back two point five. We're gonna go minus

1242
01:02:42,120 --> 01:02:45,240
Speaker 2: four out of that two point five. There's two point

1243
01:02:45,360 --> 01:02:48,080
Speaker 2: one here on the table. Now, let's splay bet.

1244
01:02:48,000 --> 01:02:50,240
Speaker 1: You with video. They're gonna hit you with manufacturing.

1245
01:02:50,280 --> 01:02:52,200
Speaker 2: They're gonna hit you, and that comes out of your

1246
01:02:52,320 --> 01:02:55,240
Speaker 2: seventy cents. That don't come out of the money that

1247
01:02:55,520 --> 01:02:56,640
Speaker 2: just hit the table, right.

1248
01:02:56,800 --> 01:02:58,760
Speaker 3: And the whole thing about it, it's like it's the

1249
01:02:58,880 --> 01:03:01,080
Speaker 3: equivalent of going into a bank and getting a loan

1250
01:03:01,160 --> 01:03:03,520
Speaker 3: for something them a car loan, and the people at

1251
01:03:03,560 --> 01:03:05,640
Speaker 3: the bank telling you, well, no, you're not gonna get

1252
01:03:05,680 --> 01:03:07,960
Speaker 3: that truck. We gonna go get you this and you

1253
01:03:08,240 --> 01:03:08,680
Speaker 3: pay for it.

1254
01:03:12,880 --> 01:03:14,400
Speaker 4: But the way we used to look at it is

1255
01:03:14,480 --> 01:03:16,400
Speaker 4: like he just said, we just used to look at

1256
01:03:16,440 --> 01:03:19,400
Speaker 4: the front money and fucked it back in because we

1257
01:03:19,400 --> 01:03:21,040
Speaker 4: ain't gonna You're not getting back in.

1258
01:03:21,280 --> 01:03:22,080
Speaker 1: At the record blow.

1259
01:03:22,160 --> 01:03:24,280
Speaker 4: We got touring, we got merged, we got we We

1260
01:03:24,360 --> 01:03:26,880
Speaker 4: looked at it like a bigger picture because early in

1261
01:03:26,960 --> 01:03:30,640
Speaker 4: the early days, they never showed us everything. They only

1262
01:03:30,720 --> 01:03:33,360
Speaker 4: showed us everything when we ask, you know what I mean,

1263
01:03:33,480 --> 01:03:37,160
Speaker 4: Like now people can really see where shit is going.

1264
01:03:37,680 --> 01:03:41,280
Speaker 4: But it's foolish because it ain't like it was with us.

1265
01:03:41,400 --> 01:03:44,960
Speaker 4: We we actually had CDs or cassettes or wax, so

1266
01:03:45,080 --> 01:03:47,240
Speaker 4: we could account for the ship. But then they put

1267
01:03:47,360 --> 01:03:49,040
Speaker 4: all of that other ship in it, like he said,

1268
01:03:49,120 --> 01:03:52,040
Speaker 4: like they put the video budget in it, the samples,

1269
01:03:52,600 --> 01:03:54,880
Speaker 4: all these things that went against us in all these

1270
01:03:54,920 --> 01:03:59,640
Speaker 4: other parties that's involved Sony Ruthless, law House.

1271
01:04:00,800 --> 01:04:04,280
Speaker 1: My thing, my thing is, no, my thing is. My

1272
01:04:04,480 --> 01:04:05,080
Speaker 1: thing is.

1273
01:04:07,800 --> 01:04:11,640
Speaker 2: You're the creator, you're the writer or whatever, And I

1274
01:04:11,760 --> 01:04:13,840
Speaker 2: get it. It's like like you said, it's like a

1275
01:04:14,080 --> 01:04:17,280
Speaker 2: it's like a bank loan, Right, Sony gonna come in.

1276
01:04:17,480 --> 01:04:23,439
Speaker 2: They gonna go, Okay, you the new artist. They say

1277
01:04:23,520 --> 01:04:26,680
Speaker 2: you hot, they say your shit is cracking.

1278
01:04:27,280 --> 01:04:27,640
Speaker 1: Okay.

1279
01:04:29,200 --> 01:04:31,680
Speaker 2: I don't know if you're gonna sell one copy or

1280
01:04:31,840 --> 01:04:36,480
Speaker 2: one million. So this is what's gonna happen. I'm gonna

1281
01:04:36,520 --> 01:04:39,800
Speaker 2: go pay to do your record. I'm gonna put you

1282
01:04:39,920 --> 01:04:42,600
Speaker 2: in the studio, I'm gonna get your album cover done.

1283
01:04:42,840 --> 01:04:45,360
Speaker 2: I'm gonna bring in artists and this and that, and

1284
01:04:45,440 --> 01:04:48,000
Speaker 2: I'm gonna do all this stuff. So basically, I'm finning

1285
01:04:48,080 --> 01:04:50,800
Speaker 2: loan you a million. Right, I'm fee the loan you

1286
01:04:50,880 --> 01:04:57,800
Speaker 2: a million dollars. But instead of going, Now, some niggas

1287
01:04:57,840 --> 01:04:59,880
Speaker 2: they do it too, if you know how to negoti

1288
01:05:00,880 --> 01:05:04,720
Speaker 2: So instead of going, you're gonna give me back my meal.

1289
01:05:04,880 --> 01:05:07,600
Speaker 2: Like so when the money hit, I'm taking my million

1290
01:05:07,680 --> 01:05:12,840
Speaker 2: off the top. After that we can do sixty forty. No,

1291
01:05:13,560 --> 01:05:19,760
Speaker 2: they go, I'm only gonna give you seventy cents per

1292
01:05:19,920 --> 01:05:24,160
Speaker 2: record you sell. That's what they do to you. That's

1293
01:05:24,240 --> 01:05:28,120
Speaker 2: how the record labels look at you. I'm gonna give

1294
01:05:28,160 --> 01:05:33,080
Speaker 2: you seventy cents per record you sell. Now this million,

1295
01:05:33,160 --> 01:05:36,600
Speaker 2: I'm finna loan you. You're gonna have to pay me

1296
01:05:36,880 --> 01:05:42,000
Speaker 2: back that million out of your profit of seventy cents.

1297
01:05:43,560 --> 01:05:48,760
Speaker 2: But I'm gonna own ninety something percent of this fucking project.

1298
01:05:49,000 --> 01:05:52,720
Speaker 4: Plus you gotta realize they only pay out of portions.

1299
01:05:52,800 --> 01:05:54,880
Speaker 4: Like when you get a royalty statement. Say you get

1300
01:05:54,880 --> 01:05:59,320
Speaker 4: a royalty statement, say it's January, right, that statement might

1301
01:05:59,440 --> 01:06:03,400
Speaker 4: only be from June to September.

1302
01:06:04,160 --> 01:06:04,320
Speaker 1: Right.

1303
01:06:04,640 --> 01:06:07,800
Speaker 4: Whatever it did between them months is all that check is.

1304
01:06:08,400 --> 01:06:11,840
Speaker 4: That's another hustle. That's the other hustle. Don't understand we

1305
01:06:11,960 --> 01:06:13,680
Speaker 4: actually got an other right now, right, and we can

1306
01:06:13,840 --> 01:06:15,920
Speaker 4: keep talking all night. Okay, I want to ask you

1307
01:06:16,040 --> 01:06:19,160
Speaker 4: this question, man, I asked this to everybody that was around. Okay,

1308
01:06:20,440 --> 01:06:23,120
Speaker 4: at one point Easy was gonna tell Jerry to kick Rocks.

1309
01:06:23,200 --> 01:06:23,320
Speaker 2: Right.

1310
01:06:23,480 --> 01:06:25,680
Speaker 1: Absolutely, he was gonna fire him. I know that for

1311
01:06:25,800 --> 01:06:26,120
Speaker 1: a fact.

1312
01:06:27,160 --> 01:06:29,360
Speaker 3: Did Easy seem like he was sick to you in

1313
01:06:29,440 --> 01:06:31,920
Speaker 3: the last days? Absolutely not. Do you think it was

1314
01:06:32,000 --> 01:06:37,040
Speaker 3: some foul play with that? Absolutely? You were the fifth

1315
01:06:37,120 --> 01:06:39,680
Speaker 3: person I've heard say that Easy eating. And these are

1316
01:06:39,680 --> 01:06:41,840
Speaker 3: the people that was around him every day. Man, he

1317
01:06:41,920 --> 01:06:43,840
Speaker 3: didn't have no sickness, and it was just like one

1318
01:06:43,960 --> 01:06:45,880
Speaker 3: day we look up and he's dying of aids.

1319
01:06:46,040 --> 01:06:47,520
Speaker 1: Well, yeah, I mean.

1320
01:06:49,440 --> 01:06:52,640
Speaker 4: He gotta you know when when when he got at me,

1321
01:06:53,400 --> 01:06:56,240
Speaker 4: it definitely was a changing of the guards. And once

1322
01:06:56,320 --> 01:06:59,840
Speaker 4: those guards change, once all those once he made his

1323
01:07:00,080 --> 01:07:03,200
Speaker 4: chest play, it seemed like it all went bad. That's

1324
01:07:03,240 --> 01:07:06,120
Speaker 4: all I can tell you and I know the moves

1325
01:07:06,120 --> 01:07:08,680
Speaker 4: he was gonna make. It was gonna reunite n w A.

1326
01:07:09,160 --> 01:07:11,800
Speaker 4: We was gonna revamp the label without Jerry Heller. This

1327
01:07:11,880 --> 01:07:14,680
Speaker 4: is real talk. As soon as he made that clear

1328
01:07:14,760 --> 01:07:16,479
Speaker 4: to Jerry Heller, it all went bad.

1329
01:07:17,280 --> 01:07:19,640
Speaker 1: He wasn't. You know the thing about Eric, Eric wasn't.

1330
01:07:19,960 --> 01:07:20,439
Speaker 1: He wasn't.

1331
01:07:20,600 --> 01:07:23,120
Speaker 4: It wasn't like G fourteen Classified Dog. It was he

1332
01:07:23,280 --> 01:07:25,360
Speaker 4: was like, this is what I'm gonna do. And once

1333
01:07:25,440 --> 01:07:27,640
Speaker 4: he let him know, it seemed like everything went downhill

1334
01:07:27,680 --> 01:07:28,320
Speaker 4: with no breaks.

1335
01:07:28,760 --> 01:07:28,920
Speaker 1: You know.

1336
01:07:29,360 --> 01:07:31,439
Speaker 3: You know what I would like to see, and even

1337
01:07:31,520 --> 01:07:34,520
Speaker 3: though that's a long time ago, what I would like

1338
01:07:34,600 --> 01:07:37,240
Speaker 3: to see is some kind of investigation happened, man, to

1339
01:07:37,320 --> 01:07:39,600
Speaker 3: find out what really happened to that man. Yeah, because

1340
01:07:39,600 --> 01:07:41,360
Speaker 3: I talked to too many people to tell me, man

1341
01:07:41,560 --> 01:07:44,040
Speaker 3: is I've had people that my family that passed away

1342
01:07:44,160 --> 01:07:44,840
Speaker 3: age and stuff.

1343
01:07:44,880 --> 01:07:46,800
Speaker 4: And the thing about it, man, I think it's tragic

1344
01:07:46,920 --> 01:07:50,360
Speaker 4: because what easy getting on for is the rapper died

1345
01:07:50,400 --> 01:07:52,960
Speaker 4: from ads. But he's the He's the reason why all

1346
01:07:53,000 --> 01:07:55,800
Speaker 4: of us exist. There is no ice Cube the superstar,

1347
01:07:56,360 --> 01:08:00,240
Speaker 4: there is no Doctor dreda billionaire, There is no me, the.

1348
01:08:00,280 --> 01:08:03,000
Speaker 1: Creator of a sound called G funk. There is no

1349
01:08:03,480 --> 01:08:04,840
Speaker 1: all of these things that happened.

1350
01:08:05,080 --> 01:08:06,880
Speaker 4: You know, if it wasn't for Eric right, you know,

1351
01:08:06,960 --> 01:08:09,080
Speaker 4: the world would be a lot different without Eric right,

1352
01:08:09,240 --> 01:08:11,600
Speaker 4: like just ideally, I'm telling you he's the one who

1353
01:08:11,720 --> 01:08:14,760
Speaker 4: had that vision. And it's sad because I wish that

1354
01:08:14,800 --> 01:08:18,560
Speaker 4: would happen too, though, because that's true, it did go

1355
01:08:18,720 --> 01:08:19,320
Speaker 4: bad from there.

1356
01:08:19,680 --> 01:08:22,679
Speaker 1: I don't know. He just I don't extremely get sick

1357
01:08:22,760 --> 01:08:25,240
Speaker 1: and just die in a week. I don't know.

1358
01:08:25,320 --> 01:08:27,880
Speaker 3: It don't sound right to me. It never has sat

1359
01:08:27,960 --> 01:08:30,280
Speaker 3: right with me, to be honest. Yeah, you know I

1360
01:08:30,360 --> 01:08:33,479
Speaker 3: talked to this son shouting my hown boy. Yeah, and man,

1361
01:08:33,520 --> 01:08:36,400
Speaker 3: I appreciate you coming by dog. This is like the

1362
01:08:36,600 --> 01:08:38,599
Speaker 3: man me and ain't been back in a thousand we've

1363
01:08:38,640 --> 01:08:41,519
Speaker 3: been having some legendary people. You know, people like to

1364
01:08:41,600 --> 01:08:44,639
Speaker 3: call themselves legends. Man, that word is through around too loosely.

1365
01:08:44,760 --> 01:08:48,160
Speaker 2: Now. I think people just like to hear the backstories

1366
01:08:48,439 --> 01:08:53,200
Speaker 2: of you know, it's like a good documentary or a

1367
01:08:53,280 --> 01:08:57,960
Speaker 2: good story that you didn't know. You can only put

1368
01:08:58,040 --> 01:09:03,519
Speaker 2: together pieces or think or assume ship and then you

1369
01:09:03,680 --> 01:09:07,000
Speaker 2: know it just people just like to hear backstories of

1370
01:09:07,600 --> 01:09:11,640
Speaker 2: original ship, how shit got started, and especially when you

1371
01:09:11,800 --> 01:09:15,320
Speaker 2: come from an era of music that had the whole

1372
01:09:15,479 --> 01:09:21,120
Speaker 2: world turned up. A lot of our stories aren't told about,

1373
01:09:21,280 --> 01:09:26,000
Speaker 2: you know, the inception of uh this reality music that

1374
01:09:26,160 --> 01:09:28,320
Speaker 2: we brought to the forefront, and it.

1375
01:09:28,400 --> 01:09:30,920
Speaker 4: Never was and it never was. We never coined a

1376
01:09:30,960 --> 01:09:32,560
Speaker 4: gangster rap. I don't want to say that on this

1377
01:09:33,320 --> 01:09:35,519
Speaker 4: It was always reality wrap for us. It was we

1378
01:09:35,640 --> 01:09:39,519
Speaker 4: never that's what corporate corporate put us in.

1379
01:09:39,600 --> 01:09:44,760
Speaker 2: That corporate Corporate America named as gangster rap because of Fox.

1380
01:09:44,840 --> 01:09:46,760
Speaker 1: They needed to check and put us hand in the store.

1381
01:09:47,000 --> 01:09:51,040
Speaker 2: I mean, because of that's what LA represented. You get

1382
01:09:51,360 --> 01:09:55,320
Speaker 2: LA represented gangs. Come on, now, you know it was

1383
01:09:55,520 --> 01:09:57,080
Speaker 2: movies like Colors it was.

1384
01:09:57,320 --> 01:09:57,560
Speaker 1: It was.

1385
01:09:58,040 --> 01:10:01,719
Speaker 2: It was reports on the rus gang violence and drive

1386
01:10:02,439 --> 01:10:02,720
Speaker 2: to let.

1387
01:10:02,840 --> 01:10:05,080
Speaker 4: I want to let people know that our ship was

1388
01:10:05,120 --> 01:10:07,920
Speaker 4: based upon reality. All of the shit we did was

1389
01:10:07,960 --> 01:10:09,720
Speaker 4: based upon the reality of what we saw.

1390
01:10:10,120 --> 01:10:10,439
Speaker 2: Music.

1391
01:10:10,560 --> 01:10:13,800
Speaker 1: Always remember this, y'all. No matter what, music is the

1392
01:10:13,880 --> 01:10:15,880
Speaker 1: reflection of the environment. That's it.

1393
01:10:16,160 --> 01:10:19,439
Speaker 4: If we don't have it to talk about, if if if,

1394
01:10:19,520 --> 01:10:22,360
Speaker 4: if we didn't see that in our neighborhoods, we wouldn't

1395
01:10:22,360 --> 01:10:24,320
Speaker 4: have it to talk about. That's the reality of what

1396
01:10:24,520 --> 01:10:24,920
Speaker 4: was going on.

1397
01:10:25,439 --> 01:10:25,960
Speaker 1: You know what I mean.

1398
01:10:26,120 --> 01:10:28,160
Speaker 4: So for them to do that, which is fine, I

1399
01:10:28,240 --> 01:10:30,000
Speaker 4: don't really give a fuck. But what I'm saying is

1400
01:10:30,040 --> 01:10:33,040
Speaker 4: that nobody got up and said we're gangster rappers. Nobody

1401
01:10:33,120 --> 01:10:35,200
Speaker 4: said that they put us in that box.

1402
01:10:36,000 --> 01:10:39,000
Speaker 3: Well, that concludes another episode of the Gainst the Chronicles podcast.

1403
01:10:39,120 --> 01:10:41,360
Speaker 3: Be sure to download the iHeart app and subscribe to

1404
01:10:41,400 --> 01:10:44,360
Speaker 3: The Gangst the Chronicles podcast For Apple users, find a

1405
01:10:44,400 --> 01:10:46,360
Speaker 3: purple micae on the front of your screen, subscribe to

1406
01:10:46,439 --> 01:10:49,240
Speaker 3: the show, leave of common and rating. Executive producers for

1407
01:10:49,280 --> 01:10:52,080
Speaker 3: The Gangst the Chronicles podcast Norman Steel, Aaron M. C

1408
01:10:52,200 --> 01:10:55,160
Speaker 3: a Tyler. Our visual media director is Brian Whatt, and

1409
01:10:55,360 --> 01:10:58,040
Speaker 3: all your editors tell It Hayes. The Gangster Chronicles is

1410
01:10:58,080 --> 01:11:01,639
Speaker 3: a production of iHeartMedia networking the Black Effect podcast Network.

1411
01:11:01,920 --> 01:11:05,519
Speaker 3: For more podcasts from iHeartRadio, visit the iHeartRadio app Apple

1412
01:11:05,600 --> 01:11:07,640
Speaker 3: Podcasts wherever you're listening to your podcasts