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Speaker 1: J you know what it is another episode of the

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Speaker 1: Gangster Chronicles and with the whole boy big still ye

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Speaker 1: y'all know what they dude, y'all feeling out there today?

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Speaker 1: Man ship, We're good man. You know, it's been a

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Speaker 1: whole bunch of the talk of the town the last

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Speaker 1: few weeks, don't be you know, we just um celebrated

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Speaker 1: fifty years of hip hop. Yeah right, you know, fifty

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Speaker 1: years of hip hop. Man. You know, hip hop is

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Speaker 1: just such a subjective. It's always really subjective when people,

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Speaker 1: you know, you get the barbershop banter going to people

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Speaker 1: get to talk about their favorite mcs and stuff like that. Like,

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Speaker 1: I'm pretty sure your top fifty lists will probably be

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Speaker 1: different than mine, but it may be the same. We

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Speaker 1: may have some different people at different places though, you know, right,

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Speaker 1: we may have people at different places. So, you know,

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Speaker 1: the Grammys, they finally um starting acknowledge hip hop a

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Speaker 1: little something. It was still you know, I don't think

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Speaker 1: they gave us another time, but it was a lot

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Speaker 1: of people. How many mcs that they have up there

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Speaker 1: on the fifty years at least at least about what

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Speaker 1: over twenty they had a lot of m c s

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Speaker 1: up there man um and they still I still think

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Speaker 1: they could have gave us more time. They still kind

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Speaker 1: of tree hip hops kind of like the red hit

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Speaker 1: steps out to a certain extent, but they he was

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Speaker 1: getting hip hop more love and they used to give. Remember,

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Speaker 1: it didn't used to be shipped. You didn't used to

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Speaker 1: hear nothing about hip hop. No, you know, we've been

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Speaker 1: able to sustain for a long time now, like you said,

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Speaker 1: fifty years, so you know, just I guess just with that,

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Speaker 1: you know, they felt like, you know, let us pay

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Speaker 1: a little omage. You know, hip hops are making some money,

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Speaker 1: you know over the last fifty years. Like again, people

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Speaker 1: thought it was gonna probably uh sput her out when

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Speaker 1: we first started, you know, doing this ship. But you

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Speaker 1: know whatever, it's it's it's good that some people got

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Speaker 1: the recognition that they should have had a long time ago.

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Speaker 1: You know, I didn't watch the ship, but I never

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Speaker 1: do watch the Grammys, so I caught glimps of it

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Speaker 1: called clips. You know. It was it was pretty you know,

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Speaker 1: I think it was pretty cool to be recognized as

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Speaker 1: far as hip hop is concerned. Yeah, for sure. And

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Speaker 1: this is whom they had Big Boyfriend oudcast Bust the rhymes.

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Speaker 1: He brought Spliff start with him, Dallas. So you know, um,

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Speaker 1: DJ Jazzy Chef, Missy Elliot, Future Glorilla, grand Master Flash,

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Speaker 1: grand Master Millie Miller, Scorpio or they had all the um,

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Speaker 1: they had the whole Furious five up there, looked like, yeah,

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Speaker 1: Iced Tea, little Baby, little Wayne, the Locks Method Man, Nelly,

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Speaker 1: Public Enemy, Queen Latifa brock Kim. I would have liked

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Speaker 1: Iced Tea to do colors instead of new Jack Hustler. Yeah,

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Speaker 1: and I thought about that. Man. I think that's that

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Speaker 1: little East Coast bias coming in because if you see,

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Speaker 1: they had all of the Furious Five up there, and

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Speaker 1: some of them guys had their whole group, like they

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Speaker 1: didn't split the locks up like you know they had. Um,

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Speaker 1: I know that was kind of some controversy a bit

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Speaker 1: between Willie D and Scarface. Scarfaces went up there and

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Speaker 1: did this thing, and um, you know Willie D was

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Speaker 1: kind of he feel kind of slighter. Yeah, you know,

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Speaker 1: and I could I can understand both sides. Um, but

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Speaker 1: but again that's the kind of like um the redhead

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Speaker 1: step shout treatment again, you know, yeah, because you know, um,

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Speaker 1: I'm pretty sure you know Furious five didn't get the

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Speaker 1: perform or a versus, but you know they were there. Yeah, spliff,

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Speaker 1: you know he's bust a couple of rhymes on some projects.

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Speaker 1: You know, he hasn't had any full length projects. But

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Speaker 1: he was still there. So I can I can get uh,

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Speaker 1: you know, I can give Willie D's point of view,

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Speaker 1: like you know, they only let my nigga face, you

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Speaker 1: know faces a real close friend of mine. Um, I

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Speaker 1: can get that. You know, they stepped to face popularity

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Speaker 1: of the Ghetto boys or whatever. But you know, I

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Speaker 1: think it would have been official if they would have

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Speaker 1: had at least Willie there on stage. You know this

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Speaker 1: Wick rest in peace. You know, it would have been

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Speaker 1: cool if all three of them could have been on stage.

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Speaker 1: Even though you bust in one verse, still the representation

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Speaker 1: of the group. So I can get where you're coming

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Speaker 1: from on that. But then on the past up no

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Speaker 1: opportunity either. I can see both sides. I don't think

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Speaker 1: and I don't think face. Like you know, we were

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Speaker 1: talking about the Grammy Committee. I don't know if he'd

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Speaker 1: have had that pull because if he did did try

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Speaker 1: to pull it, well, if will don't come, I'm not come.

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Speaker 1: They probably told him what don't come, then they've probably

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Speaker 1: just replaced them with somebody else. I think I would

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Speaker 1: have probably at least presented it to him, like, Okay,

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Speaker 1: y'all want me to perform, you know a third in

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Speaker 1: my verse from mine playing tricks on me. Is it

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Speaker 1: gonna hurt anything if Willie these on stage? You get me?

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Speaker 1: During that process what they say they don't want to

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Speaker 1: pay for his flight or something like that? Ship? You know,

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Speaker 1: you I'm pretty sure you know it could have been

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Speaker 1: worked out. Yeah, And I don't think. I don't think

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Speaker 1: we're gonna stop no plane flight from from you know,

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Speaker 1: coming up on the thing. He more than cable of

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Speaker 1: probably getting his own ticket, so you know, I mean, yeah,

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Speaker 1: that's it. You know. I don't think neither one of

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Speaker 1: them was in the room, nor the yeah you know

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Speaker 1: one of his classic songs. Uh, It wasn't like, Okay,

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Speaker 1: we want the whole thing up here. Yea. At the

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Speaker 1: end of the day, somebody, I'm pretty sure it's a

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Speaker 1: whole bunch of people's piste off. Politics is politics, man,

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Speaker 1: And you know, when you're dealing with ship like this,

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Speaker 1: and you know, when you're really out of you're really

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Speaker 1: not in control of of the ship. You know what

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Speaker 1: the Grammys is, you get me, Um, You're not in

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Speaker 1: control of none of that ship. Like I said, just

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Speaker 1: for them to take the step to go fuck it. Yeah,

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Speaker 1: I have all these artists performed, you know, in recognition

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Speaker 1: of of fifty years of hip hop. You know, even

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Speaker 1: though it's taking fifty years for them to recognize that

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Speaker 1: we've been a a mega force as far as record

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Speaker 1: sales and entertainment and fans and tours and shows and

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Speaker 1: all that, We've been a significant force for a long time.

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Speaker 1: So you know, if it took fifty years, I'm just

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Speaker 1: glad it didn't take a hunt, you get me. Yeah.

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Speaker 1: And and the fact that they did it at all,

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Speaker 1: they're showing a lot of growth. A lot of a

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Speaker 1: lot of our peers have passed away, and you know,

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Speaker 1: within fifty years, you know what I'm saying, Um, there's

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Speaker 1: been a lot of significant artists who aren't here to witness,

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Speaker 1: you know, and a lot of motherfucker's just to protest

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Speaker 1: the Grammys, you know what I'm saying, because of not

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Speaker 1: having the recognition of of hip hop. But you know,

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Speaker 1: like I said, I'm glad after fifty years it gets

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Speaker 1: recognized and it didn't take a hunt because it would

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Speaker 1: be a lot of us gone when they decide, you know,

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Speaker 1: to do some ship like that. Yeah, for sure. You

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Speaker 1: know one thing I think that people sleep, oh man,

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Speaker 1: and you was around during this era eight when gangster

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Speaker 1: rap first hit the scene. I remember people were saying, oh,

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Speaker 1: hip hop is really on his way out. Because you

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Speaker 1: remember at the time when gangster rap came, it seemed

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Speaker 1: like it was a period dude, to where you started

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Speaker 1: getting groups coming from different cities, right, like, you know,

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Speaker 1: Detroit they had their own version of kind of like

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Speaker 1: everybody kind of had their own version of n w

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Speaker 1: A and their own city. You know, definitely like you

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Speaker 1: had top authority from Detroit. You know, I think they

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Speaker 1: probably been from Flint, Michigan. They came out, you had

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Speaker 1: the dating families start to arrive, You had you and

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Speaker 1: I call that kind of like the second goal nera

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Speaker 1: against rap because it was a time when gangster rap

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Speaker 1: is pretty much running stuff. You had yourself, you had

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Speaker 1: Spice One, you had the ghetto boys, Scarface kicked off

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Speaker 1: his own solo career. Anything that came out from the

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Speaker 1: West Coast was considered gangster rap. If you wasn't. If

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Speaker 1: you was and uh, if you wasn't a young mc

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Speaker 1: tone loke, uh, fucking Souls, a Mischief, Delta Home, Funky

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Speaker 1: Homo safety and type. Uh. If you wasn't on that level,

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Speaker 1: then you then you came out to West Coast. It

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Speaker 1: was a gainster rapper. That's it. Yeah. I think people

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Speaker 1: kind of admit that because there was a lot of

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Speaker 1: records being sold during that time. And you can't never

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Speaker 1: you can't really you can't sleep on the popularity against

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Speaker 1: the rep broad because everybody was listening to it. We

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Speaker 1: had our run and era of people. You know, curiosity

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Speaker 1: you get me when when you know, when we put

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Speaker 1: out movies like Colors and Menace and Boys in the

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Speaker 1: Hood and Ship like that. You know, the curiosity of

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Speaker 1: the of the life and on the West Coast became

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Speaker 1: peak to some people and away for them to get

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Speaker 1: into more than past the movies. You know, we had

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Speaker 1: a run. Get me. Everybody at one point in time

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Speaker 1: was banging something from the West Coast, you know, as

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Speaker 1: far as ice Cube or easy in w a dog

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Speaker 1: Pan Contence, most Wanted King t ice te Uh. I

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Speaker 1: mean the list goes on and on. You know what

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Speaker 1: I'm saying. So we got a significant run when our

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Speaker 1: culture of music was introduced to the masses, you know

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Speaker 1: what I'm saying. But then, like like like with anything,

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Speaker 1: ship transitions and turns and ship, you know, it just

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Speaker 1: opened the door for other motherfucker's. You know, we had

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Speaker 1: the three too, we had to the convicts, and we had,

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Speaker 1: like you said, the Dayton family, and then you know,

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Speaker 1: everybody started popping up with their own little you know,

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Speaker 1: versions of what life is like. Where were from? Yeah, real,

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Speaker 1: you know, because when I first heard the Top Authority,

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Speaker 1: I was back in Ohio and um, it was hot

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Speaker 1: back there, definitely, Just like you would ride down the

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Speaker 1: street out here and hear your stuff. You know, you

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Speaker 1: were here seem stuff. You hear m C eight, You

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Speaker 1: will hear um, you know, Spice one. When you went

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Speaker 1: back that way, you would hear the Dayton family. You

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Speaker 1: would hear um, not just the Daton family. Um, you

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Speaker 1: were here the top authority, you know MC breeds. You

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Speaker 1: almost got to consider him against the rapper I didn't share.

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Speaker 1: I don't know to us he was I don't know, gangster,

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Speaker 1: but we would really consider it hood music. You get

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Speaker 1: me listening to Breed that was good music to us.

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Speaker 1: We didn't look at it as as any other form.

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Speaker 1: We didn't give it a title back then. We just

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Speaker 1: banged it in the hood. So it was accepted, you

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Speaker 1: know what I'm saying. Whether it was from Detroit or

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Speaker 1: Ohio or Cleveland or whatever it was, if it spoke

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Speaker 1: on neighborhood situations and and in predicaments, then well it

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Speaker 1: was accepted amongst niggers like us in the streets. Yeah, well,

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Speaker 1: you know, against the rap um. I know we talked

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Speaker 1: about it having this peak era, but I don't think

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Speaker 1: it ever played out. Really. I still think, you know,

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Speaker 1: because the funny part of body is anything from the

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Speaker 1: West Coast is called gangster rap, but when it comes

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Speaker 1: from the East Coast, it's just called hardcore hip hop,

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Speaker 1: right Definitely, Like to me, Biggie Small is against the rapper.

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Speaker 1: You know, he talked about selling dope, he talked about

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Speaker 1: chicken and Motherfucker's Doors. That's gangster ship to me, and

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Speaker 1: my book BDP was gangster to real. They first came

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Speaker 1: out with Criminal Minded and ship like that. Um, you know,

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Speaker 1: Motherfucker's like just Ice was gangster to me. Rock him

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Speaker 1: was gangster to me. Niggers in the park on the

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Speaker 1: basketball court, big dukeye chains and pulling up in ben Zos.

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Speaker 1: They just reminded me of the hustler aspect. But that's

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Speaker 1: what it was. Rock Him definitely dressed like a D

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Speaker 1: boy exactly. He dressed like a New York D boy

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Speaker 1: back then, with the custom Gooks suits, the Dipper Dan

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Speaker 1: customized suits and all that stuff. And on the West Coast,

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Speaker 1: to us then was baller niggas. The regular gangster nigga

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Speaker 1: was in some T shirt and khakis, creators cap niggas,

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Speaker 1: get the pulling up with big Benzo emblem chains on

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Speaker 1: and sweatsuits and ship like that. It was the hustler

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Speaker 1: niggas to us. That's what Rock Him and them represented,

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Speaker 1: you know, uh k rs and them, they represented hood niggas.

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Speaker 1: You know, black and leather and coats and pistols and

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Speaker 1: shooting up and niggas trying to That's what that represented

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Speaker 1: to us. So everybody had day version of what I

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Speaker 1: call neighborhood music because everybody didn't. Everybody didn't take on

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Speaker 1: the gangster and no we ain't. You know, we need

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Speaker 1: the cripping blood type of ship. But like I used

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Speaker 1: to always tell niggas. Um. Everybody has their own uh,

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Speaker 1: everybody has their own tradition of what uh the neighborhood

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Speaker 1: motherfucker was of them. You know what I'm saying. We

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Speaker 1: just came from the era wheld. It was crypts and

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Speaker 1: bloods on on, you know other places. Like you said,

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Speaker 1: when I went to New York in the early stages

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Speaker 1: of wrapping, I didn't you know there was no you know,

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Speaker 1: bandanas and niggas like that. But I knew there was

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Speaker 1: hard niggas and the projects and niggas on the blocks,

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Speaker 1: and you had your crews and clicks, and you had

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Speaker 1: your hard motherfucker's like that. Like you said, we consider

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Speaker 1: Biggie hardcore because Biggie talked about selling doolpe dope. Biggie

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Speaker 1: talked about bitches and the click, the homies and hanging

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Speaker 1: out on the block and ship like that. We did

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Speaker 1: the same ship, just in a different aspect. Yeah, for sure,

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Speaker 1: it's definitely looked upon. Its two different things. And I

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Speaker 1: don't think I ever played out against the rap is

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Speaker 1: still going strong now because everybody, like you said, now

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Speaker 1: you see it, you know with the you see it

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Speaker 1: with the little dirks and the little babies, and you

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Speaker 1: see it with those the the young homies coming up

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Speaker 1: and they still representing what they from. They're putting it

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Speaker 1: into different forms and ship nowadays. And you know they

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Speaker 1: have they have their way they slang uh, their way

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Speaker 1: of talking to the people about where they from, where

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Speaker 1: they grew up, how niggas around them, all situations that

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Speaker 1: they've been through. Is just like everybody not cripping in

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Speaker 1: blood what they called it. What they do is they

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Speaker 1: got different terms now like they called it. They got

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Speaker 1: drill music. Yeah, they got you know, the Southern version

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Speaker 1: of it is it's called trapped. You know, everybody got

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Speaker 1: their own versions. They drill down there. They trapped. Everybody

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Speaker 1: got their own rendition of it. But I don't it's

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Speaker 1: all ghet on music, you know what I'm saying. It's

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Speaker 1: all it's all music that for the expression of the neighborhoods.

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Speaker 1: I feel, you know, like we had nip, like you said,

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Speaker 1: we had the little babies, and we got the little dirks,

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Speaker 1: and we got everybody who got their own rendition of

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Speaker 1: what life was like growing up in the neighborhood. Would

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Speaker 1: you consider um little Wayne against the rapper what I

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Speaker 1: considered Little Wayne against or even better your question, would

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Speaker 1: you consider the hot Boys his group? Would you consider

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Speaker 1: them against the rap group? I would consider at the

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Speaker 1: time that they was representing their neighborhood and they was

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Speaker 1: like some hood wrapping niggers. Yeah, for sure. But Little

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Speaker 1: Wayne transitioned out of that to become you know, I

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Speaker 1: look at Little Wayne's era like I look at like

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Speaker 1: I look at a Kendrick, Now you get me. I

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Speaker 1: never symbolized Kendrick as against the rapper. No, none. I

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Speaker 1: think Kendrick had the perfect idea when he said the

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Speaker 1: vocalist you know he was he had visions of doing

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Speaker 1: other ship. You know, even though he spoke on situation

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Speaker 1: atians where growing up in the hood, you know, called

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Speaker 1: his vision. But you know the same thing with Little Wayne.

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Speaker 1: You know, Little Wayne didn't just rap about you know,

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Speaker 1: poverty stricken, growing up in the projects and ship Lorraine

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Speaker 1: has songs like lollipopp and ship like that. You get me.

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Speaker 1: So do you consider his presence, you know, coming up

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Speaker 1: being a neighborhood nigger. Yeah, I would give him that

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Speaker 1: because he definitely you know what, he'd definitely be sue whooping.

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Speaker 1: I mean, yeah, he was claiming blood. Nothing like I said,

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Speaker 1: as his transition went from coming from the Hot Boys

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Speaker 1: and going through that blood era and Sue whooping and

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Speaker 1: all that, you know, to making songs like you Get

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Speaker 1: Me lollipopping and songs of that nature. I would consider

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Speaker 1: him just you know, and uh an achieved artists as

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Speaker 1: far as just sticking to the script. Uh All, I'm

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Speaker 1: gonna talk of about his Holly Grove and blood this

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Speaker 1: and Sue Whoop that and whatever whatever. I mean, it's

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Speaker 1: only as it's only as far as you can take

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Speaker 1: that ship. Well, you know what. The one thing that

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Speaker 1: we will say about Wayne, I know people got to

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Speaker 1: have it, especially on the internet, what this dude ain't really? Dude?

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Speaker 1: Ain't that When I was down in New Orleans and

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Speaker 1: we was at the club Ross was there that night.

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Speaker 1: It was during them. It was when they had the

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Speaker 1: All Star week down New Orleans. When I tell you

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Speaker 1: that Wayne probably had about seventy eighty dudes out there

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Speaker 1: from this neighborhood just waiting. It was really niggers. There

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Speaker 1: was looked like bloods to me. They was really out there,

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Speaker 1: and they really agreeded that they get dapped them up

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Speaker 1: that handshake. So we can't be so quick to say

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Speaker 1: that Motherfucker's is necessarily phony. They represent from what they from.

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Speaker 1: You know what I mean, I don't, I don't. I

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Speaker 1: guess people get that that try to get that analogy

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Speaker 1: of saying um phony because everybody considers, you know, the

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Speaker 1: West Coast is the land of the originators cripping blood.

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Speaker 1: I mean, you know, just like when you think of

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Speaker 1: New York, you know they started hip hop. I mean

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Speaker 1: when you look at cripping and blood and you look

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Speaker 1: at l A, that's where it came from. So when

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Speaker 1: you get clicks and crews and people started, you know,

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Speaker 1: claiming and doing that ship outside of the boundaries of

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Speaker 1: where it started from. I mean, same ship. We used

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Speaker 1: to get criticized when we started rapping on the West Coast.

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Speaker 1: Hear me, nobody played our music. Coast radio wouldn't touch

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Speaker 1: our ship. Yeah, and they the South either. It's just

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Speaker 1: it's niggas believing what they believe in where they're from. Now,

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Speaker 1: you can't call a nigga phony because he ain't from

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Speaker 1: Compton or l A, or he ain't from California Baying

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Speaker 1: because like you said, when you go down to New Orleans,

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Speaker 1: we take our ships serious down here too. Well, it

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00:18:58,440 --> 00:19:00,520
Speaker 1: was definitely bound to happen because as you when you

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Speaker 1: started telling about places like New Orleans, um Beat Rouge, Detroit, Flint, Chicago,

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Speaker 1: those are places that's very active in the streets as well.

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Speaker 1: So it was just definitely bound that happened. You know,

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00:19:15,520 --> 00:19:19,720
Speaker 1: the word gangster just infiltrated. It infiltrated to the fact.

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00:19:19,800 --> 00:19:23,159
Speaker 1: Like like I said, niggas have always had clicks and crews.

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Speaker 1: You know what I'm saying. They was Holly Grove or

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00:19:27,680 --> 00:19:31,240
Speaker 1: we was you know, wherever we from we started banging.

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00:19:31,640 --> 00:19:34,800
Speaker 1: We had to color rags and whatever. Whatever. Now, when

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00:19:34,840 --> 00:19:38,440
Speaker 1: I used to take summer vacation trips to New Orleans

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Speaker 1: and Mississippi as a six seven year old, that I

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Speaker 1: see niggas standing on corners with red rags and blue

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Speaker 1: rags and ship. I never saw that ship. But like

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00:19:49,880 --> 00:19:55,080
Speaker 1: you said, ship transitions, niggas get identities and they feel

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Speaker 1: we're gonna start our own ship. You give me. We

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00:20:00,600 --> 00:20:04,680
Speaker 1: were not the We wasn't the bangers of the sixties

348
00:20:04,680 --> 00:20:08,920
Speaker 1: and seventies, you get me. We didn't wear leather coats

349
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Speaker 1: and leather you know for Dora's and leather cane goes

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00:20:13,480 --> 00:20:17,600
Speaker 1: and represent like that nigga started wearing khaki suits and

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00:20:17,640 --> 00:20:22,040
Speaker 1: T shirts and cortense. Shoot, that was our transition, not

352
00:20:22,160 --> 00:20:24,080
Speaker 1: to say that that ship, like you said that, it

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Speaker 1: ain't gonna happen nowhere. It's gonna pick up. Nigga's gonna

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Speaker 1: go the younger generation like, yeah, we're gonna beat these

355
00:20:30,960 --> 00:20:34,680
Speaker 1: niggas now, and fuck it, we're gonna start wearing red

356
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Speaker 1: bandanas around. Because even even in the fucking UK had

357
00:20:38,760 --> 00:20:41,480
Speaker 1: their own version. You're not the Kingdom when you go over,

358
00:20:41,520 --> 00:20:43,240
Speaker 1: they had to grind stuff that was kind of like

359
00:20:43,320 --> 00:20:45,359
Speaker 1: the street stuff. Then you get motherfucker's to say all

360
00:20:45,400 --> 00:20:48,800
Speaker 1: the niggas are real. The niggas ain't. But you can't

361
00:20:48,880 --> 00:20:54,159
Speaker 1: question that realness because I'll guarantee you I've had plenty

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Speaker 1: of places where I've been there where I've liked, yeah, whatever,

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Speaker 1: And then I'm three thousand miles up in the snow somewhere,

364
00:21:02,480 --> 00:21:05,439
Speaker 1: woothy whooping niggas is pulling up in red hats and

365
00:21:05,520 --> 00:21:09,080
Speaker 1: red bandelas, and I'm looking like, wow, you know what

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Speaker 1: I'm saying, Not that you know, you gotta be safe

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00:21:11,480 --> 00:21:15,320
Speaker 1: and niggas, you know, whereever, But it's like you said,

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Speaker 1: just the transition of it. You think that this ship

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00:21:18,440 --> 00:21:23,400
Speaker 1: is not gonna fluctuate to other motherfucking places, But niggas

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00:21:23,520 --> 00:21:26,600
Speaker 1: changed in transition. You know what I'm saying. I ain't

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Speaker 1: gonna be the nigga that you know was banging in

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Speaker 1: my grandfather days. Nor am I gonna be the nigga

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Speaker 1: who was banging in my father days. I'm gonna be

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Speaker 1: the nigga banging in my era. You get me, And

375
00:21:38,320 --> 00:21:42,240
Speaker 1: that's how the transition go. Niggas from other places start adapting.

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00:21:42,520 --> 00:21:46,119
Speaker 1: You will, you get me? Yeah, we called the we

377
00:21:46,280 --> 00:21:51,440
Speaker 1: called Samson Projects, but we're gonna symbolize it. Were wearing red.

378
00:21:51,520 --> 00:21:55,479
Speaker 1: Now We're just not gonna be the this nigga wearing purple,

379
00:21:55,560 --> 00:21:58,280
Speaker 1: and this nigga wearing green and he got on some black,

380
00:21:58,359 --> 00:22:00,639
Speaker 1: and that nigga got on the Atlanta at and that

381
00:22:00,760 --> 00:22:02,920
Speaker 1: nigga got on a l a hat and that. Now

382
00:22:03,280 --> 00:22:06,399
Speaker 1: we're gonna symbolize everything now with the color red, so

383
00:22:06,520 --> 00:22:11,960
Speaker 1: everybody know when they come to the Samson Block, we

384
00:22:11,960 --> 00:22:16,840
Speaker 1: wear red down. Some niggas might not even be saying

385
00:22:16,880 --> 00:22:25,080
Speaker 1: their bloods right, but we're gonna symbolize this section with red.

386
00:22:25,840 --> 00:22:31,600
Speaker 1: And that's we don't have to be the Samson Street bloods, right,

387
00:22:32,320 --> 00:22:35,920
Speaker 1: We're just gonna be Samson Boys. But we're gonna recognize

388
00:22:36,240 --> 00:22:41,200
Speaker 1: with the red bandanas. And then over there they've been beefing, right,

389
00:22:41,840 --> 00:22:45,320
Speaker 1: they've been beefing with the Boulder Boys. So the Boulder

390
00:22:45,359 --> 00:22:48,480
Speaker 1: Boys gonna decide, Oh, the niggas are starting to wear red,

391
00:22:49,240 --> 00:22:54,880
Speaker 1: we're gonna start wearing blue or we're gonna start wearing green. Yeah. Man,

392
00:22:54,920 --> 00:22:58,119
Speaker 1: the thing is just like this. You know what, man,

393
00:22:58,880 --> 00:23:00,920
Speaker 1: I just had a question come in for you eight.

394
00:23:02,119 --> 00:23:05,800
Speaker 1: Make sure I got this right. You had a showing

395
00:23:05,880 --> 00:23:09,640
Speaker 1: to sign Arizona right right, and it was a bunch

396
00:23:09,640 --> 00:23:17,600
Speaker 1: of bloods there. What happened with that? When I started touring?

397
00:23:17,800 --> 00:23:21,320
Speaker 1: You know, like I said, you don't know what's where

398
00:23:22,600 --> 00:23:25,360
Speaker 1: We just crypt niggers. We are we that's where we are.

399
00:23:25,480 --> 00:23:28,399
Speaker 1: We crypt niggers. So we're going tours, and I go

400
00:23:28,440 --> 00:23:32,960
Speaker 1: on tour naturally we're representing wherever the funk we go.

401
00:23:35,680 --> 00:23:37,920
Speaker 1: But when you go to different towns in different cities,

402
00:23:38,000 --> 00:23:42,479
Speaker 1: I'm not knowledgeable on what's what I had no idea

403
00:23:42,600 --> 00:23:47,960
Speaker 1: to sign was a blood city and it was deep.

404
00:23:48,840 --> 00:23:52,840
Speaker 1: I'm talking about the whole, the whole um, we performed

405
00:23:52,840 --> 00:23:58,840
Speaker 1: a like uh, we performed that something like uh what

406
00:23:59,480 --> 00:24:09,080
Speaker 1: I could parent too, about two thousand people. It wasn't

407
00:24:09,080 --> 00:24:11,920
Speaker 1: even a club. It was like a theater, okay, kind

408
00:24:11,960 --> 00:24:15,200
Speaker 1: of like the curtains and the stage. So it was

409
00:24:15,240 --> 00:24:17,439
Speaker 1: a bigger version of sitting, you know, like you go

410
00:24:17,520 --> 00:24:21,320
Speaker 1: to a college auditorium and it's so it's like that,

411
00:24:21,440 --> 00:24:27,720
Speaker 1: and it's at a real theater. Yes. So, And I

412
00:24:27,760 --> 00:24:31,480
Speaker 1: was on a promo tour with the label, so it

413
00:24:31,640 --> 00:24:36,680
Speaker 1: was it was it was Sony representatives there and uh,

414
00:24:36,720 --> 00:24:39,359
Speaker 1: because I was doing the promo tour, so you know,

415
00:24:39,400 --> 00:24:42,480
Speaker 1: you go to different you hit a different town every night.

416
00:24:44,520 --> 00:24:48,480
Speaker 1: So I had all of homies with me, the regulars,

417
00:24:48,600 --> 00:24:52,840
Speaker 1: chill o, bam, all of them whatever. And when we

418
00:24:52,920 --> 00:24:58,880
Speaker 1: get to the venue, you know, I'm noticing while we're

419
00:24:58,920 --> 00:25:01,320
Speaker 1: getting out the van in the parking lot, you know,

420
00:25:01,400 --> 00:25:06,639
Speaker 1: I'm seeing a lot of red. You know it's probably

421
00:25:06,640 --> 00:25:10,600
Speaker 1: around seeing a lot of red. I'm gonna pay no

422
00:25:10,640 --> 00:25:14,679
Speaker 1: attention because we've I've dealt with that you gave me.

423
00:25:14,720 --> 00:25:17,440
Speaker 1: I've dealt with going to places and it's a few

424
00:25:17,440 --> 00:25:21,439
Speaker 1: blood homies there and you know they hit you with

425
00:25:21,480 --> 00:25:25,320
Speaker 1: their rags and they signs, and but by now I'm

426
00:25:25,359 --> 00:25:29,280
Speaker 1: considering myself a professional, even though I'm still hood, Like,

427
00:25:29,440 --> 00:25:32,680
Speaker 1: I gotta get this money, and you go do a show,

428
00:25:32,760 --> 00:25:37,280
Speaker 1: and I'm like, ship, all these motherfucker's don't pay their money.

429
00:25:37,600 --> 00:25:44,720
Speaker 1: So it's fiel to capacity. So we go out there,

430
00:25:44,800 --> 00:25:47,840
Speaker 1: we do the show. You know, yeah, it's I mean

431
00:25:47,920 --> 00:25:51,119
Speaker 1: it's full. It's it's a house for the full of

432
00:25:51,160 --> 00:25:56,359
Speaker 1: bloods um. But I get on stage, I still do

433
00:25:56,520 --> 00:26:01,080
Speaker 1: my performance. Nothing happened while we was on stage, you

434
00:26:01,160 --> 00:26:04,600
Speaker 1: give me. Nobody threw nothing. You know, you had a

435
00:26:04,640 --> 00:26:08,520
Speaker 1: few dudes, you know, hitting us up or whatever. But

436
00:26:08,680 --> 00:26:11,560
Speaker 1: in all in all, they were still jamming to the music.

437
00:26:11,840 --> 00:26:16,480
Speaker 1: They were still you know whatever. And then when it

438
00:26:16,560 --> 00:26:20,240
Speaker 1: was time to leave, Uh, they got the shooting at

439
00:26:20,240 --> 00:26:23,000
Speaker 1: the back door. When it was trying to leave, they

440
00:26:23,000 --> 00:26:25,800
Speaker 1: got the shooting at the back door. They tried to

441
00:26:25,880 --> 00:26:28,080
Speaker 1: rush the back door where we was coming out of

442
00:26:28,720 --> 00:26:32,320
Speaker 1: and then so uh, one of the homies pulled out

443
00:26:32,320 --> 00:26:35,360
Speaker 1: a pistol and we were shooting back trying to make

444
00:26:35,400 --> 00:26:38,680
Speaker 1: it to the van. That's crazy, man, you know what.

445
00:26:39,320 --> 00:26:41,880
Speaker 1: Quick and high seeing them had a similar story down

446
00:26:41,960 --> 00:26:45,000
Speaker 1: in um Texas, I think to where keda lost his life.

447
00:26:45,040 --> 00:26:46,879
Speaker 1: Prof told me about that story, he said, and it

448
00:26:46,960 --> 00:26:49,160
Speaker 1: tripped him up because he said, the dude that got

449
00:26:49,280 --> 00:26:52,159
Speaker 1: killed out there, he was a fan and he was

450
00:26:52,240 --> 00:26:54,439
Speaker 1: excited about being at the show. He just got an

451
00:26:54,440 --> 00:26:56,840
Speaker 1: autograph from Crawford and quick, you know, he was happy.

452
00:26:57,400 --> 00:26:59,320
Speaker 1: And then he said that fucked him up to look

453
00:26:59,359 --> 00:27:02,120
Speaker 1: over like thirty minutes later and see home Boys stretched

454
00:27:02,200 --> 00:27:04,120
Speaker 1: up the ground. You see it, he said, to funk

455
00:27:04,200 --> 00:27:06,760
Speaker 1: them up. So you definitely got to be careful because

456
00:27:06,760 --> 00:27:09,879
Speaker 1: I think sometimes when you go to these places, you

457
00:27:09,960 --> 00:27:13,640
Speaker 1: just have to know your surroundings. You know. Usually we

458
00:27:13,720 --> 00:27:17,600
Speaker 1: pick up on stuff like that quick, you know, of

459
00:27:17,600 --> 00:27:21,680
Speaker 1: of knowing you know where you're at. And like I said, um,

460
00:27:21,880 --> 00:27:27,040
Speaker 1: show mus go on? Uh the label motherfucker's they not knowing,

461
00:27:27,560 --> 00:27:31,880
Speaker 1: you get me. They just like, hey, it's trying to perform.

462
00:27:32,040 --> 00:27:38,000
Speaker 1: They're not understanding that, you know, they're not understanding the

463
00:27:38,119 --> 00:27:44,000
Speaker 1: seriousness behind like this ain't no, this ain't nothing to

464
00:27:44,040 --> 00:27:47,600
Speaker 1: play with, Like somebody could really lose their life tonight.

465
00:27:47,880 --> 00:27:52,000
Speaker 1: So I mean it came with the territory because of

466
00:27:55,440 --> 00:27:59,040
Speaker 1: once I started making records, you get me, I still

467
00:27:59,080 --> 00:28:02,960
Speaker 1: wanted to symbol eyes with being from the neighborhood. So

468
00:28:03,840 --> 00:28:10,800
Speaker 1: everything was blue, videos, everything, stage everything. So it wasn't

469
00:28:10,880 --> 00:28:15,040
Speaker 1: like it wasn't like I was having to yelle crep

470
00:28:15,320 --> 00:28:18,160
Speaker 1: on records and ship, you know, and be like, I'm

471
00:28:18,160 --> 00:28:21,080
Speaker 1: from here and I'm from there, but fans take science

472
00:28:21,160 --> 00:28:24,280
Speaker 1: sometimes eight well, fans already knew what I mean. So

473
00:28:24,520 --> 00:28:27,560
Speaker 1: that that was the That was the disadvantage right then,

474
00:28:27,760 --> 00:28:35,159
Speaker 1: because like I said, growing up in Compton and you know,

475
00:28:35,560 --> 00:28:42,840
Speaker 1: in being compartmentalized in in in just that area, then

476
00:28:42,960 --> 00:28:46,760
Speaker 1: used to go nowhere. I was just in Compton. My

477
00:28:46,880 --> 00:28:50,719
Speaker 1: only thing was going on family you know, trips every

478
00:28:50,720 --> 00:28:55,760
Speaker 1: other year to Mississippi, and that was it. Outside of that,

479
00:28:56,280 --> 00:28:58,479
Speaker 1: I didn't know what the funk was going on with

480
00:28:58,560 --> 00:29:02,560
Speaker 1: the gang banging world. So as I started maturing and

481
00:29:02,640 --> 00:29:06,040
Speaker 1: I got into this ship, you know, oh, it's bloods

482
00:29:06,080 --> 00:29:09,440
Speaker 1: over here, it's crips over here, crips over there, bloods

483
00:29:09,480 --> 00:29:12,600
Speaker 1: over there, bloods over there. But then, like you said,

484
00:29:13,000 --> 00:29:17,760
Speaker 1: this ship is venturing out, so we pull it up

485
00:29:17,760 --> 00:29:22,600
Speaker 1: in Phoenix. Okay, now you're starting to as I'm starting

486
00:29:22,600 --> 00:29:26,800
Speaker 1: to make repeated rounds every year. Okay, Phoenix, they got

487
00:29:26,840 --> 00:29:30,680
Speaker 1: bloods over here, they got crips, up and here they

488
00:29:30,760 --> 00:29:35,040
Speaker 1: got crips. You thought they got crips over here, and

489
00:29:35,080 --> 00:29:38,960
Speaker 1: they got bloods. This city they got bloods. So you

490
00:29:39,080 --> 00:29:42,400
Speaker 1: just start trying to navigate. Yeah, you know what, one

491
00:29:42,400 --> 00:29:44,640
Speaker 1: of the things I was gonna tell you, man, was

492
00:29:44,720 --> 00:29:48,240
Speaker 1: this during that time you in quick heggs, y'all little situation. Yeah,

493
00:29:48,440 --> 00:29:52,280
Speaker 1: this was during that time, so you could already you know,

494
00:29:53,640 --> 00:29:59,360
Speaker 1: like they're gonna take sides, especially when they game banging fans. Now,

495
00:29:59,560 --> 00:30:03,040
Speaker 1: it wasn't to say that Blood Niggas wasn't buying CMW records,

496
00:30:03,560 --> 00:30:10,000
Speaker 1: but still when it came to representing their their cause, Yeah,

497
00:30:10,200 --> 00:30:13,240
Speaker 1: like I said, I went to Milwaukee to do an

498
00:30:13,240 --> 00:30:19,360
Speaker 1: in store and about twenty Blood show up to get autographs,

499
00:30:19,680 --> 00:30:22,840
Speaker 1: and it was, oh, they was tripping because they were

500
00:30:22,880 --> 00:30:26,480
Speaker 1: trying to have me sign the autographs and putting you

501
00:30:26,520 --> 00:30:30,360
Speaker 1: know what what crips didn't write? You get me back then?

502
00:30:30,480 --> 00:30:33,960
Speaker 1: And back then I considered myself still to be and

503
00:30:34,720 --> 00:30:39,000
Speaker 1: you stealing full gag bank exactly. So it was a

504
00:30:39,400 --> 00:30:44,880
Speaker 1: it was it was a touchy situation because them as

505
00:30:44,960 --> 00:30:49,320
Speaker 1: fans watching videos and you know, hearing the beefs and

506
00:30:49,360 --> 00:30:52,160
Speaker 1: ship like that, they already knew what we was about

507
00:30:52,200 --> 00:30:55,600
Speaker 1: because we showed up. You know, everybody got out the

508
00:30:55,680 --> 00:30:58,320
Speaker 1: van and all blue. And now you in a town

509
00:30:58,400 --> 00:31:01,360
Speaker 1: where everybody trying to be blood uds. So they come

510
00:31:01,400 --> 00:31:04,400
Speaker 1: to the signing. You know they want to stand in

511
00:31:04,440 --> 00:31:08,360
Speaker 1: there and think you're intimidated, but you know, you these

512
00:31:08,440 --> 00:31:13,000
Speaker 1: niggas from California. So it's it's it's a touch and

513
00:31:13,040 --> 00:31:16,800
Speaker 1: thold situation. But yeah, we got out of most situations.

514
00:31:16,880 --> 00:31:22,640
Speaker 1: We left without any um because even though even though

515
00:31:22,680 --> 00:31:25,320
Speaker 1: we was representing, I still looked at it like we

516
00:31:25,320 --> 00:31:29,520
Speaker 1: were out of bounce. So before we just start taking

517
00:31:29,520 --> 00:31:32,440
Speaker 1: off on niggas, we're just gonna be cool and shut

518
00:31:32,440 --> 00:31:34,240
Speaker 1: the funk up and get the funk back in the

519
00:31:34,320 --> 00:31:37,240
Speaker 1: van and get back home. That's how I always looked

520
00:31:37,240 --> 00:31:40,240
Speaker 1: at it. I never looked at it like we gotta

521
00:31:40,280 --> 00:31:44,880
Speaker 1: show these niggas that what that California like, and won't

522
00:31:44,880 --> 00:31:49,360
Speaker 1: the want. I always looked at it like I got

523
00:31:49,400 --> 00:31:52,040
Speaker 1: six seven niggas with me on the road and we

524
00:31:52,160 --> 00:31:55,920
Speaker 1: all need to get back to Compton. So before we

525
00:31:56,160 --> 00:32:02,440
Speaker 1: just started banging on niggas and whatever whatever, being no

526
00:32:02,840 --> 00:32:05,240
Speaker 1: I signed your autograph, I ain't gonna do that. But

527
00:32:05,760 --> 00:32:08,640
Speaker 1: all good, good looking homie, good looking for coming out,

528
00:32:08,840 --> 00:32:11,480
Speaker 1: good looking, for buying the tape. And it's like at

529
00:32:11,520 --> 00:32:15,720
Speaker 1: that point a mother gotta bite their tongue because it's like, okay,

530
00:32:15,760 --> 00:32:18,120
Speaker 1: so what do we do now? Because they're not they're

531
00:32:18,160 --> 00:32:22,200
Speaker 1: not tripping, you get me. I don't know what the

532
00:32:22,240 --> 00:32:24,480
Speaker 1: aspect of us yet we're gonna go up here and

533
00:32:24,480 --> 00:32:26,600
Speaker 1: if they get the tripping, we're gonna get the tripping.

534
00:32:26,680 --> 00:32:29,120
Speaker 1: These niggs probably got pistols in the car and ship.

535
00:32:29,480 --> 00:32:32,880
Speaker 1: So what you do is you cater to the motherfucking bullshit.

536
00:32:33,320 --> 00:32:35,480
Speaker 1: Oh no, it's all good, homie. Yeah, we know where

537
00:32:35,480 --> 00:32:38,920
Speaker 1: we at. It's all good, good looking. Here your autograph here?

538
00:32:38,960 --> 00:32:41,120
Speaker 1: You all can't we take a picture with you? Oh yeah,

539
00:32:41,240 --> 00:32:43,840
Speaker 1: no problem. They want to throw up their blood signs

540
00:32:43,880 --> 00:32:48,959
Speaker 1: and all that. Um, it's all good. Yeah. You learn

541
00:32:49,040 --> 00:32:52,120
Speaker 1: how to play this game, man, especially when it's entertainment

542
00:32:52,200 --> 00:32:54,640
Speaker 1: ship and you know, like I said, when you got

543
00:32:54,680 --> 00:32:57,680
Speaker 1: other people's lives on your hands, you know, you just

544
00:32:57,680 --> 00:33:01,040
Speaker 1: gotta approach it differently. You know, as far as with

545
00:33:01,120 --> 00:33:04,680
Speaker 1: the with the gang banging and you know, niggers wanting

546
00:33:04,680 --> 00:33:08,920
Speaker 1: to you know, prove they were or whatever. You know

547
00:33:08,960 --> 00:33:12,480
Speaker 1: what the crazy party is. The dog. I think the

548
00:33:12,600 --> 00:33:16,160
Speaker 1: first song gamester rap album against rap song to come

549
00:33:16,160 --> 00:33:18,400
Speaker 1: out was um and I would say this was like

550
00:33:18,440 --> 00:33:20,840
Speaker 1: a real big song for a Gainst wrap iced t

551
00:33:21,040 --> 00:33:23,280
Speaker 1: six in the Morning, right definitely. You know when I

552
00:33:23,360 --> 00:33:25,200
Speaker 1: remember when that first came out, I was actually in

553
00:33:25,200 --> 00:33:27,160
Speaker 1: Ohio and I heard that and it made me really

554
00:33:27,200 --> 00:33:29,160
Speaker 1: feel like I was in l A. You know. But

555
00:33:29,280 --> 00:33:31,640
Speaker 1: then when I hear I say he was influenced by

556
00:33:31,680 --> 00:33:34,960
Speaker 1: school E D. And I would go back and listen

557
00:33:35,000 --> 00:33:37,720
Speaker 1: to the PSK record. That was some gangster ship him

558
00:33:37,720 --> 00:33:40,840
Speaker 1: talking about this neighborhood cost side killers. You know what

559
00:33:40,880 --> 00:33:43,920
Speaker 1: I mean my first rendition of gangster ship. I mean

560
00:33:43,960 --> 00:33:47,840
Speaker 1: we used to bang six in the morning. Uh, Like

561
00:33:47,920 --> 00:33:52,080
Speaker 1: I said, we had Uh, we had two vets from

562
00:33:52,240 --> 00:33:55,680
Speaker 1: from Compton who just made T d K tapes who

563
00:33:55,680 --> 00:33:58,960
Speaker 1: would talk about all the neighborhood situations of selling dope

564
00:33:58,960 --> 00:34:03,320
Speaker 1: and gang banging and so. But as far as commercialized

565
00:34:03,560 --> 00:34:08,640
Speaker 1: records and ship like that, we used to bang ps king. Uh.

566
00:34:08,719 --> 00:34:13,400
Speaker 1: You know it was a school e D was gangster

567
00:34:13,760 --> 00:34:17,000
Speaker 1: to us, even though he wasn't talking about you know,

568
00:34:17,400 --> 00:34:21,960
Speaker 1: l A and bloods and crips, the the just the

569
00:34:22,160 --> 00:34:26,640
Speaker 1: just the field and the atmosphere of the song just

570
00:34:26,760 --> 00:34:30,040
Speaker 1: made you think of this nigger on some hood ship.

571
00:34:30,160 --> 00:34:31,759
Speaker 1: You would get me. And like you said, he was

572
00:34:31,800 --> 00:34:34,640
Speaker 1: talking about his neighborhood, you know what I'm saying. So

573
00:34:35,400 --> 00:34:37,880
Speaker 1: that's what that's where gangster ship started to meet. Was

574
00:34:37,960 --> 00:34:41,239
Speaker 1: listening to niggas like him, listening to the niggas like

575
00:34:41,320 --> 00:34:44,600
Speaker 1: just Ice, you know, listening to the niggas like Rock

576
00:34:44,760 --> 00:34:47,680
Speaker 1: Him and Ship when they talked about their neighborhoods and

577
00:34:47,719 --> 00:34:51,080
Speaker 1: what they did and whatever. So was definitely on some

578
00:34:51,120 --> 00:34:55,799
Speaker 1: gangster ship. You know all that ship man. You know

579
00:34:55,840 --> 00:34:58,959
Speaker 1: he talks some big ship too. He talked, He talked

580
00:34:59,000 --> 00:35:01,160
Speaker 1: real big ship. You know what I want to go to,

581
00:35:01,280 --> 00:35:04,480
Speaker 1: man um, And I know this is something we've been

582
00:35:04,520 --> 00:35:06,480
Speaker 1: shopping up over the last few days. It's a lot

583
00:35:06,480 --> 00:35:08,879
Speaker 1: of motherfucker's and their feelings. Now because bill Board put

584
00:35:08,960 --> 00:35:11,719
Speaker 1: that top they top fifty m c s lift out right,

585
00:35:13,200 --> 00:35:16,279
Speaker 1: and me and you talked about this, man. The thing

586
00:35:16,360 --> 00:35:19,279
Speaker 1: with hip hop is so subjective, man, because it's based

587
00:35:19,320 --> 00:35:22,400
Speaker 1: on everybody's opinion. Me and you could put together a

588
00:35:22,440 --> 00:35:24,360
Speaker 1: list of our top fifty and it may be the

589
00:35:24,400 --> 00:35:26,840
Speaker 1: same people, but you may have my number one and

590
00:35:26,960 --> 00:35:32,160
Speaker 1: number fifteen exactly. I mean, everybody's probably gonna have a

591
00:35:32,320 --> 00:35:38,520
Speaker 1: bulk of the same artists in the top fifty. And

592
00:35:38,520 --> 00:35:40,719
Speaker 1: and then you gotta look at how you you you

593
00:35:40,880 --> 00:35:44,200
Speaker 1: labeling that because you're going to the top fifty as

594
00:35:44,239 --> 00:35:47,000
Speaker 1: of right now, or you tewer or you go on

595
00:35:47,040 --> 00:35:51,880
Speaker 1: the top fifty greatest of kind of like all time,

596
00:35:52,320 --> 00:35:55,600
Speaker 1: if it's according to you, Because then, like I say,

597
00:35:56,040 --> 00:36:03,480
Speaker 1: who who tells these quote people who picking these lists

598
00:36:03,640 --> 00:36:07,399
Speaker 1: that you're the motherfucker to pick the list? Is there

599
00:36:07,520 --> 00:36:12,040
Speaker 1: some committee that voted that you're the authentic and your

600
00:36:12,160 --> 00:36:15,279
Speaker 1: list is your authentic? Who gives a fuck that's your

601
00:36:15,320 --> 00:36:19,440
Speaker 1: opinionated list? Because I guarantee you my ship gonna be

602
00:36:19,480 --> 00:36:23,359
Speaker 1: different than Billboards. He's gonna be different than yours. It's

603
00:36:23,400 --> 00:36:27,319
Speaker 1: gonna be different than Snoops or Matt Tens or jay

604
00:36:27,400 --> 00:36:32,120
Speaker 1: Z's or whatever you get me. And then I don't

605
00:36:32,200 --> 00:36:33,840
Speaker 1: even know if I want to come up with a

606
00:36:33,920 --> 00:36:36,640
Speaker 1: list like that, because I'm just grateful the funk that

607
00:36:36,719 --> 00:36:40,239
Speaker 1: hip hop came through and its sustained fifty years. If

608
00:36:40,239 --> 00:36:42,040
Speaker 1: you don't want to sit up and go, yeah, who's

609
00:36:42,080 --> 00:36:46,040
Speaker 1: the greatest motherfucking rapper of all? Like they're doing football

610
00:36:46,160 --> 00:36:49,799
Speaker 1: or they're doing basketball. You know it's the greatest motherfucking

611
00:36:49,840 --> 00:36:53,200
Speaker 1: player ever. Who has that title? To say you the

612
00:36:53,280 --> 00:36:58,280
Speaker 1: greatest motherfucking rapper ever, even though because it's a nigger

613
00:36:58,320 --> 00:37:00,520
Speaker 1: who could be born ten years from now, who could

614
00:37:00,560 --> 00:37:04,440
Speaker 1: be the best motherfucking lyricists in the last twenty thirty years,

615
00:37:04,840 --> 00:37:07,200
Speaker 1: or you're gonna say he's the greatest of all time.

616
00:37:07,719 --> 00:37:09,920
Speaker 1: Well you gotta think about it like this the weight, right,

617
00:37:11,719 --> 00:37:14,440
Speaker 1: I do have a problem to a certain extent because

618
00:37:15,960 --> 00:37:18,640
Speaker 1: I funk with futures music and I funk with Goosy Man.

619
00:37:18,640 --> 00:37:20,719
Speaker 1: This ain't in no way me this and them, But

620
00:37:20,840 --> 00:37:24,080
Speaker 1: to me, them motherfucker's not really rappers. To me, I

621
00:37:24,280 --> 00:37:27,640
Speaker 1: listen to everybody ship at least once or twice. I'll

622
00:37:27,680 --> 00:37:33,600
Speaker 1: give a funk who you are. And the point of

623
00:37:33,600 --> 00:37:37,279
Speaker 1: the matter is, I got some songs that's better than

624
00:37:37,360 --> 00:37:40,560
Speaker 1: maybe Snoops. Snoops got some song that's better than me.

625
00:37:42,560 --> 00:37:46,160
Speaker 1: Snoop got songs that's better than jay Z. Jay Z

626
00:37:46,320 --> 00:37:49,359
Speaker 1: got a song or two better than Snoop. Method Man

627
00:37:49,480 --> 00:37:51,840
Speaker 1: got a song or two that's better than Ray Kwan's.

628
00:37:51,920 --> 00:37:54,399
Speaker 1: Ray Kwan got a song or two better than meth.

629
00:37:54,920 --> 00:37:59,480
Speaker 1: It just goes around the table. You get me? Can

630
00:37:59,600 --> 00:38:02,959
Speaker 1: you say aid you get because I like one song

631
00:38:03,080 --> 00:38:05,800
Speaker 1: off of this nigga's album and don't like the rest

632
00:38:05,800 --> 00:38:08,799
Speaker 1: of the ship. I like two songs off of this

633
00:38:08,880 --> 00:38:11,560
Speaker 1: nigga album and don't like the rest of this ship.

634
00:38:11,840 --> 00:38:15,000
Speaker 1: You get me. But am I gonna call him greater

635
00:38:15,080 --> 00:38:17,879
Speaker 1: than him because I like two more songs better than

636
00:38:17,960 --> 00:38:20,080
Speaker 1: his one? I don't know, Like I said, If you

637
00:38:20,120 --> 00:38:21,840
Speaker 1: want to put that, if you want to go to

638
00:38:21,880 --> 00:38:25,280
Speaker 1: the popularity contests and go who's made the most money

639
00:38:26,040 --> 00:38:29,320
Speaker 1: and who's made the most impact as far as hip hop,

640
00:38:29,840 --> 00:38:33,320
Speaker 1: you're gonna go. Everybody's gonna say jay Z. Yeah, exactly,

641
00:38:34,600 --> 00:38:39,359
Speaker 1: looking at what has been accomplished, what a nigga had

642
00:38:39,400 --> 00:38:41,840
Speaker 1: to do, my nigga getting people on the super Bowl,

643
00:38:42,120 --> 00:38:45,440
Speaker 1: you get me to perform. So, if you want to

644
00:38:45,480 --> 00:38:50,000
Speaker 1: say the greatest motherfucking contributor to hip hop as far

645
00:38:50,080 --> 00:38:54,359
Speaker 1: as right now and a nigga who's still at the forefront, yeah,

646
00:38:54,360 --> 00:38:56,360
Speaker 1: a lot of people are gonna say jay Z. But

647
00:38:56,400 --> 00:39:00,440
Speaker 1: then when it comes to lyrically, are you gonna say lyrically,

648
00:39:00,800 --> 00:39:04,400
Speaker 1: jay Z is the best motherfucking rapper lyrically well, you

649
00:39:04,440 --> 00:39:06,920
Speaker 1: know what, I think. Jay Z definitely has done his

650
00:39:06,960 --> 00:39:10,080
Speaker 1: ship dog and he does his thing. But when I

651
00:39:10,120 --> 00:39:12,839
Speaker 1: see somebody say him number one, I'm kind of like

652
00:39:13,719 --> 00:39:16,359
Speaker 1: I can see because Jane No slucks. But if you're

653
00:39:16,360 --> 00:39:20,560
Speaker 1: telling off, that's going off for I. My nigga has

654
00:39:20,560 --> 00:39:26,400
Speaker 1: had a magnificent run. And if you look at from

655
00:39:26,440 --> 00:39:29,480
Speaker 1: from if you look at from where I look at

656
00:39:29,680 --> 00:39:32,720
Speaker 1: where he came from because I used to be signed

657
00:39:32,719 --> 00:39:35,920
Speaker 1: on the label with Jazz, If you look at him

658
00:39:35,960 --> 00:39:39,279
Speaker 1: from back when he was doing songs like Hawaiian Sophie,

659
00:39:39,600 --> 00:39:43,919
Speaker 1: my Nigga then came you get me rocket Ship? Oh

660
00:39:44,000 --> 00:39:49,960
Speaker 1: yeah for sure. But like I said, are there some

661
00:39:50,000 --> 00:39:56,720
Speaker 1: songs that I'd be like, you get me? I'm pretty

662
00:39:56,719 --> 00:39:58,960
Speaker 1: sure you could. Out of all the songs jay Z's

663
00:39:59,000 --> 00:40:01,520
Speaker 1: ever put on, and there's a couple of songs you

664
00:40:01,520 --> 00:40:04,640
Speaker 1: could skip over. Oh yeah, for sure, I don't. He's

665
00:40:04,680 --> 00:40:07,920
Speaker 1: definitely had some songs without skipped past. When you say influential,

666
00:40:11,320 --> 00:40:16,480
Speaker 1: who's another billionaire rapper? Yeah, that's real ship God, you

667
00:40:16,600 --> 00:40:19,120
Speaker 1: get me. My nigga got this, and he got this,

668
00:40:19,320 --> 00:40:21,880
Speaker 1: and he may he married to Beyonce and then his

669
00:40:22,000 --> 00:40:24,799
Speaker 1: wife is this, and then you know my nigga sitting

670
00:40:24,840 --> 00:40:27,279
Speaker 1: at the table with this motherfucking He's sitting at the

671
00:40:27,320 --> 00:40:30,840
Speaker 1: table with this motherfucker. You dog, there's a lot of

672
00:40:30,920 --> 00:40:34,040
Speaker 1: niggas that's on that category. He doing ship And that's

673
00:40:34,040 --> 00:40:37,520
Speaker 1: what I was gonna say, mother getting money, But he

674
00:40:37,560 --> 00:40:41,120
Speaker 1: ain't sitting at the table with motherfucking Sir French Ham

675
00:40:41,160 --> 00:40:43,160
Speaker 1: of fucking Paris. But this is what I was gonna

676
00:40:43,160 --> 00:40:46,480
Speaker 1: say about Gucci Man. I don't think Gucci Man is

677
00:40:46,520 --> 00:40:50,719
Speaker 1: necessarily the most lyrical motherfucker. But as far as Atlanta

678
00:40:50,840 --> 00:40:54,399
Speaker 1: hip hop goes, everybody that's somebody that came in the game,

679
00:40:54,520 --> 00:40:57,640
Speaker 1: came in that motherfucker to him from the me goes

680
00:40:58,080 --> 00:41:01,319
Speaker 1: to young thug of them, dude is with him a rig.

681
00:41:03,600 --> 00:41:06,959
Speaker 1: Everybody has their preference of music. And I said, when

682
00:41:07,000 --> 00:41:10,000
Speaker 1: when when music transition and the ages and it goes

683
00:41:10,040 --> 00:41:13,920
Speaker 1: to the next level. I mean, everybody's gonna have a hero.

684
00:41:14,360 --> 00:41:19,239
Speaker 1: You get me. Do I listen to some Gucci Man songs? Yeah,

685
00:41:19,760 --> 00:41:25,919
Speaker 1: I've listened to a few. Um is it somebody like

686
00:41:26,160 --> 00:41:29,279
Speaker 1: you know that I'm a bump in my car, you know,

687
00:41:29,400 --> 00:41:31,600
Speaker 1: like just oh, man, put that Gucci back on, put

688
00:41:31,600 --> 00:41:34,640
Speaker 1: that Gucci. That's my preference. Well, they said, they said

689
00:41:34,640 --> 00:41:40,319
Speaker 1: Gucci better than nice t too. Iced Tea to me

690
00:41:40,440 --> 00:41:42,399
Speaker 1: is way down too low. Dog they got Iced Tea

691
00:41:42,400 --> 00:41:46,239
Speaker 1: at forty five. Dog Iced teammate the list though, and

692
00:41:46,239 --> 00:41:48,160
Speaker 1: then you got to think of somebody who's been in

693
00:41:48,200 --> 00:41:52,040
Speaker 1: the game for fifty plus years rapping for him to

694
00:41:52,120 --> 00:41:58,239
Speaker 1: be on the list of Billboard's Top fifty accomplishment, I

695
00:41:58,280 --> 00:42:01,360
Speaker 1: think they definitely should have asked you on this because,

696
00:42:01,440 --> 00:42:04,880
Speaker 1: let's face it, Iced, he ain't made a song in

697
00:42:05,200 --> 00:42:09,719
Speaker 1: what twenty years maybe longer. Yeah, he won't been making

698
00:42:09,719 --> 00:42:12,800
Speaker 1: some appearances lately, don't even making some features. Later, let's

699
00:42:13,000 --> 00:42:18,000
Speaker 1: you get me and then that's my nigga. But he

700
00:42:18,120 --> 00:42:24,560
Speaker 1: wasn't everybody's favorite rapper. Get me really really think about

701
00:42:24,680 --> 00:42:27,920
Speaker 1: my nigga, Iced Tea and where he came from and

702
00:42:27,920 --> 00:42:30,759
Speaker 1: and whatever, and then think about the rappers that they

703
00:42:30,880 --> 00:42:34,719
Speaker 1: got above him. For him to say at this day

704
00:42:34,719 --> 00:42:38,200
Speaker 1: and age that Billboard considered him one of the top fifty,

705
00:42:38,960 --> 00:42:42,440
Speaker 1: that's that I'm you. He could have been forty nine,

706
00:42:42,800 --> 00:42:46,040
Speaker 1: and other still would have been like, that's that's gravy. Well,

707
00:42:46,120 --> 00:42:50,880
Speaker 1: guess who number fifty years though? Guess gets guess who

708
00:42:50,920 --> 00:42:54,239
Speaker 1: number fifty years is Rick Ross, who I think makes

709
00:42:54,239 --> 00:42:57,279
Speaker 1: impeccable music. I think everything across the board, as far

710
00:42:57,320 --> 00:42:59,920
Speaker 1: as what the m C encompasses, I think Rick Rolsi

711
00:43:00,120 --> 00:43:02,840
Speaker 1: was complete. You know, he picked good beat music, he

712
00:43:02,920 --> 00:43:07,239
Speaker 1: picked good he got some good music. He you know,

713
00:43:07,440 --> 00:43:18,160
Speaker 1: But like I said, you know, where would you put

714
00:43:18,239 --> 00:43:21,480
Speaker 1: where would you in your own personal where would you

715
00:43:21,520 --> 00:43:25,040
Speaker 1: pick Rick Ross? Because this is what the magazine editors,

716
00:43:25,040 --> 00:43:31,200
Speaker 1: and Rick Ross would definitely be in my top I

717
00:43:31,239 --> 00:43:32,680
Speaker 1: would I would have to put him in my top

718
00:43:32,760 --> 00:43:35,520
Speaker 1: twenty five. And I'm gonna tell you why, because you

719
00:43:35,560 --> 00:43:42,719
Speaker 1: know me, are there other niggas historically better than Rick Ross?

720
00:43:44,280 --> 00:43:45,960
Speaker 1: But but this is what I was saying though eight,

721
00:43:46,120 --> 00:43:49,680
Speaker 1: I was saying everything that encompasses the MC mean you

722
00:43:49,760 --> 00:43:54,200
Speaker 1: probably got the same criteria. You got the same criteria, right,

723
00:43:54,440 --> 00:43:57,719
Speaker 1: motherfucker's been battle tested. You and quick hack y'all legendary

724
00:43:57,719 --> 00:43:59,800
Speaker 1: battle you know what I mean. If you're MC and

725
00:44:00,000 --> 00:44:02,040
Speaker 1: you stay around, that's kind of like your test of time.

726
00:44:02,080 --> 00:44:04,000
Speaker 1: You can run into somebody that you gonna have some

727
00:44:04,120 --> 00:44:06,760
Speaker 1: kind of conflict with and you can have to lyrically.

728
00:44:06,920 --> 00:44:09,280
Speaker 1: That's what make hip hop hip hop. It ain't about

729
00:44:09,320 --> 00:44:11,399
Speaker 1: who got the biggest guns. It ain't about who could

730
00:44:11,400 --> 00:44:14,400
Speaker 1: scrap the most. It's about bar for bar who go

731
00:44:14,600 --> 00:44:19,799
Speaker 1: handle who? And to me, no disrespect to fifty cent,

732
00:44:19,840 --> 00:44:22,360
Speaker 1: but fifty cent was a monster at that time. I

733
00:44:22,440 --> 00:44:24,480
Speaker 1: thought it was over with the Ross when he came

734
00:44:24,560 --> 00:44:27,040
Speaker 1: up with the pictures of him being the CEO and

735
00:44:27,080 --> 00:44:30,279
Speaker 1: all that ship man Nigga Ross skipped right over that

736
00:44:30,280 --> 00:44:33,879
Speaker 1: ship and kept the music dog and he served fifty well.

737
00:44:34,000 --> 00:44:40,400
Speaker 1: I speakcause when all came down to the music, he

738
00:44:40,400 --> 00:44:44,600
Speaker 1: couldn't funk with him. He musically couldn't sunk. Everybody has

739
00:44:44,719 --> 00:44:53,160
Speaker 1: different you know, everybody has different ideas, and I think

740
00:44:53,200 --> 00:44:56,960
Speaker 1: the same ship to myself when I'm picking music or

741
00:44:56,960 --> 00:45:00,840
Speaker 1: when I'm writing raps or whatever. Every Body has different

742
00:45:00,880 --> 00:45:06,080
Speaker 1: directions with their music. It's just some some people have

743
00:45:06,200 --> 00:45:10,480
Speaker 1: better ears than other motherfucker's. Now, you know, has Rick

744
00:45:10,560 --> 00:45:15,400
Speaker 1: Ross music been, Yeah, he's had some some cracking ship.

745
00:45:16,600 --> 00:45:20,200
Speaker 1: Fifty cent his first album. You could say every beat

746
00:45:20,239 --> 00:45:27,919
Speaker 1: on that motherfucker was immaculate. But then I didn't really

747
00:45:27,960 --> 00:45:32,520
Speaker 1: like the massacre. I don't really like candy shopping ship

748
00:45:32,640 --> 00:45:36,040
Speaker 1: like that, because I thought that the transition of him

749
00:45:36,080 --> 00:45:40,400
Speaker 1: coming off for getting rich and died trying. I always

750
00:45:40,480 --> 00:45:43,480
Speaker 1: call it like the money curse, Like a nigga be

751
00:45:43,640 --> 00:45:47,040
Speaker 1: hongry as a motherfucker when the first in there and

752
00:45:47,080 --> 00:45:51,839
Speaker 1: the nigga starving, eating Bologney sandwiches and smoking five out

753
00:45:51,880 --> 00:45:54,960
Speaker 1: of stress sacks and ship like that. And then next thing,

754
00:45:55,000 --> 00:45:57,759
Speaker 1: you know, a nigga get a couple of million put

755
00:45:57,800 --> 00:46:01,240
Speaker 1: in his pocket and then life go from the struggle

756
00:46:01,360 --> 00:46:05,799
Speaker 1: to nigga I've been this. It kind of cloggs your

757
00:46:05,880 --> 00:46:09,759
Speaker 1: judgment and your and your and your pace and as

758
00:46:09,760 --> 00:46:11,719
Speaker 1: hard as a young nigger to stay focused on when

759
00:46:11,719 --> 00:46:13,640
Speaker 1: you start getting that paper and when he was getting

760
00:46:13,719 --> 00:46:16,560
Speaker 1: all that dug and it changes for some niggas, and

761
00:46:16,560 --> 00:46:19,040
Speaker 1: then you gotta remember, I'm gonna go from I'm gonna

762
00:46:19,080 --> 00:46:23,239
Speaker 1: go from niggas getting shot and slang into now I

763
00:46:23,320 --> 00:46:26,040
Speaker 1: got all these fine bitches in the candy shop, and

764
00:46:26,080 --> 00:46:29,359
Speaker 1: then you give me get the transition. Sometimes you gotta

765
00:46:29,440 --> 00:46:33,359
Speaker 1: stay consistent with what got you there. Yeah, And I

766
00:46:33,360 --> 00:46:39,399
Speaker 1: I just think with with with Rick Ross, even though

767
00:46:39,440 --> 00:46:42,160
Speaker 1: he started doing you know, he was doing a lot

768
00:46:42,200 --> 00:46:45,000
Speaker 1: of the ladies songs and focus on the but he's

769
00:46:45,000 --> 00:46:48,839
Speaker 1: still stuck to the transition of hustle music. I'm gonna

770
00:46:48,920 --> 00:46:54,840
Speaker 1: keep the mentality that I'm i'm I'm a hustle hustling music.

771
00:46:55,200 --> 00:46:57,680
Speaker 1: And then some niggas be wont to experiment, you know,

772
00:46:57,880 --> 00:47:02,160
Speaker 1: I'm i'm I'm I'm richest funk now. So now I

773
00:47:02,200 --> 00:47:06,040
Speaker 1: want to have some motherfucking symphonies in the background, and

774
00:47:06,080 --> 00:47:08,280
Speaker 1: I want to do you know, niggas want to change

775
00:47:08,320 --> 00:47:12,000
Speaker 1: their their thought direction for for like you said, the

776
00:47:12,040 --> 00:47:15,759
Speaker 1: money changes a lot of niggers drinking forty ounces of

777
00:47:15,840 --> 00:47:22,120
Speaker 1: eight ball to drinking Chris Stal just gonna change, you

778
00:47:22,200 --> 00:47:24,480
Speaker 1: know what. The one thing, though, bro, one thing that

779
00:47:24,600 --> 00:47:28,520
Speaker 1: we'll say about fifty is he's a great songwriter because

780
00:47:28,560 --> 00:47:30,640
Speaker 1: the records he gave a game was the motherfucker that

781
00:47:30,719 --> 00:47:32,880
Speaker 1: hated to love it and all that other stuff, and

782
00:47:32,880 --> 00:47:35,279
Speaker 1: this is how we do. Maybe if he had kept

783
00:47:35,320 --> 00:47:37,680
Speaker 1: them records for his second now, that motherfucker might have

784
00:47:37,719 --> 00:47:40,640
Speaker 1: been another classic. Yeah, I said, some people you know,

785
00:47:41,680 --> 00:47:44,560
Speaker 1: but that was him probably thinking like a businessman. Sometimes

786
00:47:44,560 --> 00:47:47,440
Speaker 1: you gotta get out of thinking of self, and especially

787
00:47:47,520 --> 00:47:49,720
Speaker 1: when you're trying to build an empire and a label

788
00:47:49,760 --> 00:47:52,880
Speaker 1: and all that. You know, you gotta think because a

789
00:47:52,920 --> 00:47:56,960
Speaker 1: lot of niggas who jump on that aspect, they dropped

790
00:47:56,960 --> 00:47:59,439
Speaker 1: the ball, and I say with Game, you know, going

791
00:47:59,440 --> 00:48:04,680
Speaker 1: back to him, his first album was a motherfucking classic. Definitely,

792
00:48:04,800 --> 00:48:06,920
Speaker 1: Game's first album is a classic. And I know Fifty

793
00:48:06,960 --> 00:48:09,840
Speaker 1: did some records on there whatever, but even outside the records,

794
00:48:10,360 --> 00:48:12,400
Speaker 1: he just had some ship. And I think if I

795
00:48:12,440 --> 00:48:15,200
Speaker 1: think if he had kept on, honestly, I think he

796
00:48:15,280 --> 00:48:18,840
Speaker 1: probably left G Unit too early. I think he should

797
00:48:18,840 --> 00:48:21,200
Speaker 1: have just stayed that he wanted to. You know, I

798
00:48:21,200 --> 00:48:24,600
Speaker 1: could get, I could get the thought process because you know,

799
00:48:25,080 --> 00:48:29,719
Speaker 1: coming from Compton, you know, we always tend to have

800
00:48:29,840 --> 00:48:35,920
Speaker 1: the attitude of you know, we we can be successful

801
00:48:36,400 --> 00:48:39,440
Speaker 1: without a lot of you know, without a lot of

802
00:48:40,000 --> 00:48:45,120
Speaker 1: outside influence. And for him being a Compton native, dealing

803
00:48:45,160 --> 00:48:49,000
Speaker 1: with you know, the New York Cats, he probably I

804
00:48:49,080 --> 00:48:53,520
Speaker 1: want to establish my own, you know. And then at

805
00:48:53,560 --> 00:48:56,440
Speaker 1: the time, you know, fifty was beefing, you know, with

806
00:48:56,480 --> 00:49:00,360
Speaker 1: outside entities, and in Game they want to be he

807
00:49:00,360 --> 00:49:03,240
Speaker 1: didn't want to be involved in I mean, it happens

808
00:49:03,280 --> 00:49:05,719
Speaker 1: to a lot of us, like, you know, I don't

809
00:49:05,760 --> 00:49:08,920
Speaker 1: want to get caught up in your beef. Cool with

810
00:49:09,000 --> 00:49:11,680
Speaker 1: that nigga. I did a record with that nigga, so

811
00:49:12,840 --> 00:49:16,360
Speaker 1: I can feel that. Do you think Um first album.

812
00:49:16,400 --> 00:49:19,840
Speaker 1: You think the whole first album was meant? What the

813
00:49:19,920 --> 00:49:24,120
Speaker 1: chances are getting old? That amount of top tier producers

814
00:49:24,120 --> 00:49:29,799
Speaker 1: on your debut brother Um ship, He definitely had a

815
00:49:30,280 --> 00:49:32,200
Speaker 1: He definitely had to have a million dollar budget for

816
00:49:32,200 --> 00:49:35,000
Speaker 1: that ship for sure. Yeah, because they you know, he

817
00:49:35,080 --> 00:49:37,720
Speaker 1: was already there with Dre, you know what I'm saying,

818
00:49:38,280 --> 00:49:42,080
Speaker 1: And we all know Dre, you know, take his time.

819
00:49:42,520 --> 00:49:45,800
Speaker 1: I mean he's had He's had what three top tier

820
00:49:45,920 --> 00:49:50,480
Speaker 1: artists walk out the aftermath door because you're taking to

821
00:49:50,600 --> 00:49:54,440
Speaker 1: fucking long. You gave me Rock Him was there, Buster

822
00:49:54,640 --> 00:50:00,040
Speaker 1: was there, Eve was there, and before a project to

823
00:50:00,120 --> 00:50:02,399
Speaker 1: even get started, it was like, hey, I'm out of here.

824
00:50:02,600 --> 00:50:07,520
Speaker 1: I mean, so they felt like, why waste his talent?

825
00:50:08,800 --> 00:50:11,759
Speaker 1: Fifty is on the roll, so let's stick him over

826
00:50:11,800 --> 00:50:15,600
Speaker 1: there to see if we could, you know what I'm saying.

827
00:50:15,880 --> 00:50:18,360
Speaker 1: And then, like I said, at that time, fifty was

828
00:50:18,400 --> 00:50:23,560
Speaker 1: probably thinking like a label head, an entrepreneur, and so like, yeah,

829
00:50:23,760 --> 00:50:28,279
Speaker 1: let's let's let's let's blast this nigg off and get

830
00:50:28,760 --> 00:50:31,400
Speaker 1: Why have him sit on the bench when he clearly

831
00:50:31,440 --> 00:50:35,279
Speaker 1: got talent because Drey wouldn't be trying to pick him up.

832
00:50:35,880 --> 00:50:39,160
Speaker 1: Let's just switch him over and because nigga, you got

833
00:50:39,200 --> 00:50:42,839
Speaker 1: time to focus on the project. Drey don't have time

834
00:50:42,920 --> 00:50:46,080
Speaker 1: for that ship. You got you you hot right now,

835
00:50:46,400 --> 00:50:49,120
Speaker 1: you're coming off of what a ten million selling record.

836
00:50:49,840 --> 00:50:52,920
Speaker 1: G Unit is popping, so why not hand you this

837
00:50:53,040 --> 00:50:57,319
Speaker 1: young motherfucking pit bull? And and and and that's when

838
00:50:57,320 --> 00:50:59,960
Speaker 1: they probably put that record together. When you first heard

839
00:51:00,040 --> 00:51:01,920
Speaker 1: that nigga, was you thinking that this young niggas a

840
00:51:02,000 --> 00:51:06,040
Speaker 1: monster a Game. I fucked with Game before he when

841
00:51:06,160 --> 00:51:09,440
Speaker 1: Game was sucking with JT, the bigger figure I was

842
00:51:09,520 --> 00:51:12,440
Speaker 1: working with Game. He came over to the little studio

843
00:51:12,560 --> 00:51:15,040
Speaker 1: we used to be at in Compton and we did

844
00:51:15,080 --> 00:51:17,879
Speaker 1: a song together. So I didn't even know of him

845
00:51:18,000 --> 00:51:20,080
Speaker 1: until one of the homies was like, Yeah, it's this

846
00:51:20,160 --> 00:51:24,560
Speaker 1: young dude from from Counting. He pretty hot. But you

847
00:51:24,600 --> 00:51:27,839
Speaker 1: know he was really fluctuating up in the bay because

848
00:51:27,840 --> 00:51:31,560
Speaker 1: he was working. Yeah, he was. One time the homie

849
00:51:31,560 --> 00:51:34,000
Speaker 1: called him over and he came over. A couple of

850
00:51:34,000 --> 00:51:37,280
Speaker 1: the homies came over with everything was good. We smoked,

851
00:51:37,360 --> 00:51:39,839
Speaker 1: wrote a song and I think we put it out

852
00:51:39,880 --> 00:51:42,440
Speaker 1: on a mixtape. You know. So he's always been a

853
00:51:42,480 --> 00:51:45,759
Speaker 1: cool nigga, always been cool nigger with me Game, it

854
00:51:45,880 --> 00:51:48,680
Speaker 1: was a cool nigga. She's got nothing but loving respect

855
00:51:48,680 --> 00:51:50,880
Speaker 1: for them. And like I said, I think because of

856
00:51:52,280 --> 00:51:55,320
Speaker 1: I think because they knew that he would be able

857
00:51:55,360 --> 00:51:58,600
Speaker 1: to take off that they didn't want to waste the talent,

858
00:51:58,960 --> 00:52:01,799
Speaker 1: so they put him for there so that he could

859
00:52:01,800 --> 00:52:04,959
Speaker 1: get something started, because, let's face it, if he had

860
00:52:05,000 --> 00:52:07,600
Speaker 1: to probably wait on Dre, he probably would have never came.

861
00:52:07,680 --> 00:52:09,759
Speaker 1: From what I heard, And I could be wrong, and

862
00:52:09,800 --> 00:52:14,360
Speaker 1: I could be wrong, but I heard that Drey was

863
00:52:14,400 --> 00:52:16,640
Speaker 1: gonna look because you know, like you said, Dre take

864
00:52:16,719 --> 00:52:19,520
Speaker 1: his time, and I heard that his album probably was

865
00:52:19,600 --> 00:52:21,400
Speaker 1: gonna be a while coming out of something like that.

866
00:52:21,440 --> 00:52:23,920
Speaker 1: But then fifty steps in and said I liked this, motherfucker.

867
00:52:24,000 --> 00:52:26,879
Speaker 1: Let's here and let's book something over there and let's

868
00:52:26,920 --> 00:52:28,760
Speaker 1: do it. I mean, it's still all in the same

869
00:52:28,800 --> 00:52:32,360
Speaker 1: family because Drey's here with after now, so fuck it,

870
00:52:32,560 --> 00:52:35,239
Speaker 1: we just we're gonna We're just gonna let him ride

871
00:52:35,239 --> 00:52:37,879
Speaker 1: the g unit route to get him out quick. Yeah.

872
00:52:37,920 --> 00:52:40,200
Speaker 1: You know what I just thought about, bro. If you

873
00:52:40,280 --> 00:52:43,480
Speaker 1: had to name the top city for hip hop right now, dog,

874
00:52:43,520 --> 00:52:46,680
Speaker 1: and probably like the last fifteen twenty years, you would

875
00:52:46,719 --> 00:52:49,760
Speaker 1: have to say Compton, California. Dog. If you think about

876
00:52:49,760 --> 00:52:52,359
Speaker 1: all the mcs that don't came out that motherfucker dog.

877
00:52:52,760 --> 00:52:56,080
Speaker 1: We got a lot of mcs who are who are significant.

878
00:52:56,520 --> 00:52:59,000
Speaker 1: You know. I don't take nothing away from nobody else,

879
00:52:59,239 --> 00:53:02,040
Speaker 1: Oh definitely, but you know, you think you've been able

880
00:53:02,120 --> 00:53:09,320
Speaker 1: to hold our own as far as uh our place

881
00:53:09,520 --> 00:53:13,200
Speaker 1: in this fifty year hip hop. I mean you know

882
00:53:13,360 --> 00:53:16,360
Speaker 1: we had Totty T. We had mixed matter spade. I

883
00:53:16,400 --> 00:53:18,480
Speaker 1: mean Totty T was the first. He came with the

884
00:53:18,520 --> 00:53:22,719
Speaker 1: battle round. Everybody banged the battle round. Um. You know

885
00:53:23,320 --> 00:53:27,720
Speaker 1: we we had dre come, We had easy come. Um

886
00:53:27,880 --> 00:53:33,200
Speaker 1: I came, Quick came second, and none came. High Sea

887
00:53:33,320 --> 00:53:41,120
Speaker 1: came fucking Kendrick Kane, King T came. Um we the

888
00:53:41,200 --> 00:53:45,480
Speaker 1: Venus and Arena came. Compton has always been prominently the

889
00:53:45,520 --> 00:53:51,600
Speaker 1: football players, you know, um, coaches, you know, Compton has

890
00:53:51,680 --> 00:53:57,759
Speaker 1: always been significant with you know, exposing the talent of

891
00:53:57,760 --> 00:54:00,680
Speaker 1: of these young black youths you han who come out

892
00:54:00,680 --> 00:54:06,759
Speaker 1: of the city. Um. So it should give anybody the

893
00:54:06,800 --> 00:54:11,680
Speaker 1: hope of being stuck in gang banging and dope dealing

894
00:54:12,160 --> 00:54:15,640
Speaker 1: and you know, poverty and all that. It should give

895
00:54:15,680 --> 00:54:22,560
Speaker 1: anybody the incentive to want to better themselves because content

896
00:54:22,640 --> 00:54:26,080
Speaker 1: was no joker. Oh it wasn't no joking, still ain't

897
00:54:26,080 --> 00:54:28,480
Speaker 1: no joker. Is this some young cats coming apout the city? Now?

898
00:54:28,560 --> 00:54:30,840
Speaker 1: You know you've got a bunch of young dudes. I

899
00:54:30,840 --> 00:54:33,200
Speaker 1: alwould say the biggest thing going on right now on

900
00:54:33,239 --> 00:54:35,480
Speaker 1: the West coast. And this it ain't to me, It

901
00:54:35,480 --> 00:54:37,520
Speaker 1: ain't just the odges for because I listened to a

902
00:54:37,520 --> 00:54:39,000
Speaker 1: lot of young casts. You know, I funk with a

903
00:54:39,040 --> 00:54:42,120
Speaker 1: couple of youngsters and anything seemed to be or what

904
00:54:42,160 --> 00:54:44,440
Speaker 1: the ogs don't mess with us? And then my thing

905
00:54:44,600 --> 00:54:46,960
Speaker 1: is and them is like you guys have a problem

906
00:54:47,080 --> 00:54:49,839
Speaker 1: to where you feel like, motherfucker's I to do something

907
00:54:49,840 --> 00:54:53,839
Speaker 1: for you and not I didn't have I have no

908
00:54:53,960 --> 00:54:59,439
Speaker 1: problem with the youth. Um, the transition of hip hop

909
00:54:59,480 --> 00:55:04,480
Speaker 1: as far as Timpton representation or whatever. Um, I've always

910
00:55:04,480 --> 00:55:11,680
Speaker 1: had a problem with I want to significant, wanting to

911
00:55:11,719 --> 00:55:17,719
Speaker 1: signify themselves separate than what has been going on. Um.

912
00:55:17,760 --> 00:55:19,680
Speaker 1: You know, we had a lot of push for new

913
00:55:19,800 --> 00:55:28,080
Speaker 1: this and knew that that's when they and I just

914
00:55:28,120 --> 00:55:35,120
Speaker 1: look at it as as what is what is the

915
00:55:35,640 --> 00:55:41,600
Speaker 1: you know, what is the situation where young where young

916
00:55:41,760 --> 00:55:46,480
Speaker 1: up and coming rappers feel like I'm not saying that

917
00:55:46,560 --> 00:55:49,399
Speaker 1: you got to because you're old motherfucker nothing, just like

918
00:55:49,440 --> 00:55:52,919
Speaker 1: I don't you get me. You don't owe me no recognition.

919
00:55:53,320 --> 00:55:57,120
Speaker 1: You don't owe me no motherfucker all MC eight you

920
00:55:57,239 --> 00:56:01,160
Speaker 1: came before me and Ruthy won't because I just look

921
00:56:01,239 --> 00:56:04,279
Speaker 1: at it's just the way our city was built. You're

922
00:56:04,320 --> 00:56:11,120
Speaker 1: getting me. Nobody recognized, nobody. I don't look at it like,

923
00:56:11,480 --> 00:56:15,040
Speaker 1: but I do have a problem with sometimes you know,

924
00:56:15,680 --> 00:56:25,200
Speaker 1: not wanting to I say, not wanting to basically acknowledge

925
00:56:27,160 --> 00:56:31,320
Speaker 1: what the O G s have done. Do you know

926
00:56:31,760 --> 00:56:35,759
Speaker 1: I you ain't got to praise me for being one

927
00:56:35,760 --> 00:56:38,600
Speaker 1: of the first. You ain't got to praise me for

928
00:56:39,080 --> 00:56:42,200
Speaker 1: making songs like Hood took me under an offer the

929
00:56:42,280 --> 00:56:44,960
Speaker 1: money and straight up menace and growing up in the

930
00:56:45,080 --> 00:56:49,600
Speaker 1: hood and just going from here to Tim Buck two

931
00:56:49,880 --> 00:56:54,440
Speaker 1: speaking on Compton and letting everybody know what Compton is about,

932
00:56:54,560 --> 00:57:00,480
Speaker 1: and not even glorifying myself in wraps Nigga's Compton. That's

933
00:57:00,520 --> 00:57:04,120
Speaker 1: all I wanted the motherfucker to know. So you ain't

934
00:57:04,120 --> 00:57:06,680
Speaker 1: even gonna recognize me for that, for being one of

935
00:57:06,719 --> 00:57:11,400
Speaker 1: the dudes who why you're able to get in the

936
00:57:11,440 --> 00:57:16,520
Speaker 1: studio and say blood or crip or fucking nigger on

937
00:57:16,520 --> 00:57:19,400
Speaker 1: the record, because in my day, you couldn't do that ship. Well,

938
00:57:19,440 --> 00:57:22,880
Speaker 1: you know what I had to go through sacrifices, you know,

939
00:57:23,080 --> 00:57:26,280
Speaker 1: for that ship. I had to go through not having

940
00:57:26,320 --> 00:57:30,240
Speaker 1: records played, for videos played, or not being able to

941
00:57:30,280 --> 00:57:34,160
Speaker 1: perform certain places because motherfucker's didn't want to crypt nigger

942
00:57:34,240 --> 00:57:38,680
Speaker 1: coming into town where you used to get letters are

943
00:57:38,840 --> 00:57:42,320
Speaker 1: hit up by police departments and saying you get your

944
00:57:42,360 --> 00:57:45,520
Speaker 1: ass arrested if you come to town and perform. That's

945
00:57:45,520 --> 00:57:47,560
Speaker 1: what niggas like us had to go through back in

946
00:57:47,600 --> 00:57:50,120
Speaker 1: the early days. I don't have to go through that

947
00:57:50,160 --> 00:57:52,400
Speaker 1: ship now, you know what I would like to do. Dog,

948
00:57:52,880 --> 00:57:57,160
Speaker 1: and he a pretty good friend of mine, Like shout

949
00:57:57,200 --> 00:58:01,360
Speaker 1: up to my boy high see Crawford will see. I'm

950
00:58:01,400 --> 00:58:03,760
Speaker 1: gonna have quicken him fall through dogs. I'm gonna try

951
00:58:03,800 --> 00:58:05,920
Speaker 1: to get him and quick to fall through up your dogs,

952
00:58:05,920 --> 00:58:08,000
Speaker 1: just so we can talk about that, because I don't

953
00:58:08,000 --> 00:58:11,840
Speaker 1: think people got an idea other sacrifices and groundwork that

954
00:58:11,920 --> 00:58:15,680
Speaker 1: y'all all ladies, you know, I definitely don't think you

955
00:58:15,680 --> 00:58:18,000
Speaker 1: get enough credit. Dog, And that's just because you might nigga,

956
00:58:18,040 --> 00:58:19,840
Speaker 1: Like you said, don't nobody owe to you. But it's

957
00:58:19,880 --> 00:58:23,040
Speaker 1: a lot of ship that you influence that people don't

958
00:58:23,080 --> 00:58:25,440
Speaker 1: speak on. Sometimes right now that these people that do

959
00:58:25,520 --> 00:58:28,520
Speaker 1: give you your props, people speak on the negativity of

960
00:58:28,560 --> 00:58:30,760
Speaker 1: what we did back in the days, and and there's

961
00:58:30,800 --> 00:58:33,840
Speaker 1: too much that says it influences what's going on with

962
00:58:33,880 --> 00:58:38,840
Speaker 1: the youth nowadays. People say that we should be responsible

963
00:58:39,280 --> 00:58:44,120
Speaker 1: because of the youth killing and and rapping about ship

964
00:58:44,240 --> 00:58:49,800
Speaker 1: like that. And I just say one thing, No, No

965
00:58:49,960 --> 00:58:53,160
Speaker 1: motherfucker influenced me to do ship. When I got in

966
00:58:53,200 --> 00:58:56,320
Speaker 1: the mink on the booth and I started rapping about

967
00:58:56,840 --> 00:58:59,760
Speaker 1: the hood took me under and I got jacked and

968
00:59:00,040 --> 00:59:02,439
Speaker 1: s beacause it was the ship I was doing. It

969
00:59:02,480 --> 00:59:07,560
Speaker 1: wasn't because I watched nobody else do that ship and go, yeah,

970
00:59:07,720 --> 00:59:11,160
Speaker 1: I'm gonna be just like mc so and so, or

971
00:59:11,160 --> 00:59:13,360
Speaker 1: I'm gonna be just like no Ni. I wanted to

972
00:59:13,400 --> 00:59:16,360
Speaker 1: be me. So I don't know what the confusion is

973
00:59:16,360 --> 00:59:20,680
Speaker 1: about motherfucker's saying influence, because then the motherfucker influenced me. Yeah,

974
00:59:20,760 --> 00:59:23,400
Speaker 1: we had the Martins and the Malcolm's in school and

975
00:59:23,480 --> 00:59:25,959
Speaker 1: that type of ship. But when I was twelve years

976
00:59:26,000 --> 00:59:28,800
Speaker 1: old and I hit the block because we needed money

977
00:59:28,880 --> 00:59:32,000
Speaker 1: and niggas were struggling. It wasn't no influencers and me,

978
00:59:32,320 --> 00:59:35,720
Speaker 1: my influence was to get that motherfucking money. That was

979
00:59:35,800 --> 00:59:42,480
Speaker 1: my influence. So nobody influenced me to start selling dope.

980
00:59:43,040 --> 00:59:47,000
Speaker 1: I start selling dope because I needed money. Nobody influenced

981
00:59:47,000 --> 00:59:53,920
Speaker 1: me to you know, oh, you better gang bang. No,

982
00:59:54,320 --> 00:59:56,120
Speaker 1: I want the gag bang because I want to be

983
00:59:56,280 --> 00:59:59,960
Speaker 1: from the hood. You get me. I didn't have that influence.

984
01:00:00,000 --> 01:00:02,680
Speaker 1: So a lot of motherfucker's go y'all influenced me to

985
01:00:02,720 --> 01:00:04,800
Speaker 1: do this, and y'all influenced me to then you're a

986
01:00:04,800 --> 01:00:09,280
Speaker 1: weak motherfucker because you care. I no nigga influenced me

987
01:00:09,320 --> 01:00:12,560
Speaker 1: to do nothing. I had that incentive because as as

988
01:00:12,600 --> 01:00:16,439
Speaker 1: a youth, I had a choice. Right, I can stay

989
01:00:16,440 --> 01:00:19,720
Speaker 1: to fucking school and try to be something. But then

990
01:00:19,760 --> 01:00:23,480
Speaker 1: I look at my surrounders and look at where I'm from. Nigga, please,

991
01:00:23,760 --> 01:00:26,000
Speaker 1: you better get your motherfucker's sack and hit the block,

992
01:00:26,400 --> 01:00:31,320
Speaker 1: because nigga, you ain't going nowhere. So I didn't have

993
01:00:31,360 --> 01:00:34,320
Speaker 1: any influence. So when people go y'all influence, you know,

994
01:00:34,320 --> 01:00:36,720
Speaker 1: because so and so is over here killing and they're

995
01:00:36,800 --> 01:00:39,720
Speaker 1: killing up there in Chicago, and they're killing here and

996
01:00:39,760 --> 01:00:42,680
Speaker 1: this nigga is rapping about popping the motherfucking This nigga

997
01:00:42,760 --> 01:00:46,360
Speaker 1: rapping about popping the motherfucker. We couldn't do that ship

998
01:00:46,520 --> 01:00:50,560
Speaker 1: on records, So how was the influence coming on the records?

999
01:00:50,600 --> 01:00:53,040
Speaker 1: Because I couldn't say I was going to go popa

1000
01:00:53,120 --> 01:00:57,720
Speaker 1: nigga label wouldn't have put it out. They definitely had

1001
01:00:57,760 --> 01:00:59,960
Speaker 1: a different set of standards. They had a difference set

1002
01:01:00,080 --> 01:01:02,120
Speaker 1: standards back there. And ship Nick if I was on

1003
01:01:02,160 --> 01:01:05,880
Speaker 1: the video and was portraying like a nigga was gonna

1004
01:01:05,880 --> 01:01:09,720
Speaker 1: get popped, They're gonna ban that ship. So it's a

1005
01:01:09,800 --> 01:01:12,400
Speaker 1: it's a lot of things that we went through that

1006
01:01:13,600 --> 01:01:16,800
Speaker 1: the rappers and the entertainers are able to get away

1007
01:01:16,880 --> 01:01:22,080
Speaker 1: with today. You know, you couldn't. You couldn't. You couldn't

1008
01:01:22,120 --> 01:01:25,520
Speaker 1: make a song thirty years ago talking about wet ass

1009
01:01:25,560 --> 01:01:32,480
Speaker 1: Pussy used to go to jail behind that ship to

1010
01:01:32,520 --> 01:01:34,600
Speaker 1: go to jail. They used to go to jail for

1011
01:01:34,640 --> 01:01:39,120
Speaker 1: having bitches get on stage twerking you get me. They

1012
01:01:39,200 --> 01:01:41,680
Speaker 1: used to go to jail for getting on stage, going

1013
01:01:41,840 --> 01:01:45,800
Speaker 1: throw that d and ship like that. They go to

1014
01:01:45,920 --> 01:01:49,240
Speaker 1: jail for for songs like do to Brown and ship,

1015
01:01:49,480 --> 01:01:53,960
Speaker 1: you know what I'm saying. So I feel we, uh,

1016
01:01:54,000 --> 01:01:58,280
Speaker 1: we took a lot of ship that enables you know,

1017
01:01:58,920 --> 01:02:02,200
Speaker 1: the the the young homies to do a lot of

1018
01:02:02,760 --> 01:02:06,320
Speaker 1: what they want to exercise today, you get me. They

1019
01:02:06,360 --> 01:02:08,720
Speaker 1: are able to do what the funk they want to

1020
01:02:08,760 --> 01:02:14,640
Speaker 1: do today because we went through We went through those

1021
01:02:14,680 --> 01:02:19,200
Speaker 1: band periods, you know, getting stickers slapped on your albums,

1022
01:02:19,680 --> 01:02:23,760
Speaker 1: you know, getting your CDs ran over by the church

1023
01:02:23,880 --> 01:02:26,800
Speaker 1: members and ship, like we went through that. I'm doing

1024
01:02:26,840 --> 01:02:32,400
Speaker 1: that ship today today. You don't see what you see

1025
01:02:32,480 --> 01:02:36,280
Speaker 1: about there running over Cardi b motherfucking cd s because

1026
01:02:36,280 --> 01:02:39,960
Speaker 1: she telling girls you should wrap about your wet ass pussy.

1027
01:02:40,160 --> 01:02:43,920
Speaker 1: You get me, they don't do that, So you're able

1028
01:02:43,960 --> 01:02:46,560
Speaker 1: to flex what you want to do nowadays. As far

1029
01:02:46,600 --> 01:02:49,880
Speaker 1: as this hip hop concern, and that's a that's because

1030
01:02:49,920 --> 01:02:53,160
Speaker 1: a lot of us went through a lot of ship

1031
01:02:53,360 --> 01:02:55,920
Speaker 1: to be able to be able to express yourself today.

1032
01:02:56,000 --> 01:03:02,800
Speaker 1: So you know, um, it's good that again the Grammys

1033
01:03:02,840 --> 01:03:06,760
Speaker 1: recognized uh, fifty years of hip hop because you know,

1034
01:03:07,000 --> 01:03:11,640
Speaker 1: like you said, niggas like Grandmaster flashing them who started

1035
01:03:11,640 --> 01:03:15,240
Speaker 1: ship like this, you know, just imagine what type of

1036
01:03:15,240 --> 01:03:18,680
Speaker 1: ship they went through getting their records played and trying

1037
01:03:18,720 --> 01:03:21,320
Speaker 1: to get the motherfucking message out and all that ship.

1038
01:03:21,760 --> 01:03:25,600
Speaker 1: Motherfucker's not believing that this ship was gonna last fifty years.

1039
01:03:25,960 --> 01:03:28,880
Speaker 1: And for some of you niggas who just twenty years old,

1040
01:03:28,960 --> 01:03:31,920
Speaker 1: twenty one years old, you know, we fought the struggle

1041
01:03:31,960 --> 01:03:34,360
Speaker 1: for the last thirty years. So now you nigga is

1042
01:03:34,360 --> 01:03:37,240
Speaker 1: gonna be pulling up in rolls royces and wearing fat

1043
01:03:37,320 --> 01:03:40,560
Speaker 1: chains and streaming and doing all that ship because a

1044
01:03:40,560 --> 01:03:42,880
Speaker 1: lot of us didn't get that money that we should

1045
01:03:42,880 --> 01:03:46,120
Speaker 1: have been getting, Like how y'all getting today you're getting

1046
01:03:47,920 --> 01:03:51,280
Speaker 1: because I know for sure, tiding them the tidy t s,

1047
01:03:51,360 --> 01:03:53,960
Speaker 1: even the million miles in the world, they didn't really

1048
01:03:53,960 --> 01:03:59,080
Speaker 1: see the financial benefits. You didn't, uh, you know in

1049
01:03:59,200 --> 01:04:03,280
Speaker 1: my era you started seeing a little you get me,

1050
01:04:03,600 --> 01:04:05,960
Speaker 1: but then you had to be mega maker to you

1051
01:04:06,040 --> 01:04:08,600
Speaker 1: get me. Nowadays, ship, all you gotta do is turn

1052
01:04:08,640 --> 01:04:11,080
Speaker 1: on the studio in your kitchen and make up a

1053
01:04:11,160 --> 01:04:16,560
Speaker 1: song and you might be the next motherfucking maga star. Well,

1054
01:04:16,600 --> 01:04:19,120
Speaker 1: I remember E. P. M. D. S lyrics when they

1055
01:04:19,200 --> 01:04:20,880
Speaker 1: was lost and he said, I get a thousand. The

1056
01:04:20,960 --> 01:04:25,360
Speaker 1: show been many places, and back then that was that

1057
01:04:25,480 --> 01:04:28,600
Speaker 1: was a big back then, thousand thousand. That was the

1058
01:04:28,640 --> 01:04:30,240
Speaker 1: Showman when I was a kid and I hurt. That's

1059
01:04:32,920 --> 01:04:35,200
Speaker 1: right now, clear and a half a million dollars or

1060
01:04:35,200 --> 01:04:39,600
Speaker 1: a quarter million dollars for shows. You get me and

1061
01:04:39,880 --> 01:04:42,520
Speaker 1: listen to them lyrics. I got a thousand of show.

1062
01:04:44,280 --> 01:04:48,560
Speaker 1: And even Biggie not too far ago, he said, get

1063
01:04:48,640 --> 01:04:52,200
Speaker 1: five jes A show Gate. You know, I'm going back

1064
01:04:52,240 --> 01:04:55,440
Speaker 1: to Kelly said five MS, five Jesus show. And that's

1065
01:04:55,480 --> 01:04:57,640
Speaker 1: when Biggie and Beat was that nigga. It was rough,

1066
01:04:57,760 --> 01:05:02,320
Speaker 1: like I said, we started off and then manineties and

1067
01:05:02,320 --> 01:05:04,840
Speaker 1: it just wasn't like that. You get me. You're fucking

1068
01:05:04,840 --> 01:05:07,640
Speaker 1: with regular motherfucker's, like I said. But nowadays, you know,

1069
01:05:08,040 --> 01:05:11,520
Speaker 1: the the finances are different. You know, the money is different,

1070
01:05:11,640 --> 01:05:15,480
Speaker 1: the fans are different, the streaming and all the crypto

1071
01:05:15,680 --> 01:05:18,960
Speaker 1: and all the other different ships. So everything is different nowadays.

1072
01:05:19,320 --> 01:05:27,000
Speaker 1: So again, uh, it's glad to be uh, you know, recognize,

1073
01:05:27,080 --> 01:05:29,120
Speaker 1: even though you know I wasn't a part of it.

1074
01:05:29,160 --> 01:05:32,400
Speaker 1: But I don't give a fuck, just just just to

1075
01:05:32,560 --> 01:05:36,000
Speaker 1: see some of my peers that I respect, you know.

1076
01:05:36,720 --> 01:05:40,040
Speaker 1: You know, uh, Scarface a real good friend of mine.

1077
01:05:40,440 --> 01:05:43,120
Speaker 1: I know, Buster a real good I know method good,

1078
01:05:43,520 --> 01:05:46,240
Speaker 1: you know, just to see some of those dudes, you

1079
01:05:46,240 --> 01:05:48,160
Speaker 1: know who's been in the struggle as long as I

1080
01:05:48,240 --> 01:05:53,080
Speaker 1: have to finally be able to you know, hey, after

1081
01:05:53,120 --> 01:05:56,560
Speaker 1: fifty years, motherfucker's finally see that we're here and we're

1082
01:05:56,600 --> 01:05:58,320
Speaker 1: here to stay. So that's why I look at that

1083
01:05:58,720 --> 01:06:01,360
Speaker 1: number one, the number one music genre in the world.

1084
01:06:01,360 --> 01:06:04,400
Speaker 1: It overtook country music. And that's big because hip hop

1085
01:06:04,440 --> 01:06:06,440
Speaker 1: and country music used to go back and forth for

1086
01:06:06,480 --> 01:06:10,000
Speaker 1: that number one spot. Now hip hop is winning it convincingly.

1087
01:06:11,040 --> 01:06:13,400
Speaker 1: But we have we have, we we have, we have

1088
01:06:13,560 --> 01:06:18,000
Speaker 1: collected the masses of fans as far as music and entertainment. Um,

1089
01:06:18,160 --> 01:06:20,640
Speaker 1: you know, it's just our music. And then when you

1090
01:06:20,720 --> 01:06:22,840
Speaker 1: got some of them who likes our music as well,

1091
01:06:23,240 --> 01:06:26,600
Speaker 1: you know, just you just winning because it's just not

1092
01:06:26,680 --> 01:06:30,919
Speaker 1: just a it's a it's a fucking it's not even

1093
01:06:31,000 --> 01:06:36,720
Speaker 1: just a one sided thing. Everybody loves hip hop, Blacks, Mexicans, Whites, Chinese,

1094
01:06:37,200 --> 01:06:44,200
Speaker 1: fucking foreigners, fucking Africans, fucking whatever, fucking the Saudia's. Everybody

1095
01:06:44,280 --> 01:06:47,959
Speaker 1: loves rap. Ship you know what I'm saying. Everybody loves rap.

1096
01:06:48,120 --> 01:06:53,200
Speaker 1: So it's in commercials, it's in everything. Nowadays. So, like

1097
01:06:53,240 --> 01:06:57,439
Speaker 1: I said, it was glad that that that it was introduced.

1098
01:06:57,960 --> 01:07:01,360
Speaker 1: Thank God for you know, the New York niggas who

1099
01:07:01,400 --> 01:07:03,720
Speaker 1: opened the doors and who started in the parks and

1100
01:07:03,760 --> 01:07:07,360
Speaker 1: who started on the basketball courts and DJ's and and

1101
01:07:07,440 --> 01:07:10,200
Speaker 1: niggas you know, hitting them clubs and the tunnels and

1102
01:07:10,240 --> 01:07:12,480
Speaker 1: ship like that from as far as back as I

1103
01:07:12,480 --> 01:07:15,400
Speaker 1: could remember and see and listening to the niggas like

1104
01:07:15,440 --> 01:07:18,320
Speaker 1: the Fat Boys and the Treacherous Three and you know

1105
01:07:18,360 --> 01:07:22,440
Speaker 1: all them early Grandmaster Flash and and fucking you know,

1106
01:07:22,560 --> 01:07:25,840
Speaker 1: White Lines and all that type of ship. Man, It's

1107
01:07:25,880 --> 01:07:28,280
Speaker 1: come a long way. So I'm just thankful to be

1108
01:07:28,320 --> 01:07:32,480
Speaker 1: a part of something that people finally recognize as being significant.

1109
01:07:32,600 --> 01:07:36,040
Speaker 1: You know what I'm saying. Hell yeah, well man, we

1110
01:07:36,160 --> 01:07:39,320
Speaker 1: go go ahead and shut this one down man. And

1111
01:07:39,480 --> 01:07:41,880
Speaker 1: um one thing I want to tell you, man, make

1112
01:07:41,920 --> 01:07:46,240
Speaker 1: sure y'all go follow our Instagram page Against the Chronicles podcasts.

1113
01:07:47,840 --> 01:07:52,440
Speaker 1: Follow up says book page against the Chronicles podcast You know,

1114
01:07:52,560 --> 01:07:55,040
Speaker 1: he ate up eight o eight. Hit me up at

1115
01:07:55,080 --> 01:07:57,480
Speaker 1: eight oh eight eight, Compton. You know, I'll try to

1116
01:07:57,960 --> 01:08:00,480
Speaker 1: respond all my people, So hit us out, man. You

1117
01:08:00,480 --> 01:08:02,360
Speaker 1: know what I'm doing. We're getting the showback. Crack and

1118
01:08:02,400 --> 01:08:05,160
Speaker 1: we're back. So y'all, y'all tune in. Man, that's what

1119
01:08:05,240 --> 01:08:13,160
Speaker 1: they do gc for sure. We out of here. See, Hey,

1120
01:08:13,200 --> 01:08:15,040
Speaker 1: we don't need nobody on this motherfucker all the time.

1121
01:08:15,120 --> 01:08:21,800
Speaker 1: That was a good ass motherfucking conversation. We shood man,

1122
01:08:21,840 --> 01:08:25,560
Speaker 1: I'm not calling that niked back right now. He called me.

1123
01:08:25,760 --> 01:08:27,320
Speaker 1: He called me earlier. I don't know what the funk

1124
01:08:27,360 --> 01:08:32,120
Speaker 1: he wants. Oh, you know what this dude, the dude

1125
01:08:32,200 --> 01:08:35,559
Speaker 1: they used to run Big Time records, Russ. He hit me.

1126
01:08:35,960 --> 01:08:39,800
Speaker 1: But this day, early the morning, Hey, um, he asked

1127
01:08:39,840 --> 01:08:41,679
Speaker 1: me a question. Has either been