WEBVTT - #110 - Capella Grey

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<v Speaker 1>Yo Boulet Cavs show special guests in here. A lot

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<v Speaker 1>of people are saying he has the song of the summer.

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<v Speaker 1>Mm hmm, Capella Gray. If you're in New York, it's

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<v Speaker 1>definitely the song of the summer, you know. Crazy Mahomie Uh.

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<v Speaker 1>Shout out to Bodega Fleet. He told me about your

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<v Speaker 1>record pretty early and then he was like, Yo, this

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<v Speaker 1>is the one, and then like I feel like a

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<v Speaker 1>month later it finally got over here and I was like, Okay,

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<v Speaker 1>what was like for you with this record? When what

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<v Speaker 1>was the moment where you realized this was like a

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<v Speaker 1>real thing? Went to People from out of state, from

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<v Speaker 1>out of town started you know what I'm saying, tapping in,

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<v Speaker 1>tagging me and ship. I was like, you're cursing everything. Yeah.

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<v Speaker 1>As soon as all the other states started tapping in

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<v Speaker 1>and stuff, I was like, yeah, we're out of here.

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<v Speaker 1>And did you originally drop this independently? So you went

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<v Speaker 1>from independent to sign and obviously off this record, but

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<v Speaker 1>like what what? Uh? It was going crazy in the

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<v Speaker 1>city for the months before I got months before I

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<v Speaker 1>got picked up all over the country on Stupid. It

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<v Speaker 1>was number one on Jazam nationwide before way before the deal,

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<v Speaker 1>before the deal, before the deal, number one on Hizam

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<v Speaker 1>number one. So it starts getting obviously heats up in

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<v Speaker 1>the club first, no outside TikTok and nah, so like

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<v Speaker 1>I don't know, I don't make songs for TikTok. No,

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<v Speaker 1>I'm saying it's not a TikTok record. But you know, bro,

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<v Speaker 1>there's no like no one knows what a TikTok song

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<v Speaker 1>is anymore. There's ship that goes wild that you would

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<v Speaker 1>never even know. That's a fact. I'm not gonna lie.

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<v Speaker 1>So but when Vietnam with this song, it was it

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<v Speaker 1>was just real organic. It was in the streets first,

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<v Speaker 1>like people were just playing outside the streets in New

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<v Speaker 1>York on they party. It's a little different, like you know,

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<v Speaker 1>sometimes we'll be in the club and stuff. Sometimes it's

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<v Speaker 1>just outside barbecues and stuff like that, like just wordy

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<v Speaker 1>of out just moving around the city. And then the

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<v Speaker 1>clubs picked it up and then it was over. It

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<v Speaker 1>was a rap and the Forrest Radio we was on

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<v Speaker 1>the radio rotation before the deal or anything like that.

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<v Speaker 1>It was just who was the first DJ to play

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<v Speaker 1>your song on the radio? The first DJ to play

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<v Speaker 1>it was DJ will probably want for sure, and then

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<v Speaker 1>it was not this someone, and then everybody else picked up. Wow,

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<v Speaker 1>that's big man. Congrats Bro. It's though too because it's

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<v Speaker 1>like a very it's like a national or a very

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<v Speaker 1>worldwide sounding record. We think in New York, you know

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<v Speaker 1>what I'm saying. Sometimes she comes out of New York

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<v Speaker 1>and it's like, this shit is cool. Same thing with La.

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<v Speaker 1>There'll be some shit that's popping out here, but we'll

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<v Speaker 1>be like, man, this shit is cool for La. Or

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<v Speaker 1>in New York. You go to New York and hear

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<v Speaker 1>some shit in the club, he be like, man, this

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<v Speaker 1>shit is fied, but it's probably not gonna get out

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<v Speaker 1>of this area. But your shit is like, Bro's got

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<v Speaker 1>that international sound or something like that. Yeah, I like

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<v Speaker 1>this like that, even though because I didn't like It's

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<v Speaker 1>not like I was on purpose trying to create some

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<v Speaker 1>kind of crazy international sound. I feel like the sound

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<v Speaker 1>of New York is, especially when we do it the

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<v Speaker 1>right way, it's a it's appealing enough, so it was

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<v Speaker 1>gonna go international, you know what I'm saying. You know facts, man,

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<v Speaker 1>you're from the Bronx, right, it's a uptown, uptown baby

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<v Speaker 1>shout out to the Bronx. Hey man, Uh, the Bronx

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<v Speaker 1>is like one of those burrows doesn't get enough love.

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<v Speaker 1>All things considered. It to where hip hop was birthed.

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<v Speaker 1>It is literally where hip hop started. Fact, you know,

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<v Speaker 1>I think like obviously some of the greatest rivers of

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<v Speaker 1>all time come out to bron shot out the punch

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<v Speaker 1>out to karras One, Yeah, Joey Crack. But like I

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<v Speaker 1>feel like lately, like you know, ron SUNO's doing this

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<v Speaker 1>thing you do, hey boogies. Of course, man shouts to

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<v Speaker 1>high Bridge. But like in general, do you feel like

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<v Speaker 1>the Bronx has somehow become like the most slept on

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<v Speaker 1>brown New York easily? Like, and it's weird because it's

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<v Speaker 1>where hip hop started. Yeah, but you know, Brooklyn was

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<v Speaker 1>making noise for a while, queens outside, you know what

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<v Speaker 1>I'm saying. Harlem is definitely Harlem is always going Harlem.

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<v Speaker 1>I feel like the Bronx just slept on for a while.

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<v Speaker 1>But I feel like we got it. It's it's back,

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<v Speaker 1>We're back. I'm not gonna lie the spotlight. We always

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<v Speaker 1>had the vibe. We just need a spotlight now you

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<v Speaker 1>got it? Yeah, Yeah, definitely a great energy uptown right now?

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<v Speaker 1>Are you? I don't know, this is probably after your generation,

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<v Speaker 1>but are you gonna? I mean, kress One's got a

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<v Speaker 1>verses with Big Daddy Kane mm hmm. And Kris Won

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<v Speaker 1>a lot of people just thinks he's the greatest of

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<v Speaker 1>all time. He's from the Bronx. You know what I'm saying, Like,

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<v Speaker 1>you're gonna, You're gonna, You're gonna. Are you? Are you

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<v Speaker 1>looking forward to that versus or is that some ship

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<v Speaker 1>where you're like this just for the coach? I am, yeah, man,

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<v Speaker 1>So I'm definitely. I make sure I'm dead too. You

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<v Speaker 1>know what I'm saying, Like, I'm really a fan of like,

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<v Speaker 1>so you're gonna be there. I have to be there.

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<v Speaker 1>Hey man, were you, like, did you ever listen to

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<v Speaker 1>carras one like trying to catch up on his older ship.

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<v Speaker 1>So I have to like go back and do more

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<v Speaker 1>research because of this whole versus thing. It wou presented

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<v Speaker 1>the opportunity for me to go back and do my

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<v Speaker 1>research and all that stuff like that. So yeah, Yo,

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<v Speaker 1>Cares held it down for the whole borough. Yeah he was.

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<v Speaker 1>He was actually versus mc sean man. Wow, Queen's Bridge.

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<v Speaker 1>It was what was Queen's Bridge versus the Bronx. Shout

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<v Speaker 1>out to Kress now that just should be forty year

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<v Speaker 1>olds and up and hip hop are very excited. I'm

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<v Speaker 1>not quite there. I'm thirty four, and I know all

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<v Speaker 1>my like Brian Samson's old asses excited. I'm sure Neil

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<v Speaker 1>was excited. He's like, hell yeah, add krs we out here, yo.

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<v Speaker 1>I'm sure that like hell of people were trying to

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<v Speaker 1>probably approach you. Did anyone approach you to do the remix?

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<v Speaker 1>I'm not talk about the actual like Chris Brown or

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<v Speaker 1>popcor but where there's like people who hit you trying

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<v Speaker 1>to do a remix? Yeah, hell yeah. The whole industry remixes,

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<v Speaker 1>That's what's Yeah, it's like the whole industry. I kind

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<v Speaker 1>of piphed the vibes under so like fab did a

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<v Speaker 1>remix from Tory Cranium, Jada Kingdom, Busta Rhymes like It's

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<v Speaker 1>it Got create a boogie did a remix, and these

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<v Speaker 1>fave Like the list is low key, kind of crazy

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<v Speaker 1>people their own remixes. Just like yo, if you're a DJ,

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<v Speaker 1>just pick what remix you like the most. Yeah, it's

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<v Speaker 1>like a yeah, it's like a collectible or something like that. So,

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<v Speaker 1>like the different DJs are playing it in different regions,

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<v Speaker 1>they're playing different remixes in different regions. What's the biggest,

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<v Speaker 1>biggest remix. It's not the official remix. You think the

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<v Speaker 1>biggestars like what you hear the most when you're out.

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<v Speaker 1>I'm not gonna lie. I can't even do that because

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<v Speaker 1>there's like I go to certain places, like certain cities,

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<v Speaker 1>they're only going to play like certain like you go

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<v Speaker 1>certain place, they're going to play the A B one

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<v Speaker 1>and like the French Montana one that's in the same

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<v Speaker 1>there's got to be a French one. I didn't know

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<v Speaker 1>there was crazy shout out the French sir, you tap

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<v Speaker 1>Jan Roy Woods, every bro. Crazy You getting Chris Brown

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<v Speaker 1>and Popcorn to fit for the official one? Obviously Chris

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<v Speaker 1>Brown feels like a no brainer. Man. Yeah, that's not

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<v Speaker 1>even like, yeah it's Chris Brown. Yeah. He bought it

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<v Speaker 1>for like for R and B, for just the culture

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<v Speaker 1>periods like that. That goes signs O D with your project,

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<v Speaker 1>like the music that you're working on right now. Would

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<v Speaker 1>you say that, like your sound in general is in

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<v Speaker 1>tune with this record or do you have other pockets

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<v Speaker 1>you get in, I get in some different pockets. So

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<v Speaker 1>like even if you hear like the rest of the tape,

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<v Speaker 1>it's just real New York, but you could tell that

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<v Speaker 1>it's definitely inspired by a Caribbean upbringing as well. And

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<v Speaker 1>just it just has I just have mad different vibes

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<v Speaker 1>on this table, like it's it's what was the music

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<v Speaker 1>like you say, your Caribbean upbringing? What was the music

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<v Speaker 1>like in the household period? So we were listening to

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<v Speaker 1>it like a lot of gospel, were listening to a

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<v Speaker 1>lot of like Marley just just it was if you,

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<v Speaker 1>if you, if you finish at Jamaican, there's like a

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<v Speaker 1>playlist like it's a certain plate list, like it's just

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<v Speaker 1>you guys, was to everything right right, right right right.

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<v Speaker 1>So but I feel like that that inspired like a

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<v Speaker 1>lot of the cadences and a lot of the melodies

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<v Speaker 1>and harmonies and everything that's in my music right now.

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<v Speaker 1>So for you have it like sometimes when you come

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<v Speaker 1>out and your first record is this big, it could

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<v Speaker 1>be a gift and a curse. Sometimes that happens, and

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<v Speaker 1>like you know, the song, your first song will be

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<v Speaker 1>bigger than you as an artist forever. It's happened with

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<v Speaker 1>you know a lot of artists. You know, I don't

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<v Speaker 1>want to name drop sh it on nobody, but you

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<v Speaker 1>know it's happened. It happens all the time. Is that

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<v Speaker 1>something that you're conscious of, like trying to make sure

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<v Speaker 1>that your music isn't bigger than you if that makes sense. Yeah,

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<v Speaker 1>I'm not worried about that because I know, like I

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<v Speaker 1>don't want to sound no way, but there's no where

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<v Speaker 1>that came from, like I'm that guy. No, there's a

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<v Speaker 1>whole lot more. You gotta really understand. Yalous is a freestyle.

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<v Speaker 1>It is a minute forty five second long freestyle with

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<v Speaker 1>no hook, no bridge, no verse, no nothing. So let

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<v Speaker 1>me get this straight, because when you say freestyle for

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<v Speaker 1>people like who aren't in the studio a lot, like

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<v Speaker 1>there's freestyles and then there's like yeah, like punching off

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<v Speaker 1>the top of your head. I'm not talking about just

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<v Speaker 1>like a freestyle where it's like I just went in

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<v Speaker 1>one take and just there's different types of restoules with that.

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<v Speaker 1>I'm talking about freestyle terms like just the style of

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<v Speaker 1>the record itself, so like there's no real structure to

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<v Speaker 1>there's no real structure. I basically prove that point with this.

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<v Speaker 1>There's no rules to this music shit. So like with

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<v Speaker 1>the structure of a record, you know it's supposed to

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<v Speaker 1>be hook, verse, hook, bridge, whatever it is. You know

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<v Speaker 1>what I'm saying that that certain standard of how you

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<v Speaker 1>set up your songs. Again, like I said with Yallus,

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<v Speaker 1>there's no hook, no bridge, no verse, no Nathan, It's

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<v Speaker 1>just a series of moments back to back like a

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<v Speaker 1>DJ or something. And you're saying, like, we got, we got,

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<v Speaker 1>you got a lot more where that came from. You're

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<v Speaker 1>not worried about it, yeah, bro, because like, all right,

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<v Speaker 1>we have that joint, right, But then I'm a musician

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<v Speaker 1>musician for real, I play instruments and all that. I'm

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<v Speaker 1>really singing singing for real. But I'm really a fan

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<v Speaker 1>of hip hop hip for real. I'm really produced, like

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<v Speaker 1>I produced Giallus and everything. I really we really do this.

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<v Speaker 1>There's way more where it comes from. You keep all

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<v Speaker 1>the money, that's what you're saying, Make the beat, write

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<v Speaker 1>the song, mixed it, mixed the record everything. Damn. You're

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<v Speaker 1>like the Bronx Russ kind of wow, and you heard

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<v Speaker 1>the song that we did that Russ drop. No, I

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<v Speaker 1>did not you have dropped the joint two weeks ago.

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<v Speaker 1>Close Seduce is going crazy right now. Number you know,

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<v Speaker 1>Russ drops the song every week, so it's hard for

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<v Speaker 1>me to keep up at this point. Well, he puts

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<v Speaker 1>a lot of music out. Well, the seduced one, the

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<v Speaker 1>one that we got is going stupid right now. That's

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<v Speaker 1>all I know. How did you? How did how did

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<v Speaker 1>the rust connection happen? He reached out because he just

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<v Speaker 1>seemed energy, especially on Instagram and everything like that, like

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<v Speaker 1>just once you tap in and see how I move,

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<v Speaker 1>like we kind of moved, saying he produces a lot

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<v Speaker 1>of his stuff, He engineers a lot of his stuff.

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<v Speaker 1>I do the same. We both talk because you understand

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<v Speaker 1>when you do it yourself, you don't have to lower

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<v Speaker 1>your voice or lefe for no jokes that aren't funny.

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<v Speaker 1>It's a whole real energy. So with me and me

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<v Speaker 1>to him, people like Tory, there's certain people that are

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<v Speaker 1>just like once we tap in, I'm learning too much

0:10:23.120 --> 0:10:25.240
<v Speaker 1>from them to drive in too much Jewels, it's too far.

0:10:25.440 --> 0:10:28.160
<v Speaker 1>So once we connected, it was it was like nothing.

0:10:28.200 --> 0:10:30.520
<v Speaker 1>We dropped the joint like a week after we recorded,

0:10:30.600 --> 0:10:33.680
<v Speaker 1>and now it's going stupid. Wow, rest stuff was that

0:10:33.720 --> 0:10:35.599
<v Speaker 1>someone who you like actually fucked with prior to like

0:10:35.640 --> 0:10:38.480
<v Speaker 1>him reaching out because like, oh yeah, you know, I

0:10:38.480 --> 0:10:40.800
<v Speaker 1>think Russ is like has been giving people so much

0:10:40.840 --> 0:10:43.160
<v Speaker 1>free game for so long and like showing people the

0:10:43.200 --> 0:10:45.880
<v Speaker 1>way on so many different things. Like but he always

0:10:45.960 --> 0:10:49.480
<v Speaker 1>for some reason, motherfucker's like really like the SoundCloud era

0:10:49.520 --> 0:10:51.640
<v Speaker 1>of hip hop hated him for whatever reason because their

0:10:51.640 --> 0:10:54.120
<v Speaker 1>haters and there because he kept telling people where he

0:10:54.160 --> 0:10:57.160
<v Speaker 1>would shoot from and say, Yo, stop me, I'm going

0:10:57.200 --> 0:10:58.520
<v Speaker 1>to shoot from there, to stop me, and then he

0:10:58.520 --> 0:11:01.120
<v Speaker 1>would shoot from there and take it every time, every

0:11:01.120 --> 0:11:02.920
<v Speaker 1>single time, I'm going to sell out the Stable Center.

0:11:03.240 --> 0:11:05.760
<v Speaker 1>Sold out the Stable Center, right, because when you when

0:11:05.760 --> 0:11:07.559
<v Speaker 1>when you say I'm going to sell out the Stable Center,

0:11:08.320 --> 0:11:12.480
<v Speaker 1>it's he's being cocky, he's being arrogant until he sells

0:11:12.480 --> 0:11:16.040
<v Speaker 1>out the Stable Center. Then it just stop speaking. It's

0:11:16.080 --> 0:11:19.600
<v Speaker 1>all now, you guys just have to right. That's why

0:11:19.600 --> 0:11:22.640
<v Speaker 1>I appreciate this gallous run. I was gonna say, like

0:11:22.720 --> 0:11:25.360
<v Speaker 1>you were you said earlier. When you record yourself, it's

0:11:25.400 --> 0:11:28.920
<v Speaker 1>a different vibe because you know, sometimes when you're in

0:11:28.920 --> 0:11:32.440
<v Speaker 1>the studio, like you said, you gotta sometimes it's hard

0:11:32.440 --> 0:11:34.880
<v Speaker 1>to control the vibe. If there's too many variables that

0:11:35.160 --> 0:11:38.040
<v Speaker 1>pull pull up, come through. Maybe the producer brings a homie,

0:11:38.120 --> 0:11:40.559
<v Speaker 1>maybe the engineer brings you know what I'm saying, No,

0:11:40.760 --> 0:11:43.840
<v Speaker 1>because the producer brings homely file one day he got it. Anyway,

0:11:44.000 --> 0:11:47.600
<v Speaker 1>So with my sessions, I feel like it's two different

0:11:47.600 --> 0:11:50.000
<v Speaker 1>types of sessions. Sometimes I might want, like some of

0:11:50.000 --> 0:11:51.720
<v Speaker 1>my sessions, like if you see my blocks and stuff,

0:11:52.080 --> 0:11:54.120
<v Speaker 1>it be it'd be mad people in there just be

0:11:54.160 --> 0:11:57.600
<v Speaker 1>a vibe, mad producers, engineers, mad just different, right, just

0:11:58.040 --> 0:12:02.080
<v Speaker 1>pople just you know what I'm saying. But like some

0:12:02.120 --> 0:12:04.040
<v Speaker 1>of my other sessions, it might just be me and

0:12:04.120 --> 0:12:07.240
<v Speaker 1>the piano and the lap chob just creating and stuff

0:12:07.240 --> 0:12:10.000
<v Speaker 1>like that. So it's just it varies. But either way

0:12:10.000 --> 0:12:11.960
<v Speaker 1>that the environment is always controlled though, I'm not gonna

0:12:12.000 --> 0:12:14.400
<v Speaker 1>have people freestyling my session. I saw you just were

0:12:14.559 --> 0:12:16.440
<v Speaker 1>I believe it today. You were in the Hit Boy

0:12:17.360 --> 0:12:20.760
<v Speaker 1>Yeah kind of. Well then like that shout out to

0:12:20.840 --> 0:12:22.840
<v Speaker 1>hit Boy, shout out to hit one of the greatest

0:12:22.880 --> 0:12:26.240
<v Speaker 1>of all time. Yeah, definitely the goal. So it was

0:12:26.440 --> 0:12:28.880
<v Speaker 1>hit Boy and shawing in with you. So what's that

0:12:29.000 --> 0:12:30.719
<v Speaker 1>is that for your ship or for their ship? I'm

0:12:30.800 --> 0:12:33.079
<v Speaker 1>just you know what I'm saying, just moving around, staying

0:12:33.080 --> 0:12:35.959
<v Speaker 1>this decade. It's a little Wayne t Pain runner and

0:12:36.040 --> 0:12:38.120
<v Speaker 1>be on everybody's so like you're about to go on

0:12:38.160 --> 0:12:41.760
<v Speaker 1>that kind of run. Everybody hooked, everybody bridge, everybody verse.

0:12:41.760 --> 0:12:43.320
<v Speaker 1>I might produce to beat, I might write it for you.

0:12:43.360 --> 0:12:46.160
<v Speaker 1>I might be the one on the boards. That's That's

0:12:46.200 --> 0:12:48.280
<v Speaker 1>a good goal to have because when T Pain and

0:12:48.360 --> 0:12:52.000
<v Speaker 1>Lil Wayne had that run, it was like for programmers

0:12:52.000 --> 0:12:54.200
<v Speaker 1>on the radio side, it was a lot. It was like, Yo,

0:12:54.280 --> 0:12:57.120
<v Speaker 1>we can't do no artists, separation everyone this fucking ta

0:12:57.160 --> 0:13:02.199
<v Speaker 1>pains on everyone's hook. That's that's the Goalah, absolutely ambush.

0:13:02.360 --> 0:13:04.040
<v Speaker 1>You know what's crazy is that on the West Coast

0:13:04.040 --> 0:13:06.760
<v Speaker 1>we have Blast, who's kind of like the other guy

0:13:06.840 --> 0:13:10.880
<v Speaker 1>doing that. Right, have you guys connected or broke in Brooklyn?

0:13:11.200 --> 0:13:14.679
<v Speaker 1>That's crazy? So you and so have you? Blast is

0:13:14.720 --> 0:13:17.360
<v Speaker 1>another guy who does everything himself. He records himself, makes

0:13:17.360 --> 0:13:19.400
<v Speaker 1>the beat, does all that. You guys work on any music.

0:13:20.520 --> 0:13:23.040
<v Speaker 1>Just just knows that be a good decade. Just know,

0:13:23.440 --> 0:13:25.160
<v Speaker 1>so you and Blast got music together. You know what

0:13:25.200 --> 0:13:28.559
<v Speaker 1>I'm saying. It's just a lot going on. So that means, yes,

0:13:29.000 --> 0:13:31.200
<v Speaker 1>nice who made the beat though, if both you guys

0:13:31.200 --> 0:13:34.199
<v Speaker 1>make the beat, like you guys both make beats, so

0:13:34.240 --> 0:13:37.760
<v Speaker 1>who made them? Who made the beat? Did you handle

0:13:37.800 --> 0:13:41.080
<v Speaker 1>the beat? Or did the Blast handle the beat? It's

0:13:41.120 --> 0:13:44.160
<v Speaker 1>a lot going on. I can't wait until everybody sees

0:13:44.200 --> 0:13:46.560
<v Speaker 1>what's in store for this decade, you understand, man? I

0:13:46.640 --> 0:13:49.320
<v Speaker 1>like how you talking in decades? Yeah? Absolutely, because it's

0:13:49.360 --> 0:13:52.280
<v Speaker 1>not because I'm not here for for this record, here

0:13:52.360 --> 0:13:55.080
<v Speaker 1>for this year, right, I'm taking the decade at a time.

0:13:55.800 --> 0:13:57.959
<v Speaker 1>That Bro, most people don't look at shit that way.

0:13:57.960 --> 0:14:01.000
<v Speaker 1>They're just trying to They're just trying to get to tomorrow. Yeah.

0:14:01.200 --> 0:14:03.280
<v Speaker 1>I feel like that's how you fuck up the longevity though,

0:14:03.280 --> 0:14:06.280
<v Speaker 1>because you make stupid, short minded decisions and then you know,

0:14:06.360 --> 0:14:08.960
<v Speaker 1>two years from now, you ain't ship, You're you're relevant,

0:14:09.000 --> 0:14:10.840
<v Speaker 1>you know what I mean, You're gone. Yeah. Nah, you

0:14:10.880 --> 0:14:13.120
<v Speaker 1>gotta come up with this energy because you know what

0:14:13.120 --> 0:14:15.160
<v Speaker 1>I'm saying, even though I'm very grateful to be here,

0:14:15.160 --> 0:14:18.360
<v Speaker 1>it's not just happy to be energy. You gotta be ready.

0:14:18.480 --> 0:14:22.080
<v Speaker 1>I'm ready. So a new new Russ and Capella Grade

0:14:22.520 --> 0:14:32.000
<v Speaker 1>joint project coming soon. Executive produced. Uh my Blast. I

0:14:32.040 --> 0:14:33.600
<v Speaker 1>feel like there's a couple of people in the industry

0:14:33.640 --> 0:14:36.160
<v Speaker 1>that I'm meeting that I'm I feel like it's it's unpleasant,

0:14:36.280 --> 0:14:38.640
<v Speaker 1>not pleasantly surprised. That sounds crazy, but I'm just really

0:14:38.680 --> 0:14:40.760
<v Speaker 1>grateful that they're really nice at what they do. Like

0:14:41.240 --> 0:14:44.880
<v Speaker 1>meeting Rust in person, he's really dumb nice, Like he's

0:14:44.920 --> 0:14:48.800
<v Speaker 1>a dumb nice in person. Meeting Cranium in person, like

0:14:48.920 --> 0:14:52.440
<v Speaker 1>when he was recording Gather Makes Another all the other music,

0:14:53.000 --> 0:14:55.640
<v Speaker 1>he's really nice. Like it's not like a team. I'm

0:14:55.640 --> 0:14:57.440
<v Speaker 1>thinking I'm about to walk in as a team of

0:14:57.480 --> 0:15:01.000
<v Speaker 1>writers and a team that's always disappointing. Man. I've had

0:15:01.000 --> 0:15:03.720
<v Speaker 1>a couple of you know what I'm saying, Like I'm

0:15:03.720 --> 0:15:05.960
<v Speaker 1>just seeing the who who is who? And I'm like,

0:15:06.000 --> 0:15:10.680
<v Speaker 1>who actually, Like, you know, especially with producers, you'll be thinking,

0:15:10.840 --> 0:15:12.520
<v Speaker 1>like a producer is so crazy and you're getting the

0:15:12.520 --> 0:15:14.080
<v Speaker 1>studio with them, and you'll be like, oh no, they're

0:15:14.160 --> 0:15:15.840
<v Speaker 1>just putting their tag on it. And they got like

0:15:15.880 --> 0:15:19.040
<v Speaker 1>three little homies that make the beats and ship and

0:15:19.120 --> 0:15:21.160
<v Speaker 1>then and then you getting with hit boy and hit

0:15:21.200 --> 0:15:23.800
<v Speaker 1>Boy will be nah. But I just going crazy though

0:15:24.040 --> 0:15:25.680
<v Speaker 1>in the same breath though, just you know what I'm

0:15:25.680 --> 0:15:28.840
<v Speaker 1>saying in the same breath, Then you respect them more

0:15:28.840 --> 0:15:31.160
<v Speaker 1>as businessmen too, because even though you're disappointed on the

0:15:31.160 --> 0:15:34.760
<v Speaker 1>creative side, then you understand, all right, cool, yeah, you

0:15:34.840 --> 0:15:37.080
<v Speaker 1>put it on artists, and it's not like those artists

0:15:37.080 --> 0:15:41.120
<v Speaker 1>aren't getting credit or or getting their pub anything. That

0:15:41.200 --> 0:15:44.920
<v Speaker 1>whole sound is from the hand of that literally from

0:15:44.920 --> 0:15:48.720
<v Speaker 1>the hand. But sometimes it's like puff where it's like

0:15:48.880 --> 0:15:51.080
<v Speaker 1>the record might be your brain shot, where it's like,

0:15:51.080 --> 0:15:53.320
<v Speaker 1>all right, I want something that has the vibe of this,

0:15:53.400 --> 0:15:55.920
<v Speaker 1>I want snaps in this, I want this type of vibe,

0:15:55.920 --> 0:15:57.920
<v Speaker 1>this whatever. So you're still producing the record. I guess

0:15:57.920 --> 0:15:59.480
<v Speaker 1>you know what I'm saying. It's just not pressing the button.

0:15:59.560 --> 0:16:02.440
<v Speaker 1>So either way, what do you produce your beats? On? Logic?

0:16:03.080 --> 0:16:06.120
<v Speaker 1>Logic all the vocals everything, So you do everything through logic.

0:16:06.120 --> 0:16:08.520
<v Speaker 1>You don't need pro tools. No, I just haven't entered

0:16:08.560 --> 0:16:11.600
<v Speaker 1>that yet yet. I soon learned all the those. But hey, man,

0:16:11.680 --> 0:16:15.640
<v Speaker 1>logic is a lot you know, quiets kept a lot

0:16:15.680 --> 0:16:19.120
<v Speaker 1>of people only use logic, Like Mike Posner only uses logic. Yeah,

0:16:19.600 --> 0:16:23.400
<v Speaker 1>I know, te Pain uses logic. He was using garage,

0:16:23.440 --> 0:16:25.560
<v Speaker 1>but he was making mad hits like on garage. Man,

0:16:25.800 --> 0:16:27.240
<v Speaker 1>A lot of it says are like on garage. That's

0:16:27.280 --> 0:16:29.080
<v Speaker 1>wild to think for people who don't know. That's like

0:16:29.080 --> 0:16:32.880
<v Speaker 1>the free software that comes on your your very limited capabilities.

0:16:33.480 --> 0:16:35.880
<v Speaker 1>Like he was making like platinum hits off of that,

0:16:36.240 --> 0:16:41.800
<v Speaker 1>and like with yeah, with logic, with Yells, I did

0:16:41.800 --> 0:16:46.920
<v Speaker 1>everything logic, the vocals recorded right into it, right, everything

0:16:47.080 --> 0:16:50.680
<v Speaker 1>that's huge, like the workflow. Did you did you have

0:16:50.720 --> 0:16:53.480
<v Speaker 1>a moment at Summer Jam this year? I wasn't there.

0:16:53.480 --> 0:16:59.560
<v Speaker 1>I was before I performed twice though. Who brought you out?

0:17:00.080 --> 0:17:03.840
<v Speaker 1>A book? Game making? Right? Oh? Nice? Like that? What

0:17:03.880 --> 0:17:06.720
<v Speaker 1>was the third? Third time? You're supposed to? What happened

0:17:06.720 --> 0:17:08.800
<v Speaker 1>with the third time? Always create another moment with the

0:17:08.800 --> 0:17:10.960
<v Speaker 1>same vibe? So good? You know what I'm saying, that's

0:17:11.000 --> 0:17:12.840
<v Speaker 1>going to create the biggest moments in hip. What was

0:17:12.880 --> 0:17:15.119
<v Speaker 1>that like? Though? Like crazy? Because I've been to Summer

0:17:15.160 --> 0:17:19.640
<v Speaker 1>Jam three times and it's like people don't who've never been.

0:17:20.320 --> 0:17:23.879
<v Speaker 1>It's like the energy's crazy. It's like, I've never been

0:17:23.960 --> 0:17:26.679
<v Speaker 1>to Summer Jam before this time. I said, just as

0:17:26.720 --> 0:17:28.399
<v Speaker 1>an artist thing that I was writing and producers, So

0:17:28.520 --> 0:17:29.520
<v Speaker 1>in my head, I was just like I don't even

0:17:29.520 --> 0:17:31.880
<v Speaker 1>want to go to Summer Jam unless like I'm maybe

0:17:31.880 --> 0:17:34.360
<v Speaker 1>you hear your ship that you produced her or you're

0:17:34.400 --> 0:17:37.120
<v Speaker 1>performing you know what I'm saying, or something like that. Yeah,

0:17:37.160 --> 0:17:40.840
<v Speaker 1>So like with some especially as a New Yorker summer gym,

0:17:40.920 --> 0:17:43.360
<v Speaker 1>that's like that's like the Grammys, that's like the Holy

0:17:43.480 --> 0:17:45.159
<v Speaker 1>grail Man, you know what I'm saying. And it was

0:17:45.200 --> 0:17:47.199
<v Speaker 1>like rainy as fuck, right, it was stupid rainy. That's

0:17:47.200 --> 0:17:49.399
<v Speaker 1>why to perform the third time, And that's why it

0:17:49.440 --> 0:17:54.360
<v Speaker 1>was fired because when it rained, the festival stage got

0:17:54.400 --> 0:17:57.760
<v Speaker 1>canced the one outside, right yeah, and everybody was like,

0:17:57.760 --> 0:18:00.440
<v Speaker 1>oh man, so it's over if it was any because

0:18:00.480 --> 0:18:02.520
<v Speaker 1>I wasn't. It wasn't no advertising that I was going

0:18:02.560 --> 0:18:04.360
<v Speaker 1>to perform. Everybody thought I was gonna perform at all.

0:18:04.760 --> 0:18:07.920
<v Speaker 1>So when the rain started and they canceled the festival stage,

0:18:07.920 --> 0:18:11.000
<v Speaker 1>everybody thought it was clipped for that I was the

0:18:11.040 --> 0:18:13.800
<v Speaker 1>main stage. So that was definitely a good vibe. Let

0:18:13.840 --> 0:18:15.520
<v Speaker 1>me ask you this, because you seem like somebody who's

0:18:15.600 --> 0:18:18.120
<v Speaker 1>who's got your head on your shoulders. With the music ship,

0:18:18.119 --> 0:18:22.000
<v Speaker 1>with the business ship, what I'm sure you could have.

0:18:22.240 --> 0:18:24.200
<v Speaker 1>I mean, I'm sure obviously having a record as big

0:18:24.240 --> 0:18:27.360
<v Speaker 1>as this, you probably had crazy leverage with the label situation.

0:18:27.560 --> 0:18:30.119
<v Speaker 1>What made you want to actually do the major label

0:18:30.119 --> 0:18:32.200
<v Speaker 1>things you really probably didn't need to. Like what made

0:18:32.240 --> 0:18:35.560
<v Speaker 1>you do that? There was just certain things from them

0:18:35.600 --> 0:18:38.000
<v Speaker 1>that I wanted and it was just that's why it's

0:18:38.000 --> 0:18:40.000
<v Speaker 1>a joint venture. It was just it was just certain

0:18:40.040 --> 0:18:41.960
<v Speaker 1>things that by the way, off of one record, not

0:18:41.960 --> 0:18:45.000
<v Speaker 1>a lot of people are getting joint ventures. It doesn't

0:18:45.160 --> 0:18:49.960
<v Speaker 1>very rare, if ever, But I mean, you know a

0:18:50.000 --> 0:18:51.440
<v Speaker 1>lot once you hear some of the other stuff, like

0:18:51.440 --> 0:18:53.960
<v Speaker 1>when you here the follow up, I'm telling you yealous

0:18:53.960 --> 0:18:57.280
<v Speaker 1>like it's dope, But just the intro, just to just

0:18:57.320 --> 0:19:00.520
<v Speaker 1>to taste were like a lot, and I gave a

0:19:00.560 --> 0:19:02.840
<v Speaker 1>little preview kind of of what you're about to do

0:19:02.840 --> 0:19:03.960
<v Speaker 1>it because you heard a little bit. A lot of

0:19:03.960 --> 0:19:06.240
<v Speaker 1>people's favorite part of Galous is a little three bars

0:19:06.240 --> 0:19:09.240
<v Speaker 1>where I'm rapping snugget in there. I feel like she sleeps.

0:19:09.440 --> 0:19:11.720
<v Speaker 1>There's gonna be a lot more rapping. Not a lot,

0:19:11.880 --> 0:19:13.280
<v Speaker 1>but you know what I'm saying when I feel like

0:19:13.359 --> 0:19:15.199
<v Speaker 1>and now people understand that I can tap in when

0:19:15.200 --> 0:19:17.440
<v Speaker 1>I feel like that, Man, that's dope. I mean, because

0:19:17.440 --> 0:19:19.720
<v Speaker 1>you can kind of just do what that you could do.

0:19:19.760 --> 0:19:21.320
<v Speaker 1>You could do your own hooks and then wrap the

0:19:21.400 --> 0:19:25.200
<v Speaker 1>verses or wrap the hook and single verses, we could

0:19:25.200 --> 0:19:26.879
<v Speaker 1>do whatever, and I feel like we're kind of breaking

0:19:26.880 --> 0:19:29.360
<v Speaker 1>all the rules now, Like hey man, like you said earlier,

0:19:29.400 --> 0:19:31.520
<v Speaker 1>and I think that the last few years has proved this.

0:19:32.200 --> 0:19:34.720
<v Speaker 1>There is zero rules to what makes a hit record anymore,

0:19:34.800 --> 0:19:37.879
<v Speaker 1>absolutely like zero, Like there used to be like, uh,

0:19:38.480 --> 0:19:40.040
<v Speaker 1>something that you would hear record but that don't sound

0:19:40.080 --> 0:19:41.960
<v Speaker 1>like a single. And it's like sometimes that doesn't even

0:19:42.200 --> 0:19:43.840
<v Speaker 1>matter anymore, you know what I'm saying. We're just trying

0:19:43.880 --> 0:19:45.480
<v Speaker 1>to again, like I said, I'm trying to create just

0:19:45.520 --> 0:19:48.719
<v Speaker 1>the biggest moments in hip hop history this decade. So

0:19:48.760 --> 0:19:51.280
<v Speaker 1>it's like whether who want to call it a record

0:19:51.400 --> 0:19:53.159
<v Speaker 1>or whatever like that, Like right now, Gallous is a

0:19:53.160 --> 0:19:55.760
<v Speaker 1>big It's a big moment, a moment. Sure, people are

0:19:55.800 --> 0:19:58.639
<v Speaker 1>running it back four or five times like that. For

0:19:58.760 --> 0:20:01.159
<v Speaker 1>my next single, it's going to be another the moment.

0:20:01.240 --> 0:20:03.720
<v Speaker 1>I'm trying to do that with Slow. So what were

0:20:03.720 --> 0:20:05.560
<v Speaker 1>some of those moments for you growing up? Like that

0:20:05.640 --> 0:20:07.520
<v Speaker 1>you remember like hip hop moments and it was like, yo,

0:20:07.600 --> 0:20:09.400
<v Speaker 1>that was I remember that the way that felt when

0:20:09.400 --> 0:20:12.320
<v Speaker 1>it know, it's so crazy. I wasn't I wasn't allowed

0:20:12.359 --> 0:20:15.600
<v Speaker 1>to be like out like during like those big times,

0:20:15.640 --> 0:20:17.960
<v Speaker 1>like those big, huge moments, I wasn't really allowed to

0:20:17.960 --> 0:20:19.520
<v Speaker 1>be outside. I was. I was able to go to

0:20:20.880 --> 0:20:23.159
<v Speaker 1>a couple of boogie concerts that was like I was.

0:20:23.720 --> 0:20:27.000
<v Speaker 1>That was a pretty big but I wasn't. I wasn't around.

0:20:27.040 --> 0:20:29.280
<v Speaker 1>I wasn't outside for like the like I was around

0:20:29.320 --> 0:20:31.159
<v Speaker 1>for the tunnel and those type of things that I

0:20:31.160 --> 0:20:33.359
<v Speaker 1>see those from like the documentaries. So I'm trying to

0:20:34.119 --> 0:20:36.400
<v Speaker 1>I'm trying to bring moments like that because I feel

0:20:36.440 --> 0:20:38.440
<v Speaker 1>like I want to see that on my generation, to

0:20:38.480 --> 0:20:40.639
<v Speaker 1>see that in person. So, yeah, we all just hear

0:20:40.680 --> 0:20:43.400
<v Speaker 1>about the tunnel. But yeah, I'm too. Yeah I wasn't.

0:20:43.560 --> 0:20:45.959
<v Speaker 1>I mean obviously not that I'm not. I'm not. I'm

0:20:45.960 --> 0:20:47.440
<v Speaker 1>probably older than you, but I ain't that old. You

0:20:47.480 --> 0:20:54.320
<v Speaker 1>know what I'm saying, Neil, you've been in the tunnel? Never? Okay,

0:20:54.520 --> 0:20:57.040
<v Speaker 1>should I heard the tunnel? Yeah, that's where it was

0:20:57.080 --> 0:20:59.560
<v Speaker 1>breaking regularly like that. There's no like place right now

0:20:59.560 --> 0:21:02.040
<v Speaker 1>where you go if you want to hear like the

0:21:02.040 --> 0:21:06.320
<v Speaker 1>the New Fire, there's no like one place. Yeah. Well,

0:21:06.280 --> 0:21:09.160
<v Speaker 1>I mean, from what I understand, the New York club

0:21:09.240 --> 0:21:11.880
<v Speaker 1>scene is kind of weird since COVID, right like because

0:21:11.880 --> 0:21:13.280
<v Speaker 1>a lot of didn't a lot of places like not

0:21:13.359 --> 0:21:16.680
<v Speaker 1>make it like yeah, but it just made the place

0:21:16.760 --> 0:21:20.280
<v Speaker 1>that did make it more problem fair enough. I mean,

0:21:20.359 --> 0:21:24.159
<v Speaker 1>it just is COVID is so weird because it's terribly

0:21:24.200 --> 0:21:26.200
<v Speaker 1>unfortunately got all the disclaimer, you know what I'm saying.

0:21:26.160 --> 0:21:28.280
<v Speaker 1>It was a rough year for all of Everyone had

0:21:28.320 --> 0:21:31.879
<v Speaker 1>a rough year. People divey yes, low key for the industry.

0:21:31.920 --> 0:21:34.239
<v Speaker 1>At least for me on my side, it was like

0:21:34.320 --> 0:21:37.360
<v Speaker 1>just the best period that it just because the best

0:21:37.400 --> 0:21:39.160
<v Speaker 1>thing that could have happened for like my career, because

0:21:39.160 --> 0:21:42.040
<v Speaker 1>the whole industry was in the crib yep. And then

0:21:42.160 --> 0:21:44.520
<v Speaker 1>because a lot of things shut down, it just gave

0:21:45.960 --> 0:21:49.120
<v Speaker 1>opportunity for just new things to arise, fast systems, new

0:21:49.640 --> 0:21:52.320
<v Speaker 1>new ways of doing things. Now it's like the old

0:21:52.359 --> 0:21:54.280
<v Speaker 1>way of doing things that we've been doing for mad long,

0:21:54.359 --> 0:21:55.920
<v Speaker 1>things that didn't make sense that we were just doing

0:21:56.000 --> 0:21:58.600
<v Speaker 1>just based off a tradition and just you know what

0:21:58.600 --> 0:22:00.320
<v Speaker 1>I'm saying. Now it's like, Okay, let's do would make

0:22:00.400 --> 0:22:03.000
<v Speaker 1>sense now and now we're wild and now I feel

0:22:03.000 --> 0:22:05.560
<v Speaker 1>like this new this decade we're about to go into

0:22:05.600 --> 0:22:07.399
<v Speaker 1>for music, it's about to be crazy. I think too,

0:22:07.560 --> 0:22:11.320
<v Speaker 1>like guys like yourself, who like handle so much of

0:22:11.359 --> 0:22:14.240
<v Speaker 1>the workload themselves. It's kind of like gotta be the

0:22:14.280 --> 0:22:16.439
<v Speaker 1>new wave man, because like I think, like when you

0:22:16.480 --> 0:22:20.600
<v Speaker 1>think about how many rappers were really fucking hurting because

0:22:20.600 --> 0:22:24.399
<v Speaker 1>they couldn't get show money and they only had so

0:22:24.480 --> 0:22:26.920
<v Speaker 1>much to do with their actual songs, you know what

0:22:26.960 --> 0:22:29.600
<v Speaker 1>I mean, It's like there's so many other revenue streams

0:22:29.640 --> 0:22:31.840
<v Speaker 1>if you're handling the beat, if you're handling writing, if

0:22:31.840 --> 0:22:35.040
<v Speaker 1>you're handling all these other things, where hey, if shit

0:22:35.080 --> 0:22:37.800
<v Speaker 1>shuts down and you don't got to hit the you know,

0:22:37.880 --> 0:22:42.640
<v Speaker 1>the shows, you still got bread coming in sink licenses.

0:22:43.000 --> 0:22:45.360
<v Speaker 1>Once you learn the business of this music stuff, it's

0:22:45.400 --> 0:22:47.480
<v Speaker 1>like a big ass game. So it's like then you

0:22:47.520 --> 0:22:51.880
<v Speaker 1>start learning like what real leverage you have by doing

0:22:51.880 --> 0:22:55.000
<v Speaker 1>certain things or whatever. Like it's just prior to this record,

0:22:55.240 --> 0:22:57.640
<v Speaker 1>what was your buzz, like, like what was your like,

0:22:57.640 --> 0:23:00.159
<v Speaker 1>like how long had you been making music up until it?

0:23:00.200 --> 0:23:01.560
<v Speaker 1>For a while, But I was a writer and producer

0:23:01.600 --> 0:23:03.240
<v Speaker 1>for that long, Like I was behind it. You were

0:23:03.280 --> 0:23:04.920
<v Speaker 1>behind the scenes, like like who was you writing? Like

0:23:04.920 --> 0:23:07.640
<v Speaker 1>anybody would know that you were producing and writing for eventually,

0:23:07.840 --> 0:23:09.560
<v Speaker 1>you know what I'm saying it's not time yet right now.

0:23:09.680 --> 0:23:11.600
<v Speaker 1>I was there. I like that abode fuck because of

0:23:11.640 --> 0:23:14.720
<v Speaker 1>Gallus for right now. But but yeah, I was definitely

0:23:15.440 --> 0:23:17.120
<v Speaker 1>moving and shaking and stuff like that in the back

0:23:17.160 --> 0:23:20.959
<v Speaker 1>and behind the scenes for a while. But like twenty twenty,

0:23:21.160 --> 0:23:24.040
<v Speaker 1>I decided to be an artist myself, so I put

0:23:24.040 --> 0:23:26.000
<v Speaker 1>together a lot of songs I was writing for other people.

0:23:26.359 --> 0:23:28.199
<v Speaker 1>I used to do them together and put out like

0:23:28.240 --> 0:23:31.160
<v Speaker 1>a quick tape real quick, and then a job Gallus

0:23:31.160 --> 0:23:34.080
<v Speaker 1>and then now some movie. So those other records that

0:23:34.080 --> 0:23:35.800
<v Speaker 1>you were writing, if we like look up the credits, well,

0:23:36.359 --> 0:23:38.720
<v Speaker 1>your name will beyond those records. You got your pup

0:23:38.840 --> 0:23:43.320
<v Speaker 1>rite on those some some some of them and some others.

0:23:43.480 --> 0:23:45.760
<v Speaker 1>Just so we could all just go search. We could

0:23:45.800 --> 0:23:48.200
<v Speaker 1>just go search for the credits on a bunch of albums.

0:23:51.600 --> 0:23:55.640
<v Speaker 1>Are you still interested in like handling production for other artists? Yeah,

0:23:55.800 --> 0:23:57.280
<v Speaker 1>Like someone wants to hit you, like, yeah, I need to.

0:23:57.560 --> 0:24:00.520
<v Speaker 1>I need to beat bro Like let's let's let's lock

0:24:00.600 --> 0:24:02.520
<v Speaker 1>in and figure it out. Let's make it makes sense,

0:24:02.640 --> 0:24:05.520
<v Speaker 1>because you know, every time like producer turned rapper really

0:24:05.520 --> 0:24:08.520
<v Speaker 1>starts to pop or someone who does both, like I

0:24:08.560 --> 0:24:10.840
<v Speaker 1>remember when Cole first came out he was giving Kendrick

0:24:10.880 --> 0:24:14.000
<v Speaker 1>beats Big Krit first came out, Krit was passing beats

0:24:14.040 --> 0:24:16.800
<v Speaker 1>off to people, Kanye obviously, you know, and then like

0:24:16.840 --> 0:24:20.399
<v Speaker 1>they slowly, we slowly stopped hearing their production. I mean,

0:24:20.480 --> 0:24:23.399
<v Speaker 1>I understand what people because right now it's you know

0:24:23.440 --> 0:24:25.600
<v Speaker 1>what I'm saying, it's it's a good period where you

0:24:25.640 --> 0:24:27.560
<v Speaker 1>know what I'm saying, I'm getting to connect with everybody,

0:24:27.560 --> 0:24:28.800
<v Speaker 1>and it's all you know what I'm saying, it's dope,

0:24:28.800 --> 0:24:31.479
<v Speaker 1>but it's a collab and you know all that. And

0:24:31.520 --> 0:24:34.880
<v Speaker 1>then I understand why eventually in your career you might

0:24:34.920 --> 0:24:37.679
<v Speaker 1>start making music just solely, just like you want to

0:24:37.720 --> 0:24:41.159
<v Speaker 1>produce to help tell your story. You want to do everything,

0:24:41.359 --> 0:24:43.560
<v Speaker 1>just you know what I'm saying. So I understand it

0:24:43.600 --> 0:24:45.600
<v Speaker 1>why they wouldn't want to give away after a while.

0:24:45.640 --> 0:24:48.520
<v Speaker 1>But right right now where I'm at my career, I'm

0:24:48.520 --> 0:24:51.480
<v Speaker 1>trying to with everybody, so including Big Sean and hit Boy.

0:24:51.520 --> 0:24:57.520
<v Speaker 1>For Big Sean's album De Troy three coming out, I'm

0:24:58.119 --> 0:25:01.280
<v Speaker 1>I'm pointing, it's all good. No, those guys are always

0:25:01.320 --> 0:25:03.480
<v Speaker 1>like literally, I feel like Big Sean and hip Boy

0:25:03.600 --> 0:25:06.240
<v Speaker 1>just live there and then Nas comes over sometimes and

0:25:06.240 --> 0:25:09.320
<v Speaker 1>then they just make albums and yo, I don't know.

0:25:09.400 --> 0:25:12.320
<v Speaker 1>All I know is hip like that chemistry is O

0:25:12.480 --> 0:25:16.400
<v Speaker 1>D and they haven't really missed it's crazy. So who's

0:25:16.440 --> 0:25:22.400
<v Speaker 1>your favorite rapper? Ever? My favorite rapper is probably it's

0:25:22.480 --> 0:25:25.280
<v Speaker 1>weird because I like different rappers for different reasons because

0:25:25.280 --> 0:25:28.040
<v Speaker 1>I'm not gonna give me three of them Andred thousand,

0:25:28.080 --> 0:25:34.280
<v Speaker 1>Biggie Wayne all elite or you know, see, just different reasons.

0:25:34.640 --> 0:25:37.440
<v Speaker 1>What's okay? Give me the reason for each one. Andre

0:25:37.520 --> 0:25:41.119
<v Speaker 1>D thousand is like storytelling and like how it like

0:25:41.680 --> 0:25:45.520
<v Speaker 1>it'd be sounded like he's just talking facts like he

0:25:45.640 --> 0:25:47.399
<v Speaker 1>just he's just talking telling the story and it's like

0:25:47.760 --> 0:25:51.320
<v Speaker 1>every Just what's your favorite Outcast album? I don't have

0:25:51.320 --> 0:25:53.439
<v Speaker 1>a favorite Outcast album? You know what's so crazy? I

0:25:53.480 --> 0:25:57.800
<v Speaker 1>like feature Andre D thousand, but like album oh yeah,

0:25:57.840 --> 0:26:00.800
<v Speaker 1>You're wild, I hear. I understand you, and I understand

0:26:00.800 --> 0:26:03.520
<v Speaker 1>why people would would argue with that too. You've listened

0:26:03.520 --> 0:26:06.480
<v Speaker 1>to a Quemini bro just I've listened to a lot

0:26:06.520 --> 0:26:08.240
<v Speaker 1>of his music. I want to make sure that I

0:26:08.320 --> 0:26:10.639
<v Speaker 1>really like. So I'm like, man, I love that Walking

0:26:10.680 --> 0:26:13.760
<v Speaker 1>Out remix that DJ on verse, Man, that shit was crazy.

0:26:14.520 --> 0:26:17.320
<v Speaker 1>Well have you heard of Quemini. Now nah, this certain

0:26:17.440 --> 0:26:20.720
<v Speaker 1>artist was like features. They just kind of just be Wow,

0:26:20.760 --> 0:26:24.480
<v Speaker 1>you give him sixteen in the topic and they just there, Dude,

0:26:24.560 --> 0:26:27.720
<v Speaker 1>that Kanye Andre song that didn't come out on Donda

0:26:28.000 --> 0:26:30.240
<v Speaker 1>would have been the best song on Donda. Did you

0:26:30.280 --> 0:26:33.240
<v Speaker 1>hear that record that leaked? I did. I thought that

0:26:33.280 --> 0:26:36.920
<v Speaker 1>shit was gas. That shit was a great Andre verse.

0:26:36.960 --> 0:26:39.639
<v Speaker 1>That just was. I was like, fuck, man, was that was?

0:26:39.760 --> 0:26:41.560
<v Speaker 1>That was? That was? You know what I'm saying an

0:26:41.600 --> 0:26:47.000
<v Speaker 1>interesting decision by Kanye. It was a terrible decision, maybe

0:26:47.160 --> 0:26:50.320
<v Speaker 1>because maybe the album did what it did because of

0:26:50.480 --> 0:26:53.240
<v Speaker 1>the final product that it came out with. You know what,

0:26:53.280 --> 0:26:55.960
<v Speaker 1>though I appreciate about Kanye is like you never know,

0:26:56.000 --> 0:26:57.639
<v Speaker 1>we might wake up tomorrow and he'll be like, I

0:26:57.640 --> 0:27:02.480
<v Speaker 1>added seven new songs to Donda and it's everything we want.

0:27:02.800 --> 0:27:04.840
<v Speaker 1>That's why I was so worried when he did all

0:27:04.880 --> 0:27:07.200
<v Speaker 1>the listening parties, and each time he do the listening party,

0:27:07.240 --> 0:27:09.359
<v Speaker 1>like the last time, all the ship that like like

0:27:09.480 --> 0:27:12.119
<v Speaker 1>jay Z's Verse he didn't play, and then the Style

0:27:12.200 --> 0:27:14.280
<v Speaker 1>ship was gone or the other Lock ship and all

0:27:14.280 --> 0:27:17.119
<v Speaker 1>the Grizela ship was missing, and I was like, but

0:27:17.280 --> 0:27:18.960
<v Speaker 1>he put the album out and it just all was.

0:27:19.400 --> 0:27:21.399
<v Speaker 1>It was like the main it was like a triple

0:27:21.440 --> 0:27:23.240
<v Speaker 1>disc album or some ship. Like you know what I'm saying.

0:27:23.240 --> 0:27:25.520
<v Speaker 1>I like the fact that Kanye just does whatever he wants.

0:27:25.680 --> 0:27:27.520
<v Speaker 1>I agree with all their toes because we don't know

0:27:27.520 --> 0:27:29.520
<v Speaker 1>what he's going to do next. A lot of artists,

0:27:29.880 --> 0:27:31.920
<v Speaker 1>we get bored with them because they are so predictable.

0:27:31.920 --> 0:27:33.560
<v Speaker 1>We know exactly where they're about to do next. Okay,

0:27:33.680 --> 0:27:39.240
<v Speaker 1>single single album, we get cool ep. Kanye, he just

0:27:39.240 --> 0:27:41.480
<v Speaker 1>just doing whatever. Even with the sound. We don't even

0:27:41.520 --> 0:27:43.840
<v Speaker 1>know what sound to expect from him for the next album.

0:27:43.960 --> 0:27:46.240
<v Speaker 1>That's some real ship. We really like, we really get

0:27:46.320 --> 0:27:47.760
<v Speaker 1>we really get this. Like with that right there, we

0:27:47.800 --> 0:27:50.520
<v Speaker 1>saw the evolution of Kanye, whereas a lot of artists

0:27:50.560 --> 0:27:52.520
<v Speaker 1>they age in the game. And Kanye is my favorite.

0:27:52.520 --> 0:27:54.280
<v Speaker 1>He's He's not my favorite rapper ever, he's my favorite

0:27:54.320 --> 0:27:57.040
<v Speaker 1>artist ever, artists artists wise. I think he's got the

0:27:57.080 --> 0:28:00.159
<v Speaker 1>best discography. And you know what's so crazy is like

0:28:00.520 --> 0:28:02.840
<v Speaker 1>Jesus is probably like my third favorite Kanye album, and

0:28:02.920 --> 0:28:04.679
<v Speaker 1>everyone always ships on that album. I'm like, Bro, this

0:28:04.680 --> 0:28:10.679
<v Speaker 1>ship was ahead of his time. Bro's third. Yeah, Jesus

0:28:10.720 --> 0:28:14.040
<v Speaker 1>is facts. Jesus is a perfect album is that the

0:28:14.040 --> 0:28:17.120
<v Speaker 1>one that had doing with Charlie Wilson had black skin

0:28:17.240 --> 0:28:21.880
<v Speaker 1>head on it and they had blood on the leaves.

0:28:22.200 --> 0:28:25.400
<v Speaker 1>The Nina Simone sample. Bro, he just hold my liquor.

0:28:25.560 --> 0:28:29.040
<v Speaker 1>Come on, man, he's finding different because we know we

0:28:29.119 --> 0:28:31.160
<v Speaker 1>know hip hop, we know sampling, we know the drums

0:28:31.160 --> 0:28:33.040
<v Speaker 1>that's going to people, cars, speakers, we know this certain

0:28:33.040 --> 0:28:35.720
<v Speaker 1>standard of hip hop. With him, he's finding different ways

0:28:35.760 --> 0:28:38.280
<v Speaker 1>of using samples. He's just finding different ways of using

0:28:38.320 --> 0:28:40.800
<v Speaker 1>sense and all this. He's experimenting with it. I also

0:28:40.800 --> 0:28:43.800
<v Speaker 1>think he'd be sampling people, yeah, like the people he

0:28:43.880 --> 0:28:46.080
<v Speaker 1>keeps around him, like you'll think about aways and heartbreaks.

0:28:46.160 --> 0:28:48.440
<v Speaker 1>He was hanging out with Kid Cuddy kind of sampled

0:28:48.400 --> 0:28:52.479
<v Speaker 1>Cutty's whole ship inspired but no, but I mean sampled

0:28:52.520 --> 0:28:55.640
<v Speaker 1>like in the respectful way. Chance was hanging out during

0:28:55.680 --> 0:28:57.280
<v Speaker 1>the t L O P. You know what I'm saying,

0:28:57.280 --> 0:28:59.840
<v Speaker 1>and we got like some gospel. Like I really think

0:29:00.400 --> 0:29:03.880
<v Speaker 1>he's like mastered that and there's like a talent in

0:29:03.960 --> 0:29:06.960
<v Speaker 1>that to where because't growth. I feel like, but I

0:29:07.000 --> 0:29:08.880
<v Speaker 1>think what's dope is like he kind of is like

0:29:08.920 --> 0:29:11.560
<v Speaker 1>the think about yuses, Like he was around Travis a

0:29:11.560 --> 0:29:14.640
<v Speaker 1>lot before we knew the fuck Travis was during those times,

0:29:14.800 --> 0:29:17.640
<v Speaker 1>and it's like he kind of like introduces sounds to

0:29:17.720 --> 0:29:20.720
<v Speaker 1>people and they almost got to come through him for

0:29:20.760 --> 0:29:22.920
<v Speaker 1>them to be commercially acceptable, at least at a certain point.

0:29:22.960 --> 0:29:28.560
<v Speaker 1>They did something like that. Okay, okay, yes, you think

0:29:28.600 --> 0:29:31.240
<v Speaker 1>about like a kidnamed Cuddy mixtape came out and like

0:29:31.320 --> 0:29:33.480
<v Speaker 1>it did it staying, but it was like underground as fuck,

0:29:33.600 --> 0:29:36.320
<v Speaker 1>like it was cool. Cuddy was rapping more on that.

0:29:36.680 --> 0:29:38.480
<v Speaker 1>But then Ata Waits and Heartbreaks comes out and it

0:29:38.600 --> 0:29:40.840
<v Speaker 1>just kind of made it okay for everyone to use

0:29:40.840 --> 0:29:44.160
<v Speaker 1>auto tune again because people are off auto tune. People

0:29:44.200 --> 0:29:48.960
<v Speaker 1>are people are shitting on t Pain And after Aight

0:29:49.000 --> 0:29:53.440
<v Speaker 1>o eights, which is, oh, wait, comes Drake, comes, Cuddy, comes,

0:29:53.480 --> 0:29:55.160
<v Speaker 1>Man on the Moon, comes all this ship that's like

0:29:55.560 --> 0:30:00.440
<v Speaker 1>just like a tree from a of course, so at

0:30:00.560 --> 0:30:03.920
<v Speaker 1>Eights was two thousand and eight, Okay, so far Gone

0:30:04.040 --> 0:30:07.880
<v Speaker 1>was nine? Okay? When was T Pain's album that was

0:30:07.960 --> 0:30:11.600
<v Speaker 1>like a death of auto tune? Was? Oh, that's death

0:30:11.600 --> 0:30:15.680
<v Speaker 1>of Voter's seven six. That's that's that's that's j But

0:30:15.760 --> 0:30:18.760
<v Speaker 1>what I'm saying is after j that T Pain did

0:30:18.920 --> 0:30:21.640
<v Speaker 1>with Circus, that joint, Yeah, I can't do it. I

0:30:21.640 --> 0:30:25.880
<v Speaker 1>think Circus was six ro O seven seven. Look that

0:30:26.280 --> 0:30:28.280
<v Speaker 1>because was that the beginning of that run? Because that

0:30:28.320 --> 0:30:31.400
<v Speaker 1>t paint run like, I feel like that's Kanye j.

0:30:31.520 --> 0:30:32.680
<v Speaker 1>It was a cool It was a it was a

0:30:32.720 --> 0:30:37.080
<v Speaker 1>cool little alley. But nah, but went in to when

0:30:37.280 --> 0:30:41.160
<v Speaker 1>wit and heartbreaks happened. That was Hey, what up? Man?

0:30:41.200 --> 0:30:43.000
<v Speaker 1>We got to interrupt the interview real quick to tell

0:30:43.000 --> 0:30:45.520
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0:30:45.560 --> 0:30:47.840
<v Speaker 1>be riding for odd Socks so hard, man, it's because

0:30:47.880 --> 0:30:50.160
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0:30:55.200 --> 0:30:57.600
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0:30:57.600 --> 0:31:01.480
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<v Speaker 1>they got the Nickelodeon, they got it all. So make

0:31:39.680 --> 0:31:43.080
<v Speaker 1>sure you hit that website oddsocksofficial dot com save twenty

0:31:43.120 --> 0:31:46.720
<v Speaker 1>percent off with the promo code bootleg keV. All right,

0:31:46.920 --> 0:31:49.200
<v Speaker 1>go do that shout out to odd Socks. Let's get

0:31:49.200 --> 0:31:52.240
<v Speaker 1>back to the interview. Ato eights came at a time

0:31:52.280 --> 0:31:56.040
<v Speaker 1>when people were off the autotune shit because everyone thought

0:31:56.040 --> 0:31:58.760
<v Speaker 1>it was like do you remember when Ron Brows did

0:31:58.840 --> 0:32:01.560
<v Speaker 1>pop Champagne? Of course that ship. I was in New

0:32:01.680 --> 0:32:04.080
<v Speaker 1>York at the time that ship was hold. There was

0:32:04.120 --> 0:32:06.960
<v Speaker 1>ways to use auto tune that were fire, and that

0:32:07.400 --> 0:32:10.880
<v Speaker 1>wasn't one of them, you see. And that's what I'm saying,

0:32:10.920 --> 0:32:13.000
<v Speaker 1>that's the fan. That's just because I'm not gonna lie everything.

0:32:13.080 --> 0:32:15.000
<v Speaker 1>I'm sure it was a moment. No, I'm sure it was.

0:32:15.040 --> 0:32:16.360
<v Speaker 1>I mean it was a record that I played on

0:32:16.400 --> 0:32:18.560
<v Speaker 1>the radio in Phoenix. No, it wasn't just a hot

0:32:18.640 --> 0:32:21.000
<v Speaker 1>record after that period. There's a lot of people in

0:32:21.000 --> 0:32:22.600
<v Speaker 1>New York that was sounding like that. So it was

0:32:22.640 --> 0:32:24.600
<v Speaker 1>like it was just that sound. We liked how he

0:32:24.720 --> 0:32:27.880
<v Speaker 1>kind of used it. So it was you mentioned Biggie.

0:32:27.880 --> 0:32:33.800
<v Speaker 1>Why Biggie. I like his cadences, So he he was

0:32:33.880 --> 0:32:37.480
<v Speaker 1>one of the first people I heard use like almost

0:32:37.560 --> 0:32:41.280
<v Speaker 1>Jamaican cadences and flows in a rap. But he just

0:32:41.440 --> 0:32:43.760
<v Speaker 1>with our lingo, just with the New York lingo, but

0:32:43.920 --> 0:32:46.000
<v Speaker 1>just the cadences that you hear and like reggae and

0:32:46.000 --> 0:32:48.240
<v Speaker 1>stuff like that. You heard it in his wrap that

0:32:48.520 --> 0:32:52.560
<v Speaker 1>you love, like just the certain flows that he was using.

0:32:53.200 --> 0:32:55.640
<v Speaker 1>It was just like, I feel like his flow. He

0:32:55.720 --> 0:32:57.520
<v Speaker 1>was just skating on songs, and I feel like he

0:32:57.600 --> 0:32:59.600
<v Speaker 1>kind of said he has the best flow ever. That

0:32:59.800 --> 0:33:02.800
<v Speaker 1>was It's not it's butter Man, you know who I

0:33:02.800 --> 0:33:04.640
<v Speaker 1>think is only the only person who comes close as

0:33:04.640 --> 0:33:07.920
<v Speaker 1>far as this Buttery flows man the way Rose be

0:33:08.000 --> 0:33:11.520
<v Speaker 1>skating on some ship, Rick Ross ship be sounding. So

0:33:13.040 --> 0:33:16.120
<v Speaker 1>I'm putting Biggie first still, but he Biggie's first, for sure,

0:33:16.400 --> 0:33:18.480
<v Speaker 1>not and he does. But Ross is the only person

0:33:18.480 --> 0:33:20.840
<v Speaker 1>who like sometimes he'll you'll hear him on some shit

0:33:20.920 --> 0:33:25.360
<v Speaker 1>be like God damn, it's just so he's different. And

0:33:25.400 --> 0:33:31.040
<v Speaker 1>then you said, Wayne, yeah, because he just just pieing it.

0:33:31.080 --> 0:33:34.120
<v Speaker 1>He just changed again, like he just really did. What

0:33:34.160 --> 0:33:36.200
<v Speaker 1>you want, what's your favorite little Wayne album? I probably

0:33:36.200 --> 0:33:44.880
<v Speaker 1>ask you that, right. I want to say Carter Carter three,

0:33:44.880 --> 0:33:46.760
<v Speaker 1>And I hate saying because I know that's like everybody

0:33:46.880 --> 0:33:48.560
<v Speaker 1>like you know what I'm saying. But that album is

0:33:48.600 --> 0:33:52.080
<v Speaker 1>really low key o D low key. It was actually

0:33:53.800 --> 0:33:56.840
<v Speaker 1>obviously it's over a million in the first week, but

0:33:56.840 --> 0:33:59.040
<v Speaker 1>but you do a million. I like Carter too. I'm

0:33:59.040 --> 0:34:01.000
<v Speaker 1>a Carter two guy. This is a good album. I

0:34:01.040 --> 0:34:04.480
<v Speaker 1>love Carter toon man Carter two. But you know what,

0:34:04.520 --> 0:34:07.000
<v Speaker 1>I'll take all the mixtape weezy shit over all his albums.

0:34:07.000 --> 0:34:09.040
<v Speaker 1>If I had to make a trade, give me all

0:34:09.040 --> 0:34:12.480
<v Speaker 1>the mixtapes, keep all the albums. I'm good because I

0:34:12.480 --> 0:34:15.879
<v Speaker 1>think the last like I don't know how many Carter

0:34:15.880 --> 0:34:18.040
<v Speaker 1>two was great. I mean the first three Carters were amazing,

0:34:18.880 --> 0:34:22.799
<v Speaker 1>Like fatherlike Son is very slept on Birdman. Wayne's album

0:34:22.840 --> 0:34:25.919
<v Speaker 1>was crazy. It was outside of that. I just I'm

0:34:25.920 --> 0:34:27.920
<v Speaker 1>not crazy about like any of that. I am not

0:34:27.960 --> 0:34:31.480
<v Speaker 1>a human beings or the fucking revolver shit or I

0:34:31.480 --> 0:34:34.280
<v Speaker 1>thought Carter four was some straight mid If I'm being honest,

0:34:35.360 --> 0:34:38.440
<v Speaker 1>he had better work. Carter five was. You know, you

0:34:38.440 --> 0:34:41.279
<v Speaker 1>could tell, like, man, Carter five was. There was like

0:34:41.360 --> 0:34:43.680
<v Speaker 1>maybe a handful of songs that were cool, but like

0:34:45.040 --> 0:34:48.359
<v Speaker 1>still a little disappointed. Obviously I did one a little

0:34:48.360 --> 0:34:50.960
<v Speaker 1>bit more out of Carter five for sure. So then

0:34:51.160 --> 0:34:53.560
<v Speaker 1>all right, said, I'm thinking about the initial statement with

0:34:53.640 --> 0:34:56.920
<v Speaker 1>the mixtape. I'm not gonna lie, and maybe my thing

0:34:56.960 --> 0:35:00.520
<v Speaker 1>with Wayne is the last time that I really thoroughly

0:35:00.600 --> 0:35:05.160
<v Speaker 1>enjoyed a Wayne project was nine and that was the

0:35:05.200 --> 0:35:09.680
<v Speaker 1>first No Ceilings and then I think ever since then, Yeah,

0:35:09.719 --> 0:35:13.160
<v Speaker 1>I mean, tell me the albums after nine, give me

0:35:13.200 --> 0:35:18.200
<v Speaker 1>the project after nine, because because Carter three came out

0:35:18.200 --> 0:35:23.160
<v Speaker 1>in Oha, no Ceilings was nine, and then it was

0:35:23.200 --> 0:35:27.600
<v Speaker 1>like revolver, and I mean there was like moments versus singles.

0:35:27.680 --> 0:35:29.799
<v Speaker 1>There were singles that were cool, like Wayne had some

0:35:29.800 --> 0:35:33.960
<v Speaker 1>fucking great singles, But like I'm just thinking of the

0:35:34.000 --> 0:35:36.799
<v Speaker 1>body of work that I really fucking functioned with. It

0:35:36.880 --> 0:35:39.399
<v Speaker 1>really was. There was really not another body of work

0:35:39.400 --> 0:35:41.440
<v Speaker 1>that I was like, man, this ship is crazy. There

0:35:41.480 --> 0:35:42.920
<v Speaker 1>was record and then I'm thinking about it because you

0:35:42.920 --> 0:35:45.920
<v Speaker 1>definitely opened a different perspectives and then you might be right.

0:35:46.040 --> 0:35:49.000
<v Speaker 1>But overall as an artist though, as a rapper, he

0:35:49.080 --> 0:35:50.920
<v Speaker 1>has to be he like, he has to be like

0:35:51.040 --> 0:35:53.160
<v Speaker 1>in my top three because of how no. I mean,

0:35:53.160 --> 0:35:56.520
<v Speaker 1>of course, you know, he He's the reason while everybody

0:35:56.600 --> 0:36:01.759
<v Speaker 1>rap body wrap fair enough, either him or Keith. Yeah,

0:36:02.200 --> 0:36:04.200
<v Speaker 1>I think you know, it's so crazy. I feel like

0:36:04.239 --> 0:36:08.640
<v Speaker 1>it might sleeps on the influence of the future, Chief Key, Future,

0:36:09.520 --> 0:36:11.640
<v Speaker 1>Yeah and Wayne, Like I feel like this whole generation

0:36:11.760 --> 0:36:15.080
<v Speaker 1>it's like Chief Key Future and Wayne kids and a

0:36:15.120 --> 0:36:19.080
<v Speaker 1>little bit and a little bit of Drake. But basically yeah, yeah, yeah, yeah, yeah,

0:36:19.760 --> 0:36:21.520
<v Speaker 1>shout out to Drake. I remember those are paid for

0:36:21.600 --> 0:36:24.040
<v Speaker 1>like two years where everybody would sounding like take care Drake,

0:36:24.080 --> 0:36:25.960
<v Speaker 1>I was just doing the singing what do you call it?

0:36:26.080 --> 0:36:29.319
<v Speaker 1>Over the film. I hear that. I hear generic Drake

0:36:29.400 --> 0:36:30.840
<v Speaker 1>want to be his every single Like, dude, you know

0:36:30.880 --> 0:36:32.760
<v Speaker 1>how many times like people come here play me records

0:36:32.800 --> 0:36:35.120
<v Speaker 1>and I'm just like, bro, what the fuck are you doing? Yeah,

0:36:35.600 --> 0:36:37.879
<v Speaker 1>this ship is like you should write songs because write

0:36:37.920 --> 0:36:40.239
<v Speaker 1>songs for Drake, because this is you trying to do Drake. Like,

0:36:41.160 --> 0:36:42.600
<v Speaker 1>That's why I say it's gonna be a good decade.

0:36:42.600 --> 0:36:44.840
<v Speaker 1>Because I feel like everybody right now is really priding

0:36:44.880 --> 0:36:48.719
<v Speaker 1>themselves on just the like individual sounds like I feel

0:36:48.760 --> 0:36:50.480
<v Speaker 1>like we're about to get I feel like we're slipping

0:36:50.520 --> 0:36:54.680
<v Speaker 1>into a an error like and yes, I'm staying behind

0:36:54.719 --> 0:36:56.440
<v Speaker 1>this too. I'm standing behind this where I feel like

0:36:56.920 --> 0:36:59.960
<v Speaker 1>tag eventually people are going to stop putting tags on beads.

0:37:00.600 --> 0:37:03.920
<v Speaker 1>I think that that would be great. Yes, because you're

0:37:04.040 --> 0:37:06.960
<v Speaker 1>sat now people aren't gonna know you by your tag.

0:37:07.040 --> 0:37:08.480
<v Speaker 1>They have to know you by your sounds. So now

0:37:08.520 --> 0:37:11.040
<v Speaker 1>your sound has to be unique or you're gonna well. Also,

0:37:11.400 --> 0:37:15.239
<v Speaker 1>it opens up the lane for producers to actually get

0:37:15.280 --> 0:37:17.640
<v Speaker 1>some looks to deserve it because right now, like I see,

0:37:17.719 --> 0:37:21.200
<v Speaker 1>especially with these major labels, Bro, I see you with

0:37:21.280 --> 0:37:23.439
<v Speaker 1>my own eyes, like these motherfuckers are trying to push

0:37:23.480 --> 0:37:24.680
<v Speaker 1>you to go he yo, you got to get in

0:37:24.760 --> 0:37:26.680
<v Speaker 1>with take Keith, you gotta. And I'm not saying that

0:37:26.719 --> 0:37:29.080
<v Speaker 1>these guys are all incredible, right, but what if there's

0:37:29.120 --> 0:37:33.120
<v Speaker 1>another guy who's your boy, who's got pro opportunity that

0:37:33.120 --> 0:37:34.640
<v Speaker 1>has nothing to do with the tag because they had

0:37:34.760 --> 0:37:36.960
<v Speaker 1>they were playing favorites in the nineties. Two This is

0:37:38.880 --> 0:37:40.200
<v Speaker 1>you know what you're right? The error though, when you

0:37:40.239 --> 0:37:41.960
<v Speaker 1>were like, you hear Timbaland, but you know it is

0:37:41.960 --> 0:37:45.760
<v Speaker 1>a Timberlin beat you knew was Alba or Scott Storcheb.

0:37:45.880 --> 0:37:48.000
<v Speaker 1>You would know because it's the keys. So I feel

0:37:48.000 --> 0:37:50.719
<v Speaker 1>like people are gonna now make their signature be the

0:37:50.840 --> 0:37:55.240
<v Speaker 1>sound as opposed to just the tag. Mustard had that too, Yes, Mustard.

0:37:56.400 --> 0:37:58.440
<v Speaker 1>I actually think Mustard is the only person that's had

0:37:58.480 --> 0:38:00.840
<v Speaker 1>that in a long time because everyone else's should I

0:38:00.840 --> 0:38:02.960
<v Speaker 1>think is they're all hard, but they could be interchangeable.

0:38:03.600 --> 0:38:05.920
<v Speaker 1>So yes, Mustard has had his own sound where he

0:38:05.960 --> 0:38:07.640
<v Speaker 1>didn't have to put his tag. He just did so

0:38:08.160 --> 0:38:09.719
<v Speaker 1>and shout out to the League of Stars. Low key

0:38:09.760 --> 0:38:12.000
<v Speaker 1>they had that sound together, but Mustard was bigger. He

0:38:12.040 --> 0:38:14.560
<v Speaker 1>had a bigger record. They're from l A. They had

0:38:14.600 --> 0:38:16.600
<v Speaker 1>some they did r I P by g Z. They

0:38:16.600 --> 0:38:18.359
<v Speaker 1>did a bunch of records, but they don't get enough

0:38:18.440 --> 0:38:20.120
<v Speaker 1>like love. Got to show them love because they were

0:38:20.160 --> 0:38:24.440
<v Speaker 1>doing some shit. When's your album coming out soon? I

0:38:24.480 --> 0:38:26.239
<v Speaker 1>don't have a date on it yet because I'm really

0:38:26.280 --> 0:38:29.719
<v Speaker 1>trying to make sure that it's is right first before.

0:38:29.880 --> 0:38:32.520
<v Speaker 1>Even this feels like a type of record Drake would

0:38:32.560 --> 0:38:36.680
<v Speaker 1>have gotten on g Yeah, it just feels like As

0:38:36.719 --> 0:38:38.080
<v Speaker 1>soon as I heard it, I was like, wow, this

0:38:38.160 --> 0:38:43.360
<v Speaker 1>is dre here comes just when happened. I mean a

0:38:43.520 --> 0:38:45.920
<v Speaker 1>there'll be other records and be he did what he

0:38:46.000 --> 0:38:50.120
<v Speaker 1>did practice with the same sample. What was like, what

0:38:50.200 --> 0:38:52.480
<v Speaker 1>do you think? Like, you know, obviously Drake dabbles in

0:38:52.600 --> 0:38:59.320
<v Speaker 1>the Jamaican accents m quite convincingly, but I mean, you

0:38:59.440 --> 0:39:01.360
<v Speaker 1>know what his face. At first I was I was

0:39:01.600 --> 0:39:04.279
<v Speaker 1>on some like oh yeah, Drake doing his fake accent thing,

0:39:04.400 --> 0:39:07.120
<v Speaker 1>until like you start meeting people from Canada, well Toronto,

0:39:07.160 --> 0:39:09.480
<v Speaker 1>people don't realize how much of a melting pot just

0:39:09.640 --> 0:39:13.520
<v Speaker 1>Toronto is. Like they sound like they sound like Harlem

0:39:13.719 --> 0:39:18.239
<v Speaker 1>featuring Jamaica writing some other like so so it's like

0:39:18.280 --> 0:39:20.640
<v Speaker 1>you told to other people from Toronto, you'll be like,

0:39:20.719 --> 0:39:24.120
<v Speaker 1>oh he talks like the city, right, Yeah. I think

0:39:24.200 --> 0:39:26.520
<v Speaker 1>that people. I think when people put that label on him,

0:39:26.760 --> 0:39:29.480
<v Speaker 1>like yo, man, you're fucking appropriate, Like man, you've never

0:39:29.520 --> 0:39:32.600
<v Speaker 1>been to Toronto? Yeah no. In fact, like if you're not,

0:39:32.680 --> 0:39:33.960
<v Speaker 1>if you're not a part of that coature, you're not

0:39:33.960 --> 0:39:36.040
<v Speaker 1>gonna understand it. And no matter how much he tried

0:39:36.080 --> 0:39:39.200
<v Speaker 1>to shine a light on Toronto, we still only saw Drake,

0:39:39.280 --> 0:39:41.799
<v Speaker 1>so we didn't also I'd like to point out Drake

0:39:41.800 --> 0:39:45.200
<v Speaker 1>does a good job of like helping bring up people

0:39:45.400 --> 0:39:48.160
<v Speaker 1>from whoever. Like of course, you know what I'm saying,

0:39:48.239 --> 0:39:50.840
<v Speaker 1>Come on, everybody gets the Drake Cole sign and goes crazy.

0:39:51.080 --> 0:39:53.480
<v Speaker 1>That's that's like he did a lot for the UK

0:39:53.719 --> 0:39:56.040
<v Speaker 1>music scene, you know what I mean. Like between Drake

0:39:56.080 --> 0:40:03.480
<v Speaker 1>and Chris Brown, they put on everybody Drake, I mean,

0:40:03.760 --> 0:40:08.239
<v Speaker 1>Kanye Kanye and put on Travis put what I mean,

0:40:09.520 --> 0:40:12.320
<v Speaker 1>and even a lot of people you have put on

0:40:12.520 --> 0:40:16.080
<v Speaker 1>Chancellor and chances already that motherfucker has like a big five.

0:40:16.480 --> 0:40:18.759
<v Speaker 1>It's like it's his strong five. Yeah yeah, yeah, yeah,

0:40:18.760 --> 0:40:20.960
<v Speaker 1>But Drake's got like a fucking He's got a whole

0:40:21.000 --> 0:40:25.000
<v Speaker 1>forest of trees. Yeah yeah, you're right, You're right. Now,

0:40:25.080 --> 0:40:27.759
<v Speaker 1>Drake's got the you know what's crazy about Drake because

0:40:27.760 --> 0:40:30.640
<v Speaker 1>he's put on a lot of one hit wonders. Like

0:40:30.680 --> 0:40:32.040
<v Speaker 1>if you think of like, by the way, shout out

0:40:32.080 --> 0:40:34.319
<v Speaker 1>to mcconaan because I think mccona is a great writer,

0:40:34.480 --> 0:40:35.840
<v Speaker 1>great artists, But like if you think of like the

0:40:35.880 --> 0:40:37.879
<v Speaker 1>amount of artists like Drake just decided to just tap

0:40:37.960 --> 0:40:40.640
<v Speaker 1>in on a record with and then like what happened,

0:40:40.960 --> 0:40:44.680
<v Speaker 1>Like I mean it's it's it's weird. They their biggest

0:40:44.719 --> 0:40:46.840
<v Speaker 1>song might be this song with Drake, but he definitely

0:40:46.960 --> 0:40:50.560
<v Speaker 1>I'm waiting to see what happens with Smiley. They can

0:40:50.560 --> 0:40:53.040
<v Speaker 1>a little crazy, even with the Maconaan guy that I love.

0:40:53.520 --> 0:40:57.680
<v Speaker 1>The club going up on a Tuesday. No, he's no.

0:40:57.760 --> 0:41:00.960
<v Speaker 1>He had what was the record that I don't sell

0:41:01.040 --> 0:41:03.359
<v Speaker 1>Molly no more? That ship was fire. I think Wiz

0:41:03.480 --> 0:41:05.080
<v Speaker 1>was on the remix. Now he has some joints. But

0:41:05.120 --> 0:41:07.360
<v Speaker 1>I just mean like they're going like he did. He

0:41:07.920 --> 0:41:10.400
<v Speaker 1>gives them the care package. They go crazy and then

0:41:10.680 --> 0:41:12.480
<v Speaker 1>they do what they do. Their biggest song might be

0:41:12.520 --> 0:41:14.279
<v Speaker 1>thee with Drake, so we might say damn they fell

0:41:14.320 --> 0:41:16.520
<v Speaker 1>off because they don't have another song to that magnitude,

0:41:16.520 --> 0:41:19.319
<v Speaker 1>but it's the Drake song. No, for sure, we'll listen. Man.

0:41:19.520 --> 0:41:21.640
<v Speaker 1>I can't wait to hear your album. It's gonna get crazy.

0:41:23.440 --> 0:41:25.239
<v Speaker 1>I can't wait to hear these because I'm gonna just

0:41:25.320 --> 0:41:26.640
<v Speaker 1>hit hit Boy and be like, yeah, I'm gonna come

0:41:26.640 --> 0:41:29.800
<v Speaker 1>to Challis and go see what what this record sounds like? Crazy?

0:41:31.480 --> 0:41:33.760
<v Speaker 1>You and Blast have a whole album coming out together.

0:41:34.640 --> 0:41:40.400
<v Speaker 1>He's dope, fuddy, that's manifesting. He's going crazy blast fifty

0:41:40.440 --> 0:41:42.239
<v Speaker 1>percent of the beats. He'll do fifty percent of the

0:41:42.280 --> 0:41:46.000
<v Speaker 1>beat sound a great idea. Blast. You guys are joint tour.

0:41:47.880 --> 0:41:50.239
<v Speaker 1>It'll be New York to l a big for our coach.

0:41:50.320 --> 0:41:53.440
<v Speaker 1>That's big for the coachre fucking what not? Yeah like that.

0:41:54.480 --> 0:41:58.400
<v Speaker 1>Drake's gonna be on the album. Yeah, manifest at all

0:41:58.440 --> 0:42:02.560
<v Speaker 1>We here, Yeah, yeah, shit me board, I'm here for it. Yeah,

0:42:02.880 --> 0:42:04.960
<v Speaker 1>that'd be big for the coature. We gotta do something crazy.

0:42:05.000 --> 0:42:06.600
<v Speaker 1>We got to create the biggest moments in hip hop

0:42:06.760 --> 0:42:09.040
<v Speaker 1>history period. I like the way you talk, man, the

0:42:09.080 --> 0:42:12.000
<v Speaker 1>way you're talking about moments in decades. I love that energy.

0:42:12.120 --> 0:42:15.080
<v Speaker 1>You have to, bro, have to listen the coach you needed.

0:42:15.120 --> 0:42:17.560
<v Speaker 1>This is what we need. Yeah, man, that shit is big, bro.

0:42:18.719 --> 0:42:21.399
<v Speaker 1>So hopefully we are. The follow up singles that coming

0:42:21.480 --> 0:42:24.319
<v Speaker 1>sooner than I mean there, terribly soon. It's called talk Nice,

0:42:24.840 --> 0:42:29.480
<v Speaker 1>Talk Nice, so nice. That's tough. Trust me, when you hear,

0:42:29.520 --> 0:42:31.439
<v Speaker 1>you're gonna be like, Okay, I understand. You know what's crazy.

0:42:31.480 --> 0:42:33.200
<v Speaker 1>We haven't had a record like this out of New York.

0:42:33.239 --> 0:42:34.960
<v Speaker 1>I feel like since Like I Like that was like

0:42:35.040 --> 0:42:39.799
<v Speaker 1>the number one song in the club since Panda. It's

0:42:39.840 --> 0:42:42.520
<v Speaker 1>the last time, right, Since New York had the number

0:42:42.560 --> 0:42:45.960
<v Speaker 1>one song in the club all over the country, I'm

0:42:46.000 --> 0:42:48.719
<v Speaker 1>not talking about in New York Welcome to the Party.

0:42:50.000 --> 0:42:51.880
<v Speaker 1>It was not the number one song in LA. It

0:42:52.000 --> 0:42:55.360
<v Speaker 1>wasn't respectfully Big Drip dow York maybe no, no, no no,

0:42:55.440 --> 0:42:57.560
<v Speaker 1>Big Drip was not the York. Might have been it

0:42:58.160 --> 0:43:00.960
<v Speaker 1>low key, no disrespect. I left out Fat Joe all

0:43:00.960 --> 0:43:04.640
<v Speaker 1>the way up, All the way up was crazy like that.

0:43:04.840 --> 0:43:06.959
<v Speaker 1>I didn't I didn't know. I didn't really think about

0:43:07.040 --> 0:43:08.840
<v Speaker 1>I don't know why I didn't think about it. That

0:43:09.000 --> 0:43:13.360
<v Speaker 1>was a fucking missile. Missile You still play all the

0:43:13.400 --> 0:43:15.200
<v Speaker 1>way up now at like eleven forty five and get

0:43:15.239 --> 0:43:18.919
<v Speaker 1>it off early and everyone crazy. Yeah, so I would

0:43:18.960 --> 0:43:24.520
<v Speaker 1>say Dior all the way up then Panda yeah, and

0:43:24.640 --> 0:43:27.399
<v Speaker 1>Gyellous Yeah. I'm glad to be part of conversation. Yeah,

0:43:28.719 --> 0:43:30.960
<v Speaker 1>and watch don't we draft the next giant. I'm telling you,

0:43:31.080 --> 0:43:33.840
<v Speaker 1>I'm well and okay, we're gonna say, hey, man, I

0:43:33.960 --> 0:43:36.959
<v Speaker 1>believe you. Now. Not everyone comes up here and talks

0:43:37.040 --> 0:43:39.480
<v Speaker 1>like this. All right, we're gonna see this guy for

0:43:39.520 --> 0:43:42.760
<v Speaker 1>the next ten years, at least, at minimum, at minimum

0:43:42.800 --> 0:43:45.600
<v Speaker 1>the next ten years, he's gonna be the new Nate Dog,

0:43:46.400 --> 0:43:49.360
<v Speaker 1>the new team Pain, the new Puff, the new Tyler Perry,

0:43:49.640 --> 0:43:51.839
<v Speaker 1>the new Master p. You heard all that. He's gonna

0:43:51.840 --> 0:43:55.960
<v Speaker 1>be a fucking billionaire opening a movie studio in the Bronx.

0:43:57.640 --> 0:44:00.439
<v Speaker 1>They're gonna in the Bronx after him. Come on, she's

0:44:00.560 --> 0:44:02.640
<v Speaker 1>like that and like that. He's going to be at

0:44:02.680 --> 0:44:05.000
<v Speaker 1>the battle jumping out on stage of kress One doing

0:44:05.120 --> 0:44:07.960
<v Speaker 1>Joala's you know, yeah, yeah, what I'm saying so good? Now,

0:44:08.000 --> 0:44:09.400
<v Speaker 1>that's so good. We don't get put that good o

0:44:11.440 --> 0:44:15.080
<v Speaker 1>the Caucasian pronunciation. So good. You're actually going to the battle.

0:44:16.320 --> 0:44:19.040
<v Speaker 1>I'm a thousand percent. Have you met carras One? I haven't.

0:44:19.040 --> 0:44:21.359
<v Speaker 1>Guys me just post that picture. Please get the photo

0:44:21.440 --> 0:44:24.600
<v Speaker 1>with kress Oh, of course, let me, but you it both.

0:44:25.080 --> 0:44:27.120
<v Speaker 1>Karris One Temple of hip hop. Man, he's a legend, bro.

0:44:27.360 --> 0:44:28.920
<v Speaker 1>You know he's different him and Big Dad. You know

0:44:28.920 --> 0:44:31.520
<v Speaker 1>Big Daddy Kane used to fuck Madonna, bro. Really, he

0:44:31.640 --> 0:44:35.240
<v Speaker 1>was piping Madonna. Madonna like that was like his bitch

0:44:35.400 --> 0:44:37.239
<v Speaker 1>for like a little bit, and she's in the pop.

0:44:38.200 --> 0:44:40.440
<v Speaker 1>He was fucking Madonna when she was like the biggest

0:44:40.719 --> 0:44:44.920
<v Speaker 1>lady in the world as a rap that's dope. I'm not.

0:44:45.320 --> 0:44:48.560
<v Speaker 1>He was giving her that cane bro smooth operator bro

0:44:49.920 --> 0:44:52.799
<v Speaker 1>shout out to shout out to the guy Daddy Caine,

0:44:52.840 --> 0:44:55.880
<v Speaker 1>a legend too, Yes, sir, anyway, man and you're and

0:44:55.960 --> 0:44:58.880
<v Speaker 1>you're a legend. Capella Gray, Yes, sir, we're here. Boom