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Speaker 1: All right, what up? This is Michael Rappaport and you

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Speaker 1: are now listening to the I Am Rappaport stereo podcast. Yo,

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Speaker 1: this ain't a documentary, but it's gonna feel like it.

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Speaker 1: On today's episode of the Iron Rapp Reports Stereo podcast,

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Speaker 1: we have the m E t h O D Man

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Speaker 1: m E t h O D Man I got meThe

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Speaker 1: Man rocking with me on today's episode. One of the

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Speaker 1: most iconic and unique voices literally of music in the

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Speaker 1: last thirty years from one of the best groups, one

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Speaker 1: of the most influential groups of all time, the Wou

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Speaker 1: Tang Clan. I got meThe Man with me. We're talking acting,

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Speaker 1: We're talking being scared shitless of the auditioning process, stories

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Speaker 1: about his new show The Deuce on HBO, the making

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Speaker 1: of the What with Big Smalls, Wu Tang in the

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Speaker 1: van on the way to early shows, stories and so

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Speaker 1: much more Coming up next, The great m E t

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Speaker 1: h O D Man Met the Man is with Me

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Speaker 1: on today's Iron Wrap Ports Stereo podcast. Let's go all right,

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Speaker 1: the motherfucking metha man nicest table is very nice. You

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Speaker 1: know how to work the mics with meth You already

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Speaker 1: the motherfucking met the man is in the building for

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Speaker 1: the Iron Wrap Ports stereo podcast, and you know, I

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Speaker 1: was thinking, meth we worked together, but we've never been

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Speaker 1: on screen together. Because Copland, Copland Up and Boston Public. Like,

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Speaker 1: you've got like a full resume of acting and obviously

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Speaker 1: a full resume as an MC. Yes, sir, yes, sir.

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Speaker 1: It's hard work too, bro, It's not easy, man, because

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Speaker 1: you know, you definitely can't do both at the same time.

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Speaker 1: I tried when when you what do you mean you

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Speaker 1: can't do both at the same time. You can't act

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Speaker 1: and do music at the same time. The music career

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Speaker 1: is so demanding, especially when you're hot or you're in

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Speaker 1: a hot group and you know, that's touring situations, more albums,

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Speaker 1: things like that, and when you do movies or TV,

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Speaker 1: it's time lockouts. It's hard to do both. But can

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Speaker 1: you go from the set of Copland or the set

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Speaker 1: of whatever, the set of The Duce and go into

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Speaker 1: the studio and work on a song? Yeah, absolutely absolutely can.

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Speaker 1: But that's that's convenient for me. It's if you can record,

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Speaker 1: but like, but like doing the rounds of a new

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Speaker 1: record coming out, right, you have to travel and Um,

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Speaker 1: let's say I have to do a radio run on

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Speaker 1: the East coast, but I'm filming on the West coast.

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Speaker 1: You know how when I did the Wire Flans, it's

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Speaker 1: not the Wire OZ. When I did OZ, for instance,

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Speaker 1: I spent my tour money flying private jets back in

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Speaker 1: forth so I can make it on set or time

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Speaker 1: for the Why how much the grand damn thirty five?

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Speaker 1: How much money do you think you spend on private jets? Um,

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Speaker 1: not a lot, because we don't do it to a

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Speaker 1: five grand? Yeah, and I did it because you can

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Speaker 1: have the flight when you need to flight and the

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Speaker 1: money's coming in. Well, I was flying from New York

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Speaker 1: to the show and then back to New York so

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Speaker 1: I can be on set at six am and you grinding.

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Speaker 1: Yeah yeah. So at this point that you've you you've

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Speaker 1: wrapped up like a legitimate thick acting career, legitimate thick

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Speaker 1: rapping career. Do you approach them differently because there's so

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Speaker 1: few rappers slash actors that that have made it. Obviously,

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Speaker 1: you know, Iced t LLL Cool j are are sort

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Speaker 1: of the you know, and they're they're from the essence,

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Speaker 1: and I'm so happy both of them have rocked because

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Speaker 1: you take them for granted. Yeah, you know, especially like

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Speaker 1: the body of work, especially LLL. A lot of people

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Speaker 1: take L for granted that. I mean, he's like a

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Speaker 1: top five motherfucker. I mean when I was in high school,

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Speaker 1: I think he was sixteen when he dropped his first album,

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Speaker 1: and we were this is like my first year in

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Speaker 1: high school, thirteen years old, I guess, and we were

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Speaker 1: alled out. I mean, his his his cadence and rhymen

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Speaker 1: because I was always a flow dude, so I peeped

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Speaker 1: his whole cadence. He would do two rhymen words in

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Speaker 1: between his two rhymen words. So let's say if it was, um,

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Speaker 1: I'm on a mission, don't get up because I'm taking

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Speaker 1: no shorts a bust a cap, and it's like that,

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Speaker 1: and I will give it no thoughts. So you got

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Speaker 1: the rhymen word that rhymes were thought. It's still there,

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Speaker 1: but then you got two other rhymen words before you

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Speaker 1: get to the rhymen word that rhymes were thought. And

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Speaker 1: I heard a lot of dudes bite and they run

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Speaker 1: DMC bad it. They can't deny it. They bait that

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Speaker 1: ship to UM. I forgot what it was and just

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Speaker 1: I forgot what song it was, but a lot of

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Speaker 1: run had a lot of lls flow in his whole

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Speaker 1: cadence after ll. So when you when you listen to

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Speaker 1: like L L, when you listen to ship like that,

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Speaker 1: obviously you listen to a song like like everybody else.

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Speaker 1: But then when you start dissecting it as an m C,

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Speaker 1: you're dissecting like that little innuitus because I never like

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Speaker 1: that's like the little ship that I never even thought of. Yeah. See,

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Speaker 1: for me, it's always been about cadence. It's always been

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Speaker 1: about flow. So if you could flow to me, it

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Speaker 1: it I mean, the words do matter makes it all

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Speaker 1: the more better. But a song when you have songwriters

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Speaker 1: and they write songs, and they're writing melodies to go

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Speaker 1: with the music, or sometimes they'll hum a melody and

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Speaker 1: add the music to it. So for me, it's always

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Speaker 1: been a sent you that whenever I rhyme on a track,

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Speaker 1: it has to match the music in some way shape,

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Speaker 1: form of fashion, whether it's the hook or the flow. Right,

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Speaker 1: your flow to me is one of the best. I

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Speaker 1: appreciate what that when winslow and sho like hold us

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Speaker 1: all about that like the hair and a right guy

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Speaker 1: question what exactly gets up? Anyway? Don't be to save

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Speaker 1: the hold up the ye hold average Jun went an

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Speaker 1: average blow do what average with the average home super

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Speaker 1: hubblic up and spurred him up super bump like just

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Speaker 1: the flow like and I mean, there's so much like

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Speaker 1: I wanted to talk about acting but like the flow

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Speaker 1: of ship and like your flow, like you fucked my

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Speaker 1: head up. I hit you. I saw you on sway

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Speaker 1: with Black Thought, and the thing that sucked my head

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Speaker 1: up was that you were rocking. You had written some

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Speaker 1: ship on your phone and you and black Thoat were

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Speaker 1: going back and forth. But the but it wasn't just

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Speaker 1: like you were like cat bat rap, like you reached

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Speaker 1: some ship. Then you were getting the Spanish and I

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Speaker 1: was like, what the funking it was? It was kind

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Speaker 1: of a complicated. Yeah, That's why there was no way

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Speaker 1: I was gonna say that rhyme without looking at my phone.

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Speaker 1: I had a lot of flak about it, which I

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Speaker 1: don't care about because I'm dope. You know how fanboys

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Speaker 1: is hip hop so called purists There are no hips exactly,

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Speaker 1: and um, whether people know it or not, yes, black

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Speaker 1: Thought didn't read off paper, but Black Thought is a machine.

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Speaker 1: He's a machine. He basically performs every night. He's a

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Speaker 1: freak with fallon, you know what I mean. So he

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Speaker 1: hit the words are always in his head, and he

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Speaker 1: could do other people's songs off the top like he's

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Speaker 1: just a freak exactly like he he could. You could

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Speaker 1: do it like, yo, let's do bring the pain you

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Speaker 1: might not remember or so like the way his brain

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Speaker 1: works and he knows every word, so you know, you

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Speaker 1: can't compare to two for one. And he's dope. He's

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Speaker 1: one of my top five, hands down. But I used

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Speaker 1: the same technique when I do my acting. It's it's

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Speaker 1: a it's a no brainer. It's a no brainer. It

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Speaker 1: has to whatever the flow of that scene. You may

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Speaker 1: have to get into that flow. It's like being the

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Speaker 1: only person in a dope ass picture, but your post

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Speaker 1: fucked the whole picture up for everybody, you know what

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Speaker 1: I mean. I will not be that dude. Wait, so

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Speaker 1: specifically the sway ship do you write? Because obviously when

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Speaker 1: you first started rhyme and you guys are penning papers,

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Speaker 1: but that rhyme, the thing that bugged me out was

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Speaker 1: also seeing you rock off the phone, and I'm like, yo,

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Speaker 1: do motherfucker's like met the man rock Off, Like, do

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Speaker 1: you write your rhymes on the phone? Yeah? I write

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Speaker 1: it on the phone now because it's way more convenient.

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Speaker 1: You know how many rhyme notebooks I've lost? But do

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Speaker 1: you we we like that particular rhyme? Were you like

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Speaker 1: that's just some ship? Like are you is that from

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Speaker 1: a song? Or you're just like in the car and

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Speaker 1: you're just thinking, You're like, how does it work now

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Speaker 1: with you? Are you writing a song? Or like? What

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Speaker 1: the fuss was that specifically? Um? That was just the

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Speaker 1: verse that I wrote, right, and um, it was to

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Speaker 1: show my son that I'm still dope. He wanted me

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Speaker 1: to do something with him, and UM what I did

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Speaker 1: was I said, Okay, I'm gonna spit on this joint,

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Speaker 1: saying to myself, but I'm gonna spank his ass at

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Speaker 1: the same time to let him know. You know, if

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Speaker 1: your son stick his chest stout, and this is your son,

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Speaker 1: you're gonna have to knock him down a few Yeah

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Speaker 1: he does. How old is he one? Okay, So so

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Speaker 1: he wanted to see if you had some ship. Um,

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Speaker 1: I'm thinking that's what it was in my head, That's

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Speaker 1: what it was. Friendly competition, and I aired his ass

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Speaker 1: out and that was the first ship came to my

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Speaker 1: head right there, like, Okay, this is this is the

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Speaker 1: way it's gonna be, and this is how I'm gonna

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Speaker 1: put it down. But then I'm gonna go a whole

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Speaker 1: different direction with this little bit of Spanish I learned

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Speaker 1: from the time at the Statue of Liberty and get

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Speaker 1: it pop. I'm sipping o J and the Bronco next

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Speaker 1: to this Henny bottom skinny model. She clearly sniffing in

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Speaker 1: that Benny Blanco. Mommy takemo no see god, but she

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Speaker 1: got a blondo see got my? Mom though they think

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Speaker 1: the combo for me your moano. Let's get it pronto,

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Speaker 1: have my borow Sociliano. I spent. But then the since

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Speaker 1: no one managed to kill Banano, got bad grandma, But John,

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Speaker 1: don't quote me. I keep it bad more like thoring

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Speaker 1: and I get low key, so keep her hamack. But

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Speaker 1: so when you're writing a rhyme now, like because whatever

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Speaker 1: you were doing, Swede, that wasn't the beat, Like are

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Speaker 1: you writing a rhyme to your head? Like if you're

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Speaker 1: like I'm in Mike Rappaport's career, but like, are you

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Speaker 1: thinking of the beat or you thinking of like how

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Speaker 1: does it work in always right to now? For me,

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Speaker 1: because I see where you're going with it. For me,

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Speaker 1: it's because you know, like I said, the flow has

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Speaker 1: to go with the beat. Um. For me, there's so

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Speaker 1: many not just melodies, the melody on top of the beat,

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Speaker 1: the beat itself, the percussions, the snare ship like that

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Speaker 1: when you're rhyming of that is so many beats that

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Speaker 1: are familiar to that, whether it's bpms or however you

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Speaker 1: want to do it. And the rhyme will fit certain things,

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Speaker 1: and you'll know by your first six bars in your

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Speaker 1: head if it fits if you move on to the

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Speaker 1: next one. First you had the next your next rhyme

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Speaker 1: dumb blo okay, that fits. Let me rock this one.

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Speaker 1: You said the thing about like a scene, like for me,

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Speaker 1: I'm not a musician. I love music. I'm a fan

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Speaker 1: and hip hop and flow in rhythm of a scene

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Speaker 1: and rhythm of an actor, like you were saying, it

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Speaker 1: is so fucking important, like you know, like you're going

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Speaker 1: back and forth and you know, and then you like

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Speaker 1: sometimes I like to play with like a pause, you know,

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Speaker 1: like double up the pause, like you because sometimes like

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Speaker 1: if you go okay, or you could go okay, like

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Speaker 1: you you and and I'm not a musician, and like

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Speaker 1: I think i've basic good rhythm. But the same thing applies,

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Speaker 1: like when you're doing a scene. So when you get

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Speaker 1: a scene, like a thick, chunky scene, you're working with

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Speaker 1: the like in your heads, you're working with the rhythms

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Speaker 1: or like funk with your your your script, like how

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Speaker 1: do you get down with it? What I do is

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Speaker 1: first thing I do is um, I get it down

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Speaker 1: first time, get the word the verbage down, the words

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Speaker 1: and everything. Then I say to myself, now, how would

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Speaker 1: I say this to make it comfortable coming out of

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Speaker 1: my mouth? And usually when it's good writing, it's crazy.

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Speaker 1: It's very easy to memorize, and it's very easy to

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Speaker 1: put in your own words. People don't understand. The people

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Speaker 1: always ask like is it hard to murb? First of all,

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Speaker 1: when you're doing a scene, you're you're only shooting little

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Speaker 1: clips of it exactly. But good writing right on, spot on,

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Speaker 1: it's like everything just fits. So you sit there and

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Speaker 1: you you start to you know you're going through what

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Speaker 1: you going through it, and you um. For me, it's

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Speaker 1: once I've gone through it and I know it. I

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Speaker 1: forget everything that I did. And then when we actually

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Speaker 1: go on for rehearsal, that's when I'm getting my ship

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Speaker 1: right there. That's when I'm seeing that, you know what

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Speaker 1: I mean, Even if the person is reading off paper,

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Speaker 1: it's like the feel of the setting and what we're doing.

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Speaker 1: I'm in it now. I go back to hair and makeup.

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Speaker 1: Now it's in my head the way it's supposed to

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Speaker 1: be saying, because I hear their words also going with

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Speaker 1: minds boom, their voices in my head, my voices in

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Speaker 1: my head. So when we go there, like I said,

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Speaker 1: I wipe that whole slate clean. I wipe that old

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Speaker 1: slate clean. We go on set, they say action and

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Speaker 1: it just flows. Do you feel as comfortable now doing

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Speaker 1: a scene like the Deuce is like everybody's doping there,

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Speaker 1: like it's a dope writer. You got fucking dope c g. I,

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Speaker 1: you got dope costumes. Like it's it's as high level

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Speaker 1: television as it gets. You're around all sorts of do

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Speaker 1: you know dope people? You've been acting for like almost

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Speaker 1: twenty years now, that yeah, that's crazy. I mean, whether

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Speaker 1: it was the first thing you did. Like, you've been

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Speaker 1: acting for twenty years, you've been on set, You're comfortable.

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Speaker 1: So when you are on a set, are you as

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Speaker 1: comfortable as if you go if somebody said yo, like

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Speaker 1: bust a rounds, like yo, I want you to come

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Speaker 1: rock on this, on this you know joint listen meet

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Speaker 1: at the studio, like, are you as comfortable on a

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Speaker 1: film said as you are in a studio booth getting

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Speaker 1: ready to spit? I would like to be, but I'm

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Speaker 1: glad that I'm not because it still leaves room for growth.

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Speaker 1: Those butterflies that I get that means growth, you know

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Speaker 1: what I mean. And I love being intimidated by, you know,

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Speaker 1: an actor that's made his bones and he's or she's

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Speaker 1: been doing it for a long time because in that moment,

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Speaker 1: I'm so observant. It's like it's like watching Michael Jordan's play.

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Speaker 1: You know what I'm saying, and you're taking notes without

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Speaker 1: even knowing you're taking notes, you know. So I I mean, hey,

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Speaker 1: there's there's two you can't over when you over prepare shows.

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Speaker 1: And I tend to do that with auditions because in

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Speaker 1: my head, it's like you got that one time to

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Speaker 1: get it right, and there's so much pressure and all that,

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Speaker 1: and I'm learning to bring all that ship with me

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Speaker 1: into the audition depending on what the character is right right,

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Speaker 1: And sometimes it works, sometimes it doesn't. But in the end,

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Speaker 1: I'm glad I made the decision I made, and I'm

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Speaker 1: good with it. I want to ask you about the

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Speaker 1: actors that you're that that you've seen, that you've been impressed.

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Speaker 1: But when you go to an auditions at this point, again,

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Speaker 1: you've done all sorts of ship, all sorts of films

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Speaker 1: or all sorts of movies. Auditioning is such a specific

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Speaker 1: It's such a fucked up situation. I've gotten to the

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Speaker 1: point where I if I have to audition, I'm going

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Speaker 1: there and I take like I say, when we're gonna start,

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Speaker 1: I'll stop it, like let me start again, like yo,

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Speaker 1: because like my in my head, I've changed my thought

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Speaker 1: of audition and our young actors. You could sort of

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Speaker 1: you could sort of have this in you, but you

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Speaker 1: have to sort of earn this. But like I'm like,

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Speaker 1: the casting director needs me or one of these motherfucker's

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Speaker 1: they're there to do a job, to find me, the

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Speaker 1: man to find Michael, to find Joe, schmo to cast,

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Speaker 1: to bring, to the director, to bring the studio. So

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Speaker 1: when I'm in there, it's my fucking time. So if

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Speaker 1: I funk up or I'm not, yo, We're gonna start again.

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Speaker 1: Just like when you're on a set you start to

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Speaker 1: take or if you're in a studio, you go, yo,

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Speaker 1: bring that back, Yo, start to track again. Exactly. It

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Speaker 1: took me like twenty something years to get to there.

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Speaker 1: But I'm like, Yo, I'm not. I'm not no fucking

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Speaker 1: funky I'm coming in. I'm if you're making me read

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Speaker 1: for ship, I'm coming in there, like it's my space,

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Speaker 1: is my ruin. But I mean, you could do it

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Speaker 1: it was me. If it was me and I was

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Speaker 1: Brian Grazer, you wouldn't have to read for ship. But

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Speaker 1: you know, I mean also, like a lot of times,

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Speaker 1: if you have to read for things, it's things that

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Speaker 1: you hopefully you haven't done. Like if it's cop fucking

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Speaker 1: New York cop Con, I'm like, yo, either get me

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Speaker 1: or get the ten other motherfucker's that are dope, dude, Like, Yo,

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Speaker 1: New York Cop, I'm not reading for that ship. Like,

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Speaker 1: but if it's a librarian from Indiana, who you know, you.

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Speaker 1: You might want to be like, Yo, Mike rap. You

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Speaker 1: you can't come in here with that New York copstion, right,

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Speaker 1: you know what I mean? Because you know there's there's

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Speaker 1: such stereotypes in terms of you know, they'll say, Mike crap,

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Speaker 1: he's in New York, duty's is or the methema, well

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Speaker 1: he's a rapper. We can't you know, is he gonna

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Speaker 1: be able to be? And that's a problem for me

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Speaker 1: sometimes soon because when I walk in the room, it's

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Speaker 1: hard to strip those layers a method man away because

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Speaker 1: soon as I walk in the room is method man.

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Speaker 1: But it helps too, It helps at the same time

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Speaker 1: because that's what got me in the room in the

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Speaker 1: first place, you know what I mean. And m my

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Speaker 1: worst audition I have to say to this date was

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Speaker 1: I read for Jody Forster and I'm such a you know,

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Speaker 1: I'm such a stand for her from the time when

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Speaker 1: she was you know, do you know taxi driver and up?

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Speaker 1: She just always exuded like that that old soul. So

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Speaker 1: I'm reading and I knew the words, but I was

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Speaker 1: over prepared. I go up in there, I mess up

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Speaker 1: once that was it lost it through a blank, couldn't

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Speaker 1: get it back nothing in front of Jodie Forrester and

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Speaker 1: everybody in the room was like five people in there

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Speaker 1: rooting for me. At the same time. I could tell

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Speaker 1: and so would she take your time? Blah blah blah,

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Speaker 1: gave me the whole talk man, sweat and profuse lee.

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Speaker 1: I just I just left. You knew you. You just

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Speaker 1: couldn't get together. I knew it. And it was like,

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Speaker 1: I'm not gonna waste these people's time out of here.

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Speaker 1: But I said to myself, I will try my best

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Speaker 1: that that never ever happens to me again. Ever. Yeah,

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Speaker 1: you can't, you can't. You gotta go in there. And

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Speaker 1: like I used to go in there like literally, like

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Speaker 1: my mentality was like when I was younger and there

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Speaker 1: would be other actors. I literally would like envision myself

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Speaker 1: as Mike Tyson, Like I'm in the whole way. I'm

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Speaker 1: not saying anything, We're not fighting each other, but I'm

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Speaker 1: I'm like fighting myself. I'm like I gotta go in there.

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Speaker 1: Fuck you, fuck this actor. And I'm talking about like

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Speaker 1: like everybody like when when I was younger, like beautiful girls,

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Speaker 1: Like every motherfucking actor was there. Fuck y'all. Motherfucker's I

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Speaker 1: got the towel on, I'm going into the ring. Smashed

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Speaker 1: this ship because it's such a pressure filled thing, you

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Speaker 1: know what I mean. So I have to say I've

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Speaker 1: enjoyed the majority of your performances, Mike, Like seriously, so

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Speaker 1: many different you know, uh, characters and and and just

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Speaker 1: levels to your ship. Man. I love it, Man, I

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Speaker 1: appreciate that. So what actors throughout your acting career have

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Speaker 1: you been like yo, like in a scene or like

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Speaker 1: in a rehearsal where you're like, Yo, this motherfucker's really

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Speaker 1: good forget the fans stuff, because because like where you

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Speaker 1: were just like somebody's talent impressed you within a scene. Shido,

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Speaker 1: Don Shido that scene in h Devil in a Blue

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Speaker 1: Dress with him and uh Denzel sitting at the table

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Speaker 1: talking to each other. WHOA, that was so like the

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Speaker 1: I mean, Don can do anything. He's very smart. He's

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Speaker 1: smart dude, and he you know, he can basically do anything.

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Speaker 1: And Gary Oldham in a movie you were in True Romance.

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Speaker 1: He you know, he killed it. I mean, I mean

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Speaker 1: I watch it now and see little flaws and things,

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Speaker 1: but he went for it. You gotta added his courage

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Speaker 1: for going forward And yeah, I thoroughly enjoyed his performance.

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Speaker 1: And what about when you're in front of him, like

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Speaker 1: the scenes that you've been in actors that you've been

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Speaker 1: in front of Maggie, Maggie Jillenhall, she's goods oh man,

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Speaker 1: like what makes her good? No ego? Um, she's raw,

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Speaker 1: She's real and uh, not afraid. That's it right there.

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Speaker 1: And the fact that she treated me with the respect

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Speaker 1: of a a season vet when we did our scene

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Speaker 1: and I knew what it was, she just wanted me

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Speaker 1: to give my best so we both would look you know,

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Speaker 1: so I wouldn't be the person in the portrait, you

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Speaker 1: know what I mean? And uh, from rehearsal, I mean

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Speaker 1: on the day that she worked. I came in for

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Speaker 1: rehearsal with her for that scene that we did, and

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Speaker 1: very gracious and um when we did it, even when

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Speaker 1: we did it and rehearsal just me and her by ourselves,

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00:19:59,520 --> 00:20:06,360
Speaker 1: it was like I got stuck, didn't couldn't say my line. Yeah, yeah,

390
00:20:06,520 --> 00:20:09,399
Speaker 1: flowing like crazy like yeah, she was in the zone.

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Speaker 1: And um, not an actor so to speak, but a director.

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Speaker 1: Tom McCarthy McCarthy, Um, and I'm still in awe of

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Speaker 1: this man. Um, he's the one that got me full

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Speaker 1: fledged back into acting again without even knowing you did. Um.

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Speaker 1: We hit it off great from my first meeting. Um,

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Speaker 1: the rehearsals were great. What did he direct you in

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00:20:32,160 --> 00:20:36,520
Speaker 1: the Cobbler? Without him? Sadler? And I mean every day

398
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Speaker 1: I would show up to work just eager to learn

399
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Speaker 1: something new. And the way he is, I learned that

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Speaker 1: there are directors that direct, you know, they no cameras,

401
00:20:47,080 --> 00:20:50,240
Speaker 1: and then there are directors that no actors, they were

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Speaker 1: former actors, and um, those, in my opinion, are the

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Speaker 1: best ones. Because Tom he didn't have the baby step

404
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Speaker 1: me through anything, but he spoke in the language that

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Speaker 1: I could to stand. I got you. You know, it

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00:21:01,880 --> 00:21:04,639
Speaker 1: wasn't technical, it was guy ship. I got what we

407
00:21:04,640 --> 00:21:07,800
Speaker 1: were calling that guy ship. When I got it, it

408
00:21:07,920 --> 00:21:10,840
Speaker 1: was like, oh Ship. I had this epiphany, like, oh

409
00:21:10,960 --> 00:21:14,119
Speaker 1: so this is what everybody was fucking talking about and

410
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Speaker 1: what they were doing. And after that it was like

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Speaker 1: I just had this hunger to do more ship, to

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Speaker 1: keep acting, to keep acting. So what do you want

413
00:21:22,480 --> 00:21:26,240
Speaker 1: to keep going? Right? Do you love it? Who? Who

414
00:21:26,280 --> 00:21:29,080
Speaker 1: are your like? If people always say top five rappers

415
00:21:29,080 --> 00:21:31,399
Speaker 1: who are your top five actors, like your favorites that

416
00:21:31,560 --> 00:21:34,359
Speaker 1: you just love that you'll go site unseen because for

417
00:21:34,400 --> 00:21:37,560
Speaker 1: me right now, I just saw him. I mean this

418
00:21:37,640 --> 00:21:41,439
Speaker 1: is the obviousite choice. But Denzel Washington to me, like

419
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Speaker 1: they talk about the Goat, I just saw him in

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Speaker 1: this Ishmael. I can't remember the film where he's playing

421
00:21:46,119 --> 00:21:50,720
Speaker 1: cho Yeah. Yo, this motherfucker is like, you know, not quite.

422
00:21:51,440 --> 00:21:54,840
Speaker 1: He's like Alan Iverson of acting because he can take

423
00:21:55,119 --> 00:21:57,600
Speaker 1: there's a bunch of movies he's made that if you

424
00:21:57,800 --> 00:21:59,760
Speaker 1: put anybody else in there, they go to like so

425
00:22:00,000 --> 00:22:02,680
Speaker 1: they're not good, maybe b level. He takes the ship

426
00:22:02,840 --> 00:22:05,920
Speaker 1: and raises it every fucking thing. Yeah, you're right, You're

427
00:22:05,920 --> 00:22:09,600
Speaker 1: absolutely right. I mean Tom Hanks even had to admit that,

428
00:22:10,040 --> 00:22:13,879
Speaker 1: you know, he got a lot of his ship from

429
00:22:13,880 --> 00:22:16,760
Speaker 1: that movie Philadelphia when they did that movie together. Like

430
00:22:16,880 --> 00:22:19,600
Speaker 1: I've stolen a lot of things from Denzel Washington, I

431
00:22:19,640 --> 00:22:22,119
Speaker 1: believe we all have at a certain point. Man. The

432
00:22:22,119 --> 00:22:25,960
Speaker 1: guy is just phenomenal. My top five though, top five actors,

433
00:22:26,240 --> 00:22:28,960
Speaker 1: he's definitely in there. So let's just say top four now,

434
00:22:29,560 --> 00:22:39,920
Speaker 1: um cheetle um who of course Oldham, Gary Oldman. Yeah, yeah,

435
00:22:40,240 --> 00:22:44,320
Speaker 1: my guy Hardy, Tom Hardy, Yeah, he's dope, Tom Hardy.

436
00:22:44,800 --> 00:22:47,960
Speaker 1: What's that three? Denzel four? Um? So? I got my

437
00:22:48,000 --> 00:22:54,720
Speaker 1: two black guys, oh man um and the guy what's

438
00:22:54,760 --> 00:22:58,400
Speaker 1: his name? He played in the I'm So Mad Quantin.

439
00:22:58,440 --> 00:23:02,560
Speaker 1: I don't want to say David Uh. He was in

440
00:23:02,600 --> 00:23:05,400
Speaker 1: the the Godzilla movie. He was like, let them fight

441
00:23:06,680 --> 00:23:10,760
Speaker 1: the Asian guy. That dude. Yeah, like everything I've seen

442
00:23:10,880 --> 00:23:15,600
Speaker 1: him and he's just bomb right Daniel day Lewis, I

443
00:23:15,640 --> 00:23:17,520
Speaker 1: have to throw him in the honorable mention man, because

444
00:23:17,640 --> 00:23:21,440
Speaker 1: he's your six man, he's serious. I mean there's so many,

445
00:23:21,520 --> 00:23:24,159
Speaker 1: but top five. You said top five because DiCaprio was

446
00:23:24,200 --> 00:23:29,280
Speaker 1: definitely himself and man, man, it's like he's in that

447
00:23:29,400 --> 00:23:32,480
Speaker 1: carry Grant Uh. You know what I mean? Those guys,

448
00:23:32,320 --> 00:23:34,560
Speaker 1: you know what I'm saying. Yeah. So, what's been the

449
00:23:34,560 --> 00:23:37,320
Speaker 1: response to The Deuce? People like it, did you guys

450
00:23:37,320 --> 00:23:40,920
Speaker 1: shoot that ship on green screen? Was it sets because

451
00:23:40,960 --> 00:23:43,000
Speaker 1: some of that ship the exterior because I did a

452
00:23:43,040 --> 00:23:46,120
Speaker 1: show that was and had green screen and the way

453
00:23:46,240 --> 00:23:48,639
Speaker 1: they could do it now, or I don't know what

454
00:23:48,640 --> 00:23:50,639
Speaker 1: the fun it's not even green screen c G. I

455
00:23:50,720 --> 00:23:52,520
Speaker 1: they made it look like we were in the sixties

456
00:23:52,520 --> 00:23:55,400
Speaker 1: in New York when you when you got shot the deuce.

457
00:23:56,160 --> 00:24:00,159
Speaker 1: What's the deal? Like the clothes, the authentic everything is

458
00:24:00,680 --> 00:24:02,399
Speaker 1: they have to custom make your ship because you're a

459
00:24:02,400 --> 00:24:05,800
Speaker 1: big motherfucker pimps. In the seventies, they weren't six four.

460
00:24:06,000 --> 00:24:07,920
Speaker 1: This is the most I had to show up towardrobe

461
00:24:07,960 --> 00:24:10,520
Speaker 1: ever on any project. The custom your Yeah, they had

462
00:24:10,520 --> 00:24:12,920
Speaker 1: to well not well, you know, they got the old

463
00:24:12,960 --> 00:24:15,520
Speaker 1: clothes from and then they would you know, tailor it

464
00:24:15,960 --> 00:24:19,439
Speaker 1: to your size. And um I remember there was a

465
00:24:19,480 --> 00:24:22,320
Speaker 1: problem with the guys on set with underwear because they

466
00:24:22,320 --> 00:24:24,880
Speaker 1: could see and they didn't wear box of drawers back then.

467
00:24:24,960 --> 00:24:28,480
Speaker 1: So what my solution was either to wear no drawers

468
00:24:28,680 --> 00:24:32,119
Speaker 1: or tidy Whitey's or like those uh you know, the

469
00:24:32,160 --> 00:24:38,840
Speaker 1: panty drawers. There you go, there you go. But as

470
00:24:38,840 --> 00:24:41,280
Speaker 1: far as the set, the cars, everything for like three

471
00:24:41,320 --> 00:24:44,840
Speaker 1: blocks we shot up Town between one and one sixty nine.

472
00:24:45,359 --> 00:24:50,160
Speaker 1: Um cars authentic. Uh, the set for like two three

473
00:24:50,160 --> 00:24:55,119
Speaker 1: blocks authentic. They cheat that right, And um I guess

474
00:24:55,320 --> 00:24:59,320
Speaker 1: there's some green screen of course because they step some

475
00:24:59,400 --> 00:25:01,600
Speaker 1: c G I to it being on that set and

476
00:25:01,680 --> 00:25:04,359
Speaker 1: seeing you know, they basically took it back. Even the

477
00:25:04,720 --> 00:25:09,000
Speaker 1: Marquee out there was real. They built that themselves. Big

478
00:25:09,080 --> 00:25:11,520
Speaker 1: ups to the set designer's big up to costume, hair

479
00:25:11,560 --> 00:25:14,240
Speaker 1: and makeup, all of you guys, did you think dude?

480
00:25:14,280 --> 00:25:16,480
Speaker 1: People like what has been the reaction to the show,

481
00:25:16,480 --> 00:25:18,520
Speaker 1: because you know, like one of the things that people

482
00:25:18,560 --> 00:25:20,920
Speaker 1: talking about, you know, you and black thought you guys

483
00:25:20,920 --> 00:25:23,720
Speaker 1: are pimps. You know, it's funny because we're in such

484
00:25:23,720 --> 00:25:27,000
Speaker 1: a crazy, like fucking day to day with you know,

485
00:25:27,080 --> 00:25:29,560
Speaker 1: like I used to thinking like in regards to hip hop,

486
00:25:29,640 --> 00:25:33,760
Speaker 1: like eighties hip hop to like there was so much vulgarity,

487
00:25:33,960 --> 00:25:37,919
Speaker 1: there was so much wild ship, and now we're in

488
00:25:37,920 --> 00:25:40,240
Speaker 1: a place like I don't even listen to these young dudes.

489
00:25:40,280 --> 00:25:41,880
Speaker 1: I don't know what the funk they're saying, But like,

490
00:25:42,160 --> 00:25:44,280
Speaker 1: do you think like hip hop from the eighties and

491
00:25:44,280 --> 00:25:48,160
Speaker 1: the nineties would fly today in terms of the content

492
00:25:49,160 --> 00:25:53,040
Speaker 1: um in this PC world? Probably it'll probably be hot to.

493
00:25:53,560 --> 00:25:57,359
Speaker 1: It'd probably be hot to. I mean, public enemy right

494
00:25:57,400 --> 00:26:00,600
Speaker 1: now is needed? Yes, that's just my opis Yes, I

495
00:26:00,600 --> 00:26:03,240
Speaker 1: mean like talk like second you get what you're saying.

496
00:26:03,280 --> 00:26:05,520
Speaker 1: I get I get exactly what you're saying. And we're

497
00:26:05,520 --> 00:26:08,520
Speaker 1: in that era now. Man, I'm telling you, like everything

498
00:26:09,520 --> 00:26:14,240
Speaker 1: pretty much flies but something's like you say, just don't

499
00:26:14,280 --> 00:26:17,280
Speaker 1: fly with certain groups, but who's paying attention to them?

500
00:26:17,359 --> 00:26:21,120
Speaker 1: Right now? The millennials are running I hate that word too,

501
00:26:21,119 --> 00:26:23,720
Speaker 1: by the way, but it's true. But it's true whatever

502
00:26:23,720 --> 00:26:26,879
Speaker 1: the call, right, they're running every we were ex geners,

503
00:26:26,880 --> 00:26:31,359
Speaker 1: EX Genus X, EX Generation Generation X, Generation X. You

504
00:26:31,760 --> 00:26:35,359
Speaker 1: motherfucker's like like, I'm such a fan of hip hop

505
00:26:35,400 --> 00:26:38,159
Speaker 1: and like it means so much to me. And like

506
00:26:38,200 --> 00:26:39,920
Speaker 1: when I was like, yo, met the Man's coming over

507
00:26:39,960 --> 00:26:42,399
Speaker 1: and I'm like I just think about like do you know,

508
00:26:42,480 --> 00:26:45,720
Speaker 1: like the day that thirty six Chambers came out is

509
00:26:45,760 --> 00:26:49,080
Speaker 1: the same day that Midnight Marauders came out. And then

510
00:26:49,080 --> 00:26:51,760
Speaker 1: I'm like they slaughtered us too. They killed did they Yeah? Yeah,

511
00:26:51,840 --> 00:26:54,800
Speaker 1: yeah they killed us. So did you guys know each other?

512
00:26:55,000 --> 00:26:58,440
Speaker 1: Like like where were you before thirty six Chambers? Like

513
00:26:59,480 --> 00:27:02,000
Speaker 1: like had you rocked on any ship we were around?

514
00:27:02,040 --> 00:27:04,840
Speaker 1: They have? I remember they used to do like the

515
00:27:04,840 --> 00:27:07,440
Speaker 1: the music seminars in New York. We were had those,

516
00:27:07,520 --> 00:27:10,000
Speaker 1: you know. Uh this was prior to the album dropping,

517
00:27:10,040 --> 00:27:11,920
Speaker 1: but we had singles out, you know what I mean.

518
00:27:12,560 --> 00:27:17,160
Speaker 1: Um I remember meeting Biggie at the muse um um

519
00:27:17,240 --> 00:27:21,000
Speaker 1: yo yo, had performed there that year too. Um. Yeah,

520
00:27:21,000 --> 00:27:23,199
Speaker 1: that was my first time meeting Big But it was

521
00:27:23,240 --> 00:27:26,399
Speaker 1: just a bunch of um different you know how they

522
00:27:26,440 --> 00:27:28,119
Speaker 1: do it. They had these conventions and then you go

523
00:27:28,160 --> 00:27:30,200
Speaker 1: to all these clubs and see all this new music

524
00:27:30,240 --> 00:27:32,879
Speaker 1: from these new artists. And yeah, we were we were

525
00:27:32,960 --> 00:27:35,280
Speaker 1: part of that. So we we were familiar with Tribe.

526
00:27:35,760 --> 00:27:38,560
Speaker 1: We had met Tribe a couple of times. Um. But

527
00:27:38,760 --> 00:27:40,639
Speaker 1: once we kicked off and we did our senior was

528
00:27:40,640 --> 00:27:43,480
Speaker 1: when I really got time to sit down and kick

529
00:27:43,520 --> 00:27:46,480
Speaker 1: it with Q Tip. Most that was my man, you

530
00:27:46,520 --> 00:27:50,160
Speaker 1: know what I'm saying. And um, but during that whole

531
00:27:50,480 --> 00:27:52,760
Speaker 1: thing right there, Wo Tank was anti everybody. We didn't

532
00:27:52,760 --> 00:27:54,760
Speaker 1: really messed with nobody, and we were so deep people

533
00:27:54,800 --> 00:27:57,400
Speaker 1: wouldn't approach ues. They were like fifty it was more

534
00:27:57,400 --> 00:27:59,639
Speaker 1: than that. But they weren't all rappers. It was like

535
00:27:59,720 --> 00:28:02,159
Speaker 1: fam me and friends and everybody. Yeah, and Muke was

536
00:28:02,320 --> 00:28:04,960
Speaker 1: short with the T shirts, right, give everybody a T

537
00:28:05,080 --> 00:28:07,439
Speaker 1: shirt a different kind of colors, and we're walking up

538
00:28:07,440 --> 00:28:09,440
Speaker 1: and then looking like a pack of skittles with these

539
00:28:09,760 --> 00:28:12,080
Speaker 1: big gas ws on these T shirts. And it was

540
00:28:12,119 --> 00:28:15,679
Speaker 1: something about that error in the nineties where T shirts

541
00:28:15,760 --> 00:28:18,640
Speaker 1: was the new Lick. Everybody T shirt game was up.

542
00:28:18,680 --> 00:28:20,920
Speaker 1: I think it started with Naughty because we didn't reinvent

543
00:28:20,960 --> 00:28:24,160
Speaker 1: the wheel because Naughty by Nature had Naughty with before

544
00:28:24,200 --> 00:28:26,160
Speaker 1: we even thought it will with you know what I'm saying.

545
00:28:26,440 --> 00:28:28,800
Speaker 1: And um, I remember everybody was clamoring for our b

546
00:28:29,240 --> 00:28:34,040
Speaker 1: a naughty where T shirt walk Away was big. Um,

547
00:28:34,200 --> 00:28:36,280
Speaker 1: but it was like that T shirt gaming by us

548
00:28:36,320 --> 00:28:39,640
Speaker 1: coming through and nobody really knowing who the MCS was.

549
00:28:39,680 --> 00:28:41,479
Speaker 1: They knew the music, but they know who the MCS

550
00:28:41,600 --> 00:28:44,920
Speaker 1: was and Wu Tang it was just it just took

551
00:28:44,920 --> 00:28:47,640
Speaker 1: on this whole mystique of its own, you know what

552
00:28:47,640 --> 00:28:50,520
Speaker 1: I mean. I mean it's still like that because you

553
00:28:50,640 --> 00:28:53,840
Speaker 1: never know. That's why I wouldn't recommend anybody saying too

554
00:28:53,880 --> 00:28:58,440
Speaker 1: many sideways things about the clan because our arms reached

555
00:28:59,280 --> 00:29:01,680
Speaker 1: very long. Not all of us got faces that are

556
00:29:01,680 --> 00:29:06,720
Speaker 1: in front of cameras. Got you so so big, So sorry,

557
00:29:06,720 --> 00:29:08,600
Speaker 1: it was so big you you met big? What do

558
00:29:08,640 --> 00:29:12,200
Speaker 1: you remember when you did the what with him? Oh? Man?

559
00:29:12,280 --> 00:29:14,040
Speaker 1: I remember I had to sneak to go do it.

560
00:29:14,080 --> 00:29:17,360
Speaker 1: That's something everybody don't know why because you know, like

561
00:29:17,400 --> 00:29:19,880
Speaker 1: I said, Wutang was anti. Everybody were not anti everybody.

562
00:29:19,880 --> 00:29:21,960
Speaker 1: We just we knew the value of what we were

563
00:29:21,960 --> 00:29:23,960
Speaker 1: doing and we didn't want to share the money with anybody.

564
00:29:24,000 --> 00:29:27,040
Speaker 1: So doing records, using one of your hottest artists in

565
00:29:27,080 --> 00:29:29,600
Speaker 1: your crew to do records with other motherfucker's, it's like

566
00:29:30,040 --> 00:29:32,280
Speaker 1: you're sharing money. You're taking money out of our mouths

567
00:29:32,280 --> 00:29:34,800
Speaker 1: and sharing it with these motherfucker's and they're using you

568
00:29:34,880 --> 00:29:37,240
Speaker 1: to get more money or whatever. But I liked Big

569
00:29:37,880 --> 00:29:40,600
Speaker 1: and my boy ray to Ruckus, who's still around the way.

570
00:29:40,840 --> 00:29:43,040
Speaker 1: He put me on the Big first it was a

571
00:29:43,080 --> 00:29:45,320
Speaker 1: song called Me and My Bit, and he was like,

572
00:29:45,320 --> 00:29:46,920
Speaker 1: you need to do a song with this motherfucker. You

573
00:29:46,920 --> 00:29:48,240
Speaker 1: have to do a song with somebody. Do song with

574
00:29:48,280 --> 00:29:50,440
Speaker 1: this motherfucker. I had to sneak and go do how

575
00:29:50,480 --> 00:29:54,040
Speaker 1: High too. But we're not gonna talk about that, not yet. Um.

576
00:29:54,240 --> 00:29:58,280
Speaker 1: But yeah, Tracy Wappe's who got me my deal at

577
00:29:58,320 --> 00:30:00,440
Speaker 1: death jam. Shout out to Tracy wape I never got

578
00:30:00,520 --> 00:30:04,000
Speaker 1: a plaque, Eve. I feel bad about that man my shirt.

579
00:30:04,040 --> 00:30:06,200
Speaker 1: I should owe her a lot. Man. She um was

580
00:30:06,320 --> 00:30:09,440
Speaker 1: very instrumental in my career in the beginning. Um, she

581
00:30:09,720 --> 00:30:11,959
Speaker 1: came through and scooped me up. I didn't tell nobody

582
00:30:12,000 --> 00:30:14,920
Speaker 1: I was going to do it, you know, but prior

583
00:30:14,960 --> 00:30:16,920
Speaker 1: to that, I'm getting a little hit of myself. Prior

584
00:30:16,960 --> 00:30:19,080
Speaker 1: to that, Like I said, that night at the Muse,

585
00:30:19,120 --> 00:30:21,720
Speaker 1: when I met Big, he approached me. He had the

586
00:30:21,760 --> 00:30:24,040
Speaker 1: big shirt on because you know, back then, you make

587
00:30:24,080 --> 00:30:27,120
Speaker 1: a video, you're gonna wear the ship you had on

588
00:30:27,200 --> 00:30:29,320
Speaker 1: in the videos. Everybody know what she was. He had

589
00:30:29,360 --> 00:30:31,800
Speaker 1: the b I G shirt on. Ship approached me, and

590
00:30:31,840 --> 00:30:34,320
Speaker 1: Ship he was like, Yo, blah blah blah, a little

591
00:30:34,320 --> 00:30:36,000
Speaker 1: small talk every day. He's like, you know, I'm gonnao

592
00:30:36,160 --> 00:30:38,080
Speaker 1: you do a song? Like yeah, you know, however, whatever,

593
00:30:38,160 --> 00:30:40,360
Speaker 1: we could do it because I remember, and I'm here

594
00:30:40,440 --> 00:30:42,080
Speaker 1: my boy Raid's voice in the back of my head

595
00:30:42,080 --> 00:30:44,040
Speaker 1: saying that you ever to talk through a song? And

596
00:30:44,040 --> 00:30:46,000
Speaker 1: he was already out. Yeah, he was already out. He

597
00:30:46,040 --> 00:30:49,480
Speaker 1: had the party and bullshit out. That was it. That

598
00:30:49,560 --> 00:30:53,320
Speaker 1: was it. His album wasn't now yet Okay from there,

599
00:30:53,480 --> 00:30:56,040
Speaker 1: you know, Tracy had a relationship with Puffy and we've

600
00:30:56,040 --> 00:30:59,760
Speaker 1: always seen Puffy. Everybody were got from New York. Puffy

601
00:30:59,880 --> 00:31:01,320
Speaker 1: was if you was in New York in the late

602
00:31:01,360 --> 00:31:05,960
Speaker 1: eighties nineties, you've seen Puffy party been a boss always

603
00:31:06,120 --> 00:31:07,960
Speaker 1: and y'all can say whatever y'all want to say about

604
00:31:07,960 --> 00:31:11,680
Speaker 1: Puff Puff being a boss, very instrumental in hip hop. Um.

605
00:31:11,720 --> 00:31:14,040
Speaker 1: So Tracy comes and scoops me. I don't tell nobody

606
00:31:14,040 --> 00:31:16,560
Speaker 1: where I'm going. They could have murdered me that night.

607
00:31:16,600 --> 00:31:21,320
Speaker 1: Who knows, knock or wood. Anyway, I get to the studio,

608
00:31:21,520 --> 00:31:26,520
Speaker 1: it's easy mode there Big there, Puff there, Me and Puff.

609
00:31:26,560 --> 00:31:29,200
Speaker 1: You know why everybody gets winding up and stuff easy

610
00:31:29,200 --> 00:31:31,480
Speaker 1: more making to be. Puff Is wanted to play torture,

611
00:31:31,520 --> 00:31:34,560
Speaker 1: so I'm airing his ass out and torture. Um. It

612
00:31:34,640 --> 00:31:38,200
Speaker 1: was very cool setting, a lot of jokes being made.

613
00:31:38,240 --> 00:31:41,080
Speaker 1: But that's another thing people ain't know about Big. Very funny.

614
00:31:41,120 --> 00:31:44,480
Speaker 1: He was funny funny, is just a funny Brooklyn motherfuck

615
00:31:44,640 --> 00:31:48,400
Speaker 1: like red Man, funny like funniest fuck not Yeah, just funny,

616
00:31:48,480 --> 00:31:51,560
Speaker 1: funniest ship. Um. So you know, we finally get to

617
00:31:51,560 --> 00:31:53,440
Speaker 1: the song. And yes, he wrote his verse. He ain't

618
00:31:53,480 --> 00:31:54,920
Speaker 1: say no ship off the top of the hed. He

619
00:31:54,960 --> 00:31:57,800
Speaker 1: wrote his whole ship. Big wrote his ship. Yeah, and

620
00:31:57,840 --> 00:32:00,000
Speaker 1: I wrote my ship while I was there. And you're

621
00:32:00,080 --> 00:32:03,360
Speaker 1: listening to the beat right the paper on the pin

622
00:32:03,440 --> 00:32:05,040
Speaker 1: in the paper, And I think it took us about

623
00:32:05,080 --> 00:32:07,200
Speaker 1: an hour to make that song. And even though the

624
00:32:07,400 --> 00:32:10,560
Speaker 1: first he brock first, I used to get fills on

625
00:32:10,680 --> 00:32:13,080
Speaker 1: the bitch and I want those shields on the pick

626
00:32:13,360 --> 00:32:15,880
Speaker 1: to stop me from the HIV ship. And they just

627
00:32:16,040 --> 00:32:18,200
Speaker 1: know they saw it like a plinky feeling. And play

628
00:32:18,240 --> 00:32:21,600
Speaker 1: in the villain, playing for this rap, killing Vicky Smalls,

629
00:32:22,480 --> 00:32:24,600
Speaker 1: your styles, play it out like on the one that

630
00:32:24,720 --> 00:32:27,560
Speaker 1: what you're talking about with Listen the play list on

631
00:32:27,720 --> 00:32:30,520
Speaker 1: the Black s White is here to excite, throw pick

632
00:32:30,640 --> 00:32:33,960
Speaker 1: the ducks. You're in the studio, you're here to be

633
00:32:34,040 --> 00:32:36,600
Speaker 1: easy mobiles making a beat. You guys are like they're

634
00:32:36,600 --> 00:32:39,240
Speaker 1: putting the ship together. You're hearing that boom boom and

635
00:32:39,280 --> 00:32:41,640
Speaker 1: you're rocking your ship. And he goes and then you

636
00:32:41,680 --> 00:32:45,080
Speaker 1: go and like, or do you do both your verses? No? Um,

637
00:32:45,200 --> 00:32:50,360
Speaker 1: he went, Then I went right out some ship, come

638
00:32:50,440 --> 00:32:54,840
Speaker 1: this specter. But the leverage over the stumm and killer track,

639
00:32:54,960 --> 00:32:57,400
Speaker 1: that's all my jack black And then come in where

640
00:32:57,440 --> 00:33:00,320
Speaker 1: you rest that surrender stepping shot the ring us the

641
00:33:00,400 --> 00:33:04,240
Speaker 1: number one contender looking cold booty like you're pushing your December.

642
00:33:04,560 --> 00:33:07,560
Speaker 1: Make a stop pitching, but end up your leppings from after,

643
00:33:07,680 --> 00:33:10,360
Speaker 1: don't you get And it's the kin that asked weapon, Hey,

644
00:33:10,440 --> 00:33:15,600
Speaker 1: I'll be checking. So he went, I went, then I went,

645
00:33:15,920 --> 00:33:18,760
Speaker 1: he went, and then we came up with a hook

646
00:33:19,440 --> 00:33:21,400
Speaker 1: you know what kind of Yeah, he was like trying

647
00:33:21,400 --> 00:33:22,720
Speaker 1: to hook it, and I was like, first thing he

648
00:33:22,760 --> 00:33:27,440
Speaker 1: popped in my head was fun the world, Fuck the world,

649
00:33:27,440 --> 00:33:33,120
Speaker 1: the fund the world, don't ask me for ship everything

650
00:33:33,200 --> 00:33:35,520
Speaker 1: you get? Yeah, everything you get you got to work

651
00:33:35,600 --> 00:33:38,200
Speaker 1: hard for it. And then he came with the honey chake. Yeah,

652
00:33:38,360 --> 00:33:41,840
Speaker 1: you don't stop, and Nigga's packed the clips keep form.

653
00:33:41,880 --> 00:33:45,320
Speaker 1: You know what I'm saying, I'm doing like the world,

654
00:33:45,360 --> 00:33:48,360
Speaker 1: I don't ask me ship everything you get, chick out

655
00:33:48,400 --> 00:33:56,760
Speaker 1: the world all get you stop packed? Yeah, it was

656
00:33:56,800 --> 00:33:59,160
Speaker 1: what it was um Contrary to what people think, it

657
00:33:59,200 --> 00:34:02,120
Speaker 1: wasn't a lot of effort in hooks back in the nineties.

658
00:34:02,160 --> 00:34:05,000
Speaker 1: You know, the the music was cool, it was great,

659
00:34:05,280 --> 00:34:07,520
Speaker 1: It had the nice vibe to it. But a lot

660
00:34:07,520 --> 00:34:10,400
Speaker 1: of times them hooks was horrible or they sounded alike,

661
00:34:10,520 --> 00:34:11,680
Speaker 1: you know what I mean. It wasn't a lot of

662
00:34:12,080 --> 00:34:13,880
Speaker 1: time and effort putting in those. But I guess the

663
00:34:13,920 --> 00:34:17,960
Speaker 1: word play and what we set in those rhymes definitely

664
00:34:18,040 --> 00:34:20,719
Speaker 1: fit what we're putt in that hook. When you've been

665
00:34:20,719 --> 00:34:22,520
Speaker 1: in the studio with I mean you've been in there

666
00:34:22,560 --> 00:34:26,720
Speaker 1: with everybody, all of Wu Tang fucking you know, big

667
00:34:26,920 --> 00:34:29,560
Speaker 1: buster you be. I'm sure you've been watching other people

668
00:34:29,600 --> 00:34:33,360
Speaker 1: for other people's sessions. What are some studio or rappers

669
00:34:33,400 --> 00:34:36,839
Speaker 1: where you've seen them rock in the studio you were like, Yo,

670
00:34:36,920 --> 00:34:39,560
Speaker 1: this motherfucker is good, just like the way you're breaking

671
00:34:39,560 --> 00:34:41,960
Speaker 1: down the ship. Like where you've impressed with somebody, like

672
00:34:42,000 --> 00:34:45,520
Speaker 1: just their technique, their skill, their inflection. I could imagine

673
00:34:45,640 --> 00:34:50,279
Speaker 1: bust the rhymes. He's so underrated and underappreciated, like the

674
00:34:50,680 --> 00:34:53,360
Speaker 1: body of work and the flows and the ladda like

675
00:34:53,440 --> 00:34:55,800
Speaker 1: he's fucking nuts. He's a Cadence king too. It's a

676
00:34:55,840 --> 00:34:57,759
Speaker 1: lot of us out there and all you know, you

677
00:34:57,800 --> 00:35:00,560
Speaker 1: have your lyricists and then you have your you're straight

678
00:35:00,760 --> 00:35:03,799
Speaker 1: just rappers. Then you got those those flowers man that

679
00:35:03,800 --> 00:35:08,520
Speaker 1: that it's just something about flowers. But for me, um,

680
00:35:08,600 --> 00:35:11,319
Speaker 1: who could I say? Jis? And you know I'm not

681
00:35:11,480 --> 00:35:14,240
Speaker 1: just say nepotism or nothing like that, right, but jish,

682
00:35:14,280 --> 00:35:17,160
Speaker 1: I mean just some of the word playing ship and

683
00:35:17,239 --> 00:35:20,239
Speaker 1: just sitting there watching this this dude going there and

684
00:35:20,280 --> 00:35:23,719
Speaker 1: do it in one take? Is its fucking amazing and

685
00:35:23,840 --> 00:35:27,239
Speaker 1: Old Dirty because Old Dirty never spit a verse the

686
00:35:27,320 --> 00:35:31,279
Speaker 1: same way twice. It was always different. As evidence, even

687
00:35:31,320 --> 00:35:35,799
Speaker 1: on his album, he did the same verse on two

688
00:35:35,840 --> 00:35:38,799
Speaker 1: different records, maybe it was three different records on the

689
00:35:38,880 --> 00:35:42,960
Speaker 1: same album, and it sounded different every time he did it,

690
00:35:43,520 --> 00:35:44,919
Speaker 1: you know what I'm saying. So a lot of people

691
00:35:44,960 --> 00:35:48,440
Speaker 1: won't catch that, but it's that um um, I grabbed

692
00:35:48,440 --> 00:35:50,640
Speaker 1: the mic and I damage your crush your hole stamina.

693
00:35:50,760 --> 00:35:54,720
Speaker 1: Did that verse three times on that Old Dirty Basket

694
00:35:54,800 --> 00:35:57,399
Speaker 1: returned to the thirty six Chambers album, but he did

695
00:35:57,440 --> 00:36:00,560
Speaker 1: it different right each time. It was all ways like that,

696
00:36:00,600 --> 00:36:02,879
Speaker 1: even when it's like some jazz ship the wake John

697
00:36:02,880 --> 00:36:06,480
Speaker 1: Coltrane does, like my favorite things, all different right, or

698
00:36:06,520 --> 00:36:08,920
Speaker 1: like Tom Waits would do it. He never did eggs

699
00:36:08,920 --> 00:36:12,080
Speaker 1: and sausage, you know, the same way it sounded on

700
00:36:12,560 --> 00:36:14,600
Speaker 1: the record, you know what I mean? Maybe even though

701
00:36:14,640 --> 00:36:17,239
Speaker 1: the intro to the wire, Uh, I don't think he

702
00:36:17,280 --> 00:36:20,319
Speaker 1: ever did that the same way if he performed it

703
00:36:20,360 --> 00:36:22,719
Speaker 1: live or whatever. But it's just something about that. That's

704
00:36:22,760 --> 00:36:26,120
Speaker 1: when you know what a true artists is. And Dirty

705
00:36:26,160 --> 00:36:29,640
Speaker 1: grew up in a in a musical household. For my understanding,

706
00:36:29,760 --> 00:36:32,120
Speaker 1: his mother saying you know what I mean. And they

707
00:36:32,120 --> 00:36:35,240
Speaker 1: always had some records playing. Even when it wasn't a party,

708
00:36:35,239 --> 00:36:38,000
Speaker 1: there were some some music playing. So he had a

709
00:36:38,080 --> 00:36:41,560
Speaker 1: deep catalog in his head of just hit songs. The

710
00:36:41,600 --> 00:36:44,640
Speaker 1: thing they used to drive me crazy on the road

711
00:36:44,880 --> 00:36:48,600
Speaker 1: was when him and Ghosts got together. And this is

712
00:36:48,640 --> 00:36:51,080
Speaker 1: before two of us is we were in fifteen passenger

713
00:36:51,160 --> 00:36:54,480
Speaker 1: vans going from state to state on the road at

714
00:36:54,560 --> 00:36:58,880
Speaker 1: odd hours of like three four in the morning, traveling

715
00:36:58,920 --> 00:37:02,120
Speaker 1: for five six hours. The wool, the Woo Tang clan,

716
00:37:02,400 --> 00:37:06,239
Speaker 1: the team passenger man, sleeping, flobbing on each other's showers,

717
00:37:06,440 --> 00:37:09,200
Speaker 1: and if Ghosts got that front seat or Old Dirty

718
00:37:09,239 --> 00:37:13,120
Speaker 1: got that front seat, they would pop in these tapes

719
00:37:13,400 --> 00:37:18,640
Speaker 1: with and I love soul music. They were popping all

720
00:37:18,719 --> 00:37:22,960
Speaker 1: this do wop ship. I I'm not gonna say I

721
00:37:22,960 --> 00:37:25,000
Speaker 1: hate do what. There's some of it I like, but

722
00:37:25,080 --> 00:37:27,680
Speaker 1: I got a real disdain for for a lot of

723
00:37:27,719 --> 00:37:31,799
Speaker 1: doo wop music. Not the You're a big girl now,

724
00:37:32,280 --> 00:37:37,040
Speaker 1: all that is gravy, but when you do do Do

725
00:37:37,040 --> 00:37:41,440
Speaker 1: Do go, No, my no, And they were rocking it

726
00:37:41,480 --> 00:37:46,880
Speaker 1: over and over, oh god, I mean for hours, and

727
00:37:46,920 --> 00:37:49,000
Speaker 1: then it master Killer got the front seat a little

728
00:37:49,040 --> 00:37:51,440
Speaker 1: bit better because Killer was on that Snoop Dog, that

729
00:37:51,560 --> 00:37:54,319
Speaker 1: Scoop Dog first album, and I mean we would listen

730
00:37:54,400 --> 00:37:58,680
Speaker 1: to that front back, back, front c D and tape

731
00:37:58,960 --> 00:38:02,680
Speaker 1: because sometimes we got that Passenger band. You know, it

732
00:38:02,719 --> 00:38:04,719
Speaker 1: had a c D and dance so you can put

733
00:38:04,719 --> 00:38:07,239
Speaker 1: the CD in that joy and just ride out. That's

734
00:38:07,280 --> 00:38:11,040
Speaker 1: fucking dope. Do you're a father now, you know, like

735
00:38:11,040 --> 00:38:14,400
Speaker 1: we're we've grown up, you know, like I'm forty seven,

736
00:38:14,800 --> 00:38:17,880
Speaker 1: you know, like we're adults. Do you miss that time,

737
00:38:17,920 --> 00:38:20,520
Speaker 1: like you know, being on the road, like not knowing

738
00:38:20,880 --> 00:38:23,160
Speaker 1: you know what the fuss gonna happen, you know? Or

739
00:38:23,280 --> 00:38:24,759
Speaker 1: or do you like the comfort or is there a

740
00:38:24,760 --> 00:38:27,319
Speaker 1: little like those stories when you tell them, like he

741
00:38:27,360 --> 00:38:30,440
Speaker 1: gives me goose bumps. It's like, you know so specially

742
00:38:30,400 --> 00:38:32,480
Speaker 1: like do you miss that ship? Of course? I mean

743
00:38:32,520 --> 00:38:34,600
Speaker 1: I would be lying if I said I didn't. I mean,

744
00:38:34,600 --> 00:38:37,120
Speaker 1: there was something pure about that because everything was brand new,

745
00:38:37,520 --> 00:38:41,160
Speaker 1: you know. Now it's like you become jaded after a while,

746
00:38:41,480 --> 00:38:43,279
Speaker 1: you know, even though I still enjoy my job. I

747
00:38:43,320 --> 00:38:45,839
Speaker 1: got one of the best jobs in the freaking world,

748
00:38:45,880 --> 00:38:50,560
Speaker 1: which is no job. It's just every job and you

749
00:38:50,840 --> 00:38:53,960
Speaker 1: as you as you get upside of like a real

750
00:38:54,040 --> 00:38:56,120
Speaker 1: dad right now. But it's like, you know, you have

751
00:38:56,239 --> 00:39:01,480
Speaker 1: a fucking career, man like yo, Like thirty Chambers came

752
00:39:01,480 --> 00:39:06,440
Speaker 1: out right, weren't We're going in two thousand, eighteen years ago?

753
00:39:06,440 --> 00:39:09,120
Speaker 1: Almost an amazing I'm about to be fifty. You just

754
00:39:09,200 --> 00:39:11,640
Speaker 1: scraped your twenty one year old son just to prove

755
00:39:11,760 --> 00:39:15,359
Speaker 1: like you're like you're growing up. You you scraped him like,

756
00:39:15,440 --> 00:39:17,960
Speaker 1: you know, didn't you? You You you wrote something fire, Yes,

757
00:39:18,040 --> 00:39:22,120
Speaker 1: I did, just specifically for his ass too, man um.

758
00:39:22,320 --> 00:39:24,600
Speaker 1: But you're right. I mean, you get to a point

759
00:39:24,640 --> 00:39:28,799
Speaker 1: where nothing's new anymore and you're living vicariously through your

760
00:39:28,840 --> 00:39:31,799
Speaker 1: kids or you know, you're comfortable in the position that

761
00:39:32,000 --> 00:39:34,000
Speaker 1: or the skin that you're in enough that you just

762
00:39:34,040 --> 00:39:37,120
Speaker 1: don't give a fuck, you know what I mean. That's

763
00:39:37,160 --> 00:39:39,120
Speaker 1: the best way I can sum it up. You know

764
00:39:40,520 --> 00:39:43,120
Speaker 1: what do you listen to now? Oh kind of ship?

765
00:39:43,200 --> 00:39:44,600
Speaker 1: I listened to some of the new stuff because, like

766
00:39:44,640 --> 00:39:47,320
Speaker 1: I said, I got teenagers and you know you in

767
00:39:47,400 --> 00:39:50,360
Speaker 1: my house right and I can't front There's there's a

768
00:39:50,360 --> 00:39:52,759
Speaker 1: lot of the newer dudes coming out now because I

769
00:39:52,760 --> 00:39:55,680
Speaker 1: think they got the word we complained enough, you know,

770
00:39:55,880 --> 00:39:58,640
Speaker 1: the oldercats complained enough about lyricism and things like that,

771
00:39:58,680 --> 00:40:02,040
Speaker 1: because we wouldn't have a problem. Or I'll speak for myself,

772
00:40:02,080 --> 00:40:04,840
Speaker 1: I don't have a problem with any kind of music

773
00:40:04,960 --> 00:40:08,640
Speaker 1: long as you're true to what your movement is, you

774
00:40:08,680 --> 00:40:10,680
Speaker 1: know what I mean. Just don't do this because this

775
00:40:10,760 --> 00:40:12,720
Speaker 1: is what the trend is. Because we shipped on rappers

776
00:40:12,760 --> 00:40:15,040
Speaker 1: back in the nineties for doing that. It is basically

777
00:40:15,120 --> 00:40:17,920
Speaker 1: swagger jacket. But you have to applaud some of these

778
00:40:18,000 --> 00:40:21,080
Speaker 1: artists for being brave enough to step outside of the

779
00:40:21,120 --> 00:40:23,920
Speaker 1: realm of what we call traditional hip hop and trying

780
00:40:24,000 --> 00:40:26,719
Speaker 1: something new, you know, and and if it works, it

781
00:40:26,840 --> 00:40:29,560
Speaker 1: fucking works. If it doesn't work, well, so be it.

782
00:40:29,640 --> 00:40:32,000
Speaker 1: Just don't you know, give everybody the crown. I mean,

783
00:40:32,120 --> 00:40:34,680
Speaker 1: everybody wasn't made to be superstars. Some people were just

784
00:40:34,719 --> 00:40:39,040
Speaker 1: made to be artists. Do you think like the instagrammification

785
00:40:39,160 --> 00:40:41,279
Speaker 1: is like you see these kids like they grew up

786
00:40:41,320 --> 00:40:43,239
Speaker 1: on this ship. When you talk about being in the

787
00:40:43,320 --> 00:40:46,080
Speaker 1: van with Wu Tang and driving, there's no Instagram videos

788
00:40:46,120 --> 00:40:48,520
Speaker 1: of that ship, you know, like they're like it's just

789
00:40:48,640 --> 00:40:50,520
Speaker 1: you're just doing it, you're living it. But like you know,

790
00:40:50,600 --> 00:40:53,200
Speaker 1: everything is sort of documented and I mean, you know,

791
00:40:53,320 --> 00:40:55,399
Speaker 1: that's progress. That's progress, and not to cut you off

792
00:40:55,400 --> 00:40:57,480
Speaker 1: with that's progress. And this is the reason why they

793
00:40:57,520 --> 00:41:00,120
Speaker 1: have to pay homage to people like us, because as

794
00:41:00,160 --> 00:41:02,479
Speaker 1: we rode in those fifteen passenger vans, so they don't

795
00:41:02,480 --> 00:41:04,560
Speaker 1: have to, you know what I mean. This is the

796
00:41:04,600 --> 00:41:06,840
Speaker 1: reason why you know, the O G s are the

797
00:41:06,840 --> 00:41:08,839
Speaker 1: way they are. And you know, we walk around with

798
00:41:09,239 --> 00:41:13,959
Speaker 1: with this, uh, this burden on our shoulders of being

799
00:41:13,960 --> 00:41:18,640
Speaker 1: who we were and not being you know, recognized for it,

800
00:41:19,080 --> 00:41:22,920
Speaker 1: especially when you laid the pathway for these dudes to

801
00:41:23,000 --> 00:41:25,640
Speaker 1: walk on. I mean, the first path was laid by

802
00:41:25,680 --> 00:41:28,120
Speaker 1: the dudes in the seventies and a dirt road, but

803
00:41:28,200 --> 00:41:31,040
Speaker 1: it was clear, you know what I mean. We came

804
00:41:31,080 --> 00:41:33,719
Speaker 1: through after they did. We put a little cement in,

805
00:41:33,800 --> 00:41:36,920
Speaker 1: some tar down on it, made it nice, and you know,

806
00:41:37,160 --> 00:41:39,680
Speaker 1: so that by the time these guys came through and shipped,

807
00:41:39,719 --> 00:41:41,640
Speaker 1: the streets was paved with gold and all they had

808
00:41:41,640 --> 00:41:44,680
Speaker 1: to do was walk the right path straight. Like that

809
00:41:44,680 --> 00:41:47,759
Speaker 1: that was kind of good. I like that that was

810
00:41:49,160 --> 00:41:54,560
Speaker 1: pictures and ship. When when you hear these young do

811
00:41:54,600 --> 00:41:57,680
Speaker 1: you feel like you could rhyme off these beats? Do

812
00:41:57,680 --> 00:41:59,319
Speaker 1: you feel like you I mean, I knew you could

813
00:41:59,320 --> 00:42:01,719
Speaker 1: if you had to, but did they resonate with your soul?

814
00:42:01,760 --> 00:42:04,640
Speaker 1: Because for me, we talk about the flows and the lyricism.

815
00:42:04,760 --> 00:42:07,520
Speaker 1: For me, the thing that the biggest thing that's lacking

816
00:42:07,520 --> 00:42:11,360
Speaker 1: in hip hop is the craftsman ship of the beats

817
00:42:11,640 --> 00:42:13,719
Speaker 1: of of a Rizzi, beat of a primo, beat of

818
00:42:13,760 --> 00:42:16,480
Speaker 1: a large professor, beat of a fucking you know easy

819
00:42:16,520 --> 00:42:19,200
Speaker 1: mobi beat, like you know better than fucking me, better

820
00:42:19,239 --> 00:42:21,359
Speaker 1: than any I can say. Like when you wrote your

821
00:42:21,400 --> 00:42:23,960
Speaker 1: method man ship, like the M E T H O

822
00:42:24,040 --> 00:42:26,040
Speaker 1: de mans like it was like, yo, if this is whack,

823
00:42:26,239 --> 00:42:28,840
Speaker 1: that's it. By by FedEx, you're going to the coffee,

824
00:42:28,880 --> 00:42:31,040
Speaker 1: so you're you're gonna be flipping burgers. It was life

825
00:42:31,080 --> 00:42:33,160
Speaker 1: for death, you know what I mean. And it was

826
00:42:33,239 --> 00:42:34,719
Speaker 1: life or death, not just in your rhymes. It was

827
00:42:34,800 --> 00:42:36,800
Speaker 1: life or death. And the beat. If thirty six chambers

828
00:42:36,840 --> 00:42:40,200
Speaker 1: is whack, there's no coming back, like you know, and

829
00:42:40,200 --> 00:42:42,279
Speaker 1: and and it started with the beat, you know, like

830
00:42:42,320 --> 00:42:43,880
Speaker 1: it started with the beat. And like for me, the

831
00:42:43,880 --> 00:42:46,120
Speaker 1: biggest thing, like forget the lyrics and all that should

832
00:42:46,160 --> 00:42:49,600
Speaker 1: like the craftsman ship of of a primo bat or

833
00:42:49,640 --> 00:42:52,239
Speaker 1: a tip beat or a fucking Prince Paul beat or

834
00:42:52,480 --> 00:42:54,960
Speaker 1: stats a sonic beat like they were putt in their life,

835
00:42:55,120 --> 00:42:57,759
Speaker 1: death and and blood in that. To add on to that,

836
00:42:57,840 --> 00:42:59,600
Speaker 1: when you heard a que tip beat, you would like

837
00:42:59,640 --> 00:43:01,879
Speaker 1: that tip you know what I mean? That's that that's

838
00:43:01,880 --> 00:43:06,360
Speaker 1: tipped right there. You heard a beat Eric Sherman, perfect example.

839
00:43:06,400 --> 00:43:08,640
Speaker 1: You hear E double beat, you know that's E double

840
00:43:08,920 --> 00:43:11,719
Speaker 1: you know what I mean. And I'm not saying that

841
00:43:11,719 --> 00:43:14,479
Speaker 1: these dudes were supposed to stay in those realms or whatever,

842
00:43:14,520 --> 00:43:17,360
Speaker 1: but it was that identity that separated them from the

843
00:43:17,400 --> 00:43:21,360
Speaker 1: pack in a good way exactly. Um, I'm not taking

844
00:43:21,360 --> 00:43:24,040
Speaker 1: anything away from these producers now, because like I said,

845
00:43:24,040 --> 00:43:26,360
Speaker 1: a lot of this music is it's pretty damn good.

846
00:43:26,800 --> 00:43:29,840
Speaker 1: But I don't see any identity outside of him saying

847
00:43:29,920 --> 00:43:36,400
Speaker 1: who made the beat in the beginning of the record, right,

848
00:43:36,440 --> 00:43:38,160
Speaker 1: you know what Dr Dre beat? You knew what warrenge

849
00:43:38,160 --> 00:43:40,680
Speaker 1: g b I mean, it was just a distinction between

850
00:43:41,840 --> 00:43:44,520
Speaker 1: it basically showed who you were. Now I get it

851
00:43:44,560 --> 00:43:47,360
Speaker 1: because a lot of I'm gonna tell you exactly what

852
00:43:47,520 --> 00:43:51,880
Speaker 1: started it. It was a lot of um New York, Bravado,

853
00:43:52,560 --> 00:43:55,520
Speaker 1: New York. You know, we the ship and all this ship,

854
00:43:55,640 --> 00:44:00,719
Speaker 1: you know, and um, there were so many. I didn't

855
00:44:00,719 --> 00:44:03,279
Speaker 1: notice until I started, you know, with wul Tag and

856
00:44:03,280 --> 00:44:05,480
Speaker 1: we started traveling that there were so many other different

857
00:44:05,480 --> 00:44:07,640
Speaker 1: places that loved hip hop and they were doing it

858
00:44:08,080 --> 00:44:11,160
Speaker 1: their own way. And I'm not gonna lie. One of

859
00:44:11,200 --> 00:44:13,200
Speaker 1: our role people when we won on the West Coast

860
00:44:13,200 --> 00:44:15,520
Speaker 1: played the fort these early stuff for us. We was

861
00:44:15,600 --> 00:44:17,840
Speaker 1: in there ship and on the forty like, what is

862
00:44:17,960 --> 00:44:22,359
Speaker 1: this ship? What is this? I ain't gonna lie, I say.

863
00:44:22,400 --> 00:44:25,040
Speaker 1: A year later, I was want to eat fort these

864
00:44:25,080 --> 00:44:27,560
Speaker 1: biggest f and fans because it was like a foreign

865
00:44:27,680 --> 00:44:30,399
Speaker 1: language right right, and I didn't get it. But once

866
00:44:30,440 --> 00:44:33,600
Speaker 1: I understood it and got where they were coming from,

867
00:44:33,760 --> 00:44:36,399
Speaker 1: it was like, oh, this dude is fucking phenomenal. I'm

868
00:44:36,400 --> 00:44:38,520
Speaker 1: glad you said that, because when I first heard, like

869
00:44:38,640 --> 00:44:41,319
Speaker 1: n w A, it's just like sacrilegious now, but New

870
00:44:41,400 --> 00:44:45,080
Speaker 1: York motherfucker's were like, it's just the tip tim dog. Yeah, yeah,

871
00:44:45,239 --> 00:44:46,759
Speaker 1: you know there was a reason. It wasn't even what

872
00:44:46,800 --> 00:44:48,040
Speaker 1: they were saying. It was just like, you know, what

873
00:44:48,080 --> 00:44:51,160
Speaker 1: the funk is this ship? The flow? It was like

874
00:44:51,600 --> 00:44:53,400
Speaker 1: with what we were doing in the seveniyears, it was

875
00:44:53,440 --> 00:44:55,520
Speaker 1: like and you know, no disrespect, but it was just

876
00:44:55,600 --> 00:44:57,759
Speaker 1: it was literally like listening to Mandarin. It was like,

877
00:44:57,800 --> 00:45:00,320
Speaker 1: what the fund is this ship? But you know, crazy

878
00:45:00,320 --> 00:45:02,080
Speaker 1: about that. I had some people that were out in

879
00:45:02,160 --> 00:45:04,760
Speaker 1: Calli that went out the Calli to hustle or whatever,

880
00:45:05,040 --> 00:45:07,360
Speaker 1: and they came back with all this Easy e ship

881
00:45:07,400 --> 00:45:09,319
Speaker 1: and all that ship. Now we're talking about dudes that

882
00:45:09,360 --> 00:45:11,200
Speaker 1: grew up on the same hip hop I grew up board,

883
00:45:11,600 --> 00:45:14,800
Speaker 1: and they came back talking about Easy E Iced Teeth.

884
00:45:14,840 --> 00:45:16,319
Speaker 1: Matter of fact, I heard the Iced Tea record when

885
00:45:16,320 --> 00:45:18,680
Speaker 1: I was like fourteen years old and didn't know it

886
00:45:18,760 --> 00:45:21,080
Speaker 1: was him, and it's still one of my top record.

887
00:45:21,120 --> 00:45:23,239
Speaker 1: Six in the morning, police at my door, that ship.

888
00:45:23,440 --> 00:45:26,160
Speaker 1: But anyway, they came home talking about easy Ease and

889
00:45:26,200 --> 00:45:27,839
Speaker 1: all this ship. So now the thoughts in my head.

890
00:45:27,840 --> 00:45:30,160
Speaker 1: And I had a there was a cab driver. Well

891
00:45:30,200 --> 00:45:33,680
Speaker 1: he was a Gypsy cab driver and ship CB cool motherfucker,

892
00:45:33,719 --> 00:45:36,720
Speaker 1: gold teeth in his mouth, older kat o g and um.

893
00:45:36,760 --> 00:45:39,280
Speaker 1: Anytime he would drive me, he would play too Short.

894
00:45:40,040 --> 00:45:42,640
Speaker 1: He was the biggest fucking too short fan. Born in

895
00:45:42,719 --> 00:45:46,359
Speaker 1: New York, Grand New York. But love too Short. Now,

896
00:45:46,400 --> 00:45:48,640
Speaker 1: I ain't gonna lie. When I heard too Short, I

897
00:45:48,680 --> 00:45:51,080
Speaker 1: fell in love. Was short off top. I knew the

898
00:45:51,160 --> 00:45:53,799
Speaker 1: rhymes weren't where they needed to be, but it was

899
00:45:53,840 --> 00:45:58,120
Speaker 1: just something about those beats and what he was talking about,

900
00:45:58,239 --> 00:46:00,759
Speaker 1: Like damn, I mean he was talking to I mean

901
00:46:00,800 --> 00:46:05,680
Speaker 1: talking about PC Yeah Yo, Shore was talking wild ship man.

902
00:46:06,080 --> 00:46:08,400
Speaker 1: But it was like like you almost felt like like

903
00:46:08,600 --> 00:46:11,000
Speaker 1: you're watching like a porno Yeah exactly. Like it was

904
00:46:11,040 --> 00:46:13,080
Speaker 1: like as a young kid to you, like this is fun?

905
00:46:13,200 --> 00:46:16,920
Speaker 1: What is it? Ship? Is it illegally? Exactly? So now

906
00:46:16,960 --> 00:46:19,560
Speaker 1: it's showing. Now the game is showing that. Okay, this

907
00:46:19,680 --> 00:46:21,840
Speaker 1: music is over there on the West coast. What about

908
00:46:21,840 --> 00:46:24,680
Speaker 1: down south? You got Jay Prince down there, Like, look, man,

909
00:46:25,160 --> 00:46:26,880
Speaker 1: I know some niggers out here that rap better in

910
00:46:26,880 --> 00:46:29,600
Speaker 1: the New York niggas and them Callie niggas. Let's put

911
00:46:29,600 --> 00:46:31,920
Speaker 1: it down. They start doing their own ship now. To

912
00:46:32,000 --> 00:46:35,200
Speaker 1: think about the South was that people failed to understand,

913
00:46:35,360 --> 00:46:37,360
Speaker 1: was it's more of the South than it is just

914
00:46:37,520 --> 00:46:41,359
Speaker 1: New York or just California. You know, the South could

915
00:46:41,360 --> 00:46:44,240
Speaker 1: include the Midwest too, because they got some Southern culture

916
00:46:44,280 --> 00:46:48,319
Speaker 1: there too. Once these more and they always unified, they

917
00:46:48,360 --> 00:46:51,520
Speaker 1: always work together, that Southern hospitality than we all all

918
00:46:51,520 --> 00:46:54,279
Speaker 1: those artists work together, knew each other for years and

919
00:46:54,320 --> 00:46:57,080
Speaker 1: all that ship. So when the South popped off and said,

920
00:46:57,200 --> 00:47:00,000
Speaker 1: funk that we ain't listening to the y'all music no more,

921
00:47:00,080 --> 00:47:02,000
Speaker 1: got plenty of our own ship here and all of

922
00:47:02,000 --> 00:47:04,759
Speaker 1: them artists started linking up. That ship started something that

923
00:47:04,840 --> 00:47:08,040
Speaker 1: was unstoppable. And I applauded them. I said, even if,

924
00:47:08,160 --> 00:47:09,680
Speaker 1: and I was one of the first people to say,

925
00:47:09,719 --> 00:47:12,120
Speaker 1: even if y'a don't want to appreciate that music coming

926
00:47:12,120 --> 00:47:14,840
Speaker 1: out of down South, you gotta appreciate their fucking hustle,

927
00:47:15,440 --> 00:47:18,879
Speaker 1: them niggers, businessmen down there, they're doing they fucking thing.

928
00:47:19,000 --> 00:47:24,160
Speaker 1: And from there the world took notice, and everybody in

929
00:47:24,200 --> 00:47:26,759
Speaker 1: their mama from down South. Now everybody wanta go back

930
00:47:26,800 --> 00:47:29,160
Speaker 1: to their rooms. Hey body a t everybody that you

931
00:47:29,200 --> 00:47:31,560
Speaker 1: don't hear New York in the conversation anymore? Really does

932
00:47:31,920 --> 00:47:35,040
Speaker 1: that bother you? Yes? Yes, but we don't have like

933
00:47:35,120 --> 00:47:39,640
Speaker 1: that like the astap kids are reppid. But it's not

934
00:47:39,719 --> 00:47:42,440
Speaker 1: like New like like it was like I didn't. I'm

935
00:47:42,440 --> 00:47:45,880
Speaker 1: gonna keep it fucking funky. No one listen unless you

936
00:47:45,880 --> 00:47:49,120
Speaker 1: went to Staten Island. I know, I know, I've been

937
00:47:49,120 --> 00:47:52,799
Speaker 1: to Stantn Island. I've been to Staten Island one time

938
00:47:52,840 --> 00:47:56,920
Speaker 1: in my life. That's real, all right. So at this

939
00:47:56,960 --> 00:47:59,760
Speaker 1: point in the interview, the last three or four minutes

940
00:47:59,800 --> 00:48:02,960
Speaker 1: of the interview, we were killing it so rough and

941
00:48:03,040 --> 00:48:07,240
Speaker 1: rugged that the MIC's broke. Okay, you heard the gold,

942
00:48:07,320 --> 00:48:09,239
Speaker 1: but the MIC's broke for the last three or four

943
00:48:09,280 --> 00:48:14,520
Speaker 1: minutes of the interview. I apologize, um, and this is

944
00:48:14,520 --> 00:48:18,920
Speaker 1: how we ended it. Yo, the motherfucking meth meThe man

945
00:48:18,960 --> 00:48:21,719
Speaker 1: broke the mic. I broke it. We broke the ship, yo,

946
00:48:22,680 --> 00:48:26,400
Speaker 1: Iron Rapport Stereo podcast. Meth I was gonna get the

947
00:48:27,320 --> 00:48:29,600
Speaker 1: all eyes on Me Tupac story. We'll get that on

948
00:48:29,640 --> 00:48:31,880
Speaker 1: the next time. Meth the man broke the moup. This

949
00:48:31,880 --> 00:48:34,200
Speaker 1: is the first time somebody broke the motherfucking mics on

950
00:48:34,000 --> 00:48:36,840
Speaker 1: the on the podcast. That's goddamn right. You see my records.

951
00:48:36,920 --> 00:48:39,200
Speaker 1: Easy for having busy U