Speaker 1: Watch up and welcome back to another episode of No
Speaker 1: Selling's podcast with your host.
Speaker 2: Now fuck that with your load glasses malone.
Speaker 3: Click click bow y'alld dove kick the frame in Nigga,
Speaker 3: Let the games begin as I stand then tossed the
Speaker 3: tall cand on the campus, out the land of the
Speaker 3: scan list, taking penitentiary chances, sick wooded off the rick
Speaker 3: wooded blue beanie, knitted freshly acquidded, grind grime me the
Speaker 3: big body and the big body with lyrics and drulics
Speaker 3: hotter than a hobby selling globo, bailing career, felling escalate,
Speaker 3: three braive beer wear, fuck it a thug for free
Speaker 3: and thug eat. Niggas call me your hog kid because
Speaker 3: I love the cheese thanks to hustlers pimps. If you
Speaker 3: follow me, let me see you put your hands up
Speaker 3: like a robbery. I solemnly swear to stay down and
Speaker 3: slain the sea. I spit in the name of the streets.
Speaker 2: I'm gone a row, nigga artist.
Speaker 3: Love sea is hard.
Speaker 2: Niggas are real live city.
Speaker 1: What's funny is when niggas be talking about dub and
Speaker 1: they really got on him because of when he became
Speaker 1: a better songwriter, right, and it really the chance, the
Speaker 1: chance style, you know what I mean, that made him
Speaker 1: like such a better songwriter. But most people only discovered him,
Speaker 1: you know, because his songwriting got better, right, the records
Speaker 1: got better, So now you're hearing it the more right
Speaker 1: and it worked out for him well. But it's funny
Speaker 1: that people don't realize how dope of an MC he is.
Speaker 2: Just flat out Oh.
Speaker 3: Dub is a lyricist. I think people get caught too
Speaker 3: cut up with the bing bing bang bang and all
Speaker 3: that stuff, you.
Speaker 1: Know, which is necessary, which is necessary if you want
Speaker 1: to be a great songwriter, Like when he did the
Speaker 1: Top Head.
Speaker 3: My favorite one from him is that's right, y'all, go ahead,
Speaker 3: dub go ahead, rock that shit the top shit.
Speaker 1: Yeah on my track walk Jaggie as fuck with the
Speaker 1: slow funk example, the problem to that song.
Speaker 2: You are the ones? You are the ones you you Yeah.
Speaker 1: Double So thinking about early dub C, you know what
Speaker 1: I'm saying, like low profile, hearing some of his stuff
Speaker 1: when I was younger, then hearing it as an adult
Speaker 1: mass circle, you know what I'm saying, Like he was
Speaker 1: already an MC. You could tell he was like vested
Speaker 1: in hip hop a lot different than most West Coast artists.
Speaker 1: But you know, even as he developed into a better
Speaker 1: record rider where he would have those jingles and chants,
Speaker 1: that is amazing And it's funny that again people define
Speaker 1: him as an MC that way. They're like, oh, this
Speaker 1: is the type MC is, Like, Nah, duve really rapped
Speaker 1: for me, But he also became such a better record
Speaker 1: It's like hearing the later ice Q without hearing the
Speaker 1: early ice Q.
Speaker 2: Like if you never heard kill that, will you.
Speaker 1: Know death certificate kid America's most you know, straight out
Speaker 1: of content any of that stuff, and you only heard
Speaker 1: you know, uh and you own only heard like dubs
Speaker 1: like ice Cube off West Side Connection, mm hm, you
Speaker 1: know what I mean? Where he's uh got lyrics to
Speaker 1: Wake of Spirits. They showed me how to spin big heads.
Speaker 1: Oh no, they showed me how to wake digits and
Speaker 1: spin digits. Like if you hear him later on where
Speaker 1: he's yayy I pushed, Like, if you only heard that
Speaker 1: ice Cube, you kind of missed what made ice qbe
Speaker 1: fantastic as an MC before me record.
Speaker 3: Writer listening to pay Dues DUBC and listening to later
Speaker 3: dub C has two different experiences because pay Due's DUBC
Speaker 3: was hard to see him too. But when he started
Speaker 3: just thinking about Halleen Genistad, he was to put top
Speaker 3: Cat in your wrap that you do stage right for
Speaker 3: the Radical Evening, we got the mass circle in the
Speaker 3: house this evening. Get down. Then you're dune quit Yeah,
Speaker 3: rock rocket.
Speaker 2: Yeah, that's hard.
Speaker 3: That was hard saying.
Speaker 1: But to me, like the mastery part of m saying
Speaker 1: dog is when you do something that becomes your own.
Speaker 1: See like, yes, there is a traditionally dope MC where
Speaker 1: they just put words together and they have a decent
Speaker 1: flow and you know the words. But then there's a
Speaker 1: mastery as a rapper where you start to do things
Speaker 1: that only become you doing them. That's where to me,
Speaker 1: dub C is at or Ice Q, where they start
Speaker 1: to do things that uniquely become just their own.
Speaker 3: That's well, you know what the thing is, man, and
Speaker 3: I know we feel in this conversation we was gonna
Speaker 3: talk about some whole other stuff. The thing about Duve
Speaker 3: what people don't understand is that dub is a master
Speaker 3: human beat boxer. Dub is a master freestyle of dub
Speaker 3: is a real.
Speaker 1: MC, your master, and it's funny you saying that, you know,
Speaker 1: whereever fuck with the conversation was supposed to go.
Speaker 2: That's the thing.
Speaker 1: I think there's a difference between a rapper and an MC,
Speaker 1: Like a MC is judged by really how they write
Speaker 1: for the most part, and you wouldn't think they are,
Speaker 1: but they're really judged by how they're right, how they write,
Speaker 1: you know, double entendres, similes, you know, blah blah blah
Speaker 1: or master. Rapper is judged by how dope their professional
Speaker 1: rap songs are. So a lot of the times when
Speaker 1: we call somebody just rapping on a corner rapping, Yes, rapping,
Speaker 1: but that's really m seeing they're controlling the space. Yeah, yeah,
Speaker 1: But a rapper is really judged by how you know,
Speaker 1: they actually make a rap record work. And it's funny
Speaker 1: because I think as a as an MC, I'm on
Speaker 1: a like a final level of getting to where that
Speaker 1: is to where uniquely what I do is only minds.
Speaker 2: I haven't got there yet.
Speaker 1: Where Dub is at so or where Cube is at
Speaker 1: or where jay Z is at.
Speaker 2: It's still a step.
Speaker 1: It's like it's like it's like when you find that glow,
Speaker 1: like with a Bruce Lee Royd.
Speaker 3: It's like they got the glow for sure. I'm gonna
Speaker 3: tell you one of my most memorable experiences. Me and
Speaker 3: high Sea probably performed at Choir Canyons probably a hundred
Speaker 3: times easily. And I remember it was high Sea, dub
Speaker 3: C and MC breed Rest and pre SMC Breed And
Speaker 3: for dub just to have the awareness that we was
Speaker 3: in the house full of Mexican people and he said,
Speaker 3: we're all just little shit, like we're all my latinos
Speaker 3: at and how they went crazy and how he just
Speaker 3: started getting his walk on and he just did all
Speaker 3: that fly gangs and stuff that night. Even for Breed
Speaker 3: to come out there and have the awareness to say, Okay,
Speaker 3: I'm not gonna do all these songs. He just started
Speaker 3: off with to the Beach, y'all that's dope and wasn't
Speaker 3: gonna kill a vibe and he just had a rocking dog.
Speaker 3: He did that song three times in the row that night.
Speaker 1: And people want to hear it, especially that song. I'm
Speaker 1: I'm I know I'm a master in ce. I mean
Speaker 1: I'm at a place to where I write uniquely in
Speaker 1: my own style, my own flow, my own pace, a
Speaker 1: master rapper where I master a rap style to where
Speaker 1: when you hear it, every time you can separate him
Speaker 1: be like, oh that's just glasses No. And to me
Speaker 1: it's like I probably can MC as great as you
Speaker 1: can MC. Like I could probably be on a song
Speaker 1: with Rock Kim or a song with car Face and
Speaker 1: have a memorable verse. But can I make I seen
Speaker 1: a man die? Is true mastery as a rapper, not
Speaker 1: as MC as a rapper. You know, to have a
Speaker 1: sixteen that I can compete with. I can compete with
Speaker 1: Lil Wayne when at a time I knew I couldn't,
Speaker 1: Like now I can compete with Lil Wayne when we're
Speaker 1: rapping on the same song. But can I make a MILLI?
Speaker 1: Can I make a rap song that becomes infinitely mind
Speaker 1: to where you hear it, you could automatically say that's
Speaker 1: a glasses rap song. And to me, it's the difference
Speaker 1: between M singing and rapping. Like you know what I'm saying.
Speaker 3: I'm gonna tell you man, when you start talking about
Speaker 3: Lil Wayne, that's as good as it gets. C that's
Speaker 3: as good as a Getting scar faced is as good
Speaker 3: as it gets. Even hole, that's as good as it get.
Speaker 2: You know, what's funny. Dub C is as great as
Speaker 2: it gets.
Speaker 3: Hard.
Speaker 1: But the difference is the production got to be at
Speaker 1: a certain level and Dubb didn't really get that. You
Speaker 1: see the one album he did with battle Cat, he
Speaker 1: got a gold album independently, not with a death jam,
Speaker 1: you know, I mean they switched it up and try
Speaker 1: to figure it out on the next album, but the
Speaker 1: shadiest one, you know what I mean, you got something special,
Speaker 1: Like he's a master, even if you know his sales
Speaker 1: sheet doesn't show it, but to go go independently proves it.
Speaker 3: Actually, well you know what, you would think that dub
Speaker 3: would have double back with battle Cat. I'm gonna tell
Speaker 3: you some I'm gonna break some news on those ceilings
Speaker 3: right now. Sure, I'm like in the process of executive
Speaker 3: producing album for MC eight. Right yeah, this is gonna
Speaker 3: be his last album, that's what he's saying. And I
Speaker 3: don't like when rappers say that, but you know, he
Speaker 3: said this is gonna be and me knowing a that
Speaker 3: kind of take him seriously because he don't say stuff
Speaker 3: just for shock value and just and that was one
Speaker 3: of the things looking at, saying, Okay, what can I
Speaker 3: add to a story? Career. You know, eight don't have
Speaker 3: three gold albums. He just had three gold albums. Hen
Speaker 3: been around for you and stood the test of time. Dog,
Speaker 3: you know how hard it was the last thirty thirty
Speaker 3: five years in this game. It's very few people that
Speaker 3: can do that. And still, you know, he suck just
Speaker 3: sold out Europe and I think he's a lot bigger
Speaker 3: than what he thinks he is. He's a lot more
Speaker 3: repaired than what he thinks than.
Speaker 2: In his mind MC eight.
Speaker 3: And what I realized with eight is that what made eight,
Speaker 3: what made all those gold albums and success, what made
Speaker 3: music to drive by and all that of success, right,
Speaker 3: it was the sonics of it this because he had
Speaker 3: a producer around him. Those were really producer leg you know,
Speaker 3: he had.
Speaker 1: DJ Slip, one of the colder you know, he had
Speaker 1: DJ Slip. Credit man Slip is amazing.
Speaker 3: Oh we Slip is amazing. But I looked and I said, Okay,
Speaker 3: what's the two thousand who can be his twenty twenty four,
Speaker 3: twenty twenty five DJ Slipping and as crazy as it is.
Speaker 3: And we was talking to rock Marsa. He shout out
Speaker 3: to the hommy rock. He understands the sonics that made
Speaker 3: eight great because that's what he grew up on, right,
Speaker 3: and that's what influenced him. It's a lot of soul
Speaker 3: for stuff, you know, a lot of soul for jazzy stuff.
Speaker 3: So I think that's gonna be real interesting, man. But
Speaker 3: what I want to do is incorporate some battlecat in
Speaker 3: with that.
Speaker 2: You know, it's funny, man. So first off, no seilings gl.
Speaker 1: Peter's in California, but I think he's a little busy
Speaker 1: so we might not get him. So I got my
Speaker 1: big brother Steal as usual recurring person on those seilings,
Speaker 1: and we're just talking about some flat out hip hop.
Speaker 3: Eight.
Speaker 1: You know what made eight special? He had a version
Speaker 1: of blues funk, you know, I mean it was funky blues.
Speaker 1: So it does have a jazzy element, but it's really
Speaker 1: bluesy when you think like all for the Money, you
Speaker 1: know what I mean. That's a jazz song, but it's
Speaker 1: more of a bluesy style jazz song when you think
Speaker 1: of you know, the song that they did using clear
Speaker 1: Patrick's theme boys, and that's bluesy, like eight is more
Speaker 1: of a blues funk person and as now if okay,
Speaker 1: So it's funny that I wanted to talk to you
Speaker 1: about this, and I didn't even call you to talk
Speaker 1: about this. But I think people confuse what a A and
Speaker 1: R job is. And I think it's because record labels
Speaker 1: never really did a great job of explaining.
Speaker 3: Itz A and R.
Speaker 2: They don't produce your records.
Speaker 1: See there's a confusion that A and RS just bring
Speaker 1: you beats and you rap and they put together album.
Speaker 1: It's not really what happens. A producer producer is your
Speaker 1: records ignor's job is outside of finding talent, finding marketable talent,
Speaker 1: is they become a bridge between a product that a
Speaker 1: label is financing and a product manager.
Speaker 2: Right, how to market? Right? So how are we going
Speaker 2: to market it? That's the trick.
Speaker 1: So they hear where the production of the record is going,
Speaker 1: they figure out a marketable kind of it used to
Speaker 1: be a marketable sonic or a vibe or feel, and
Speaker 1: they say, Okay, I know where this project is going. Okay,
Speaker 1: I'm going to add other people that fit the vibe
Speaker 1: of this, that have marketable elements features I'm going to
Speaker 1: go get Okay, you have.
Speaker 2: DJ Slip, let me go get something from.
Speaker 1: Let's say a Justice League, because they have a huge
Speaker 1: version of blues. Let's go get something from Mike Dean
Speaker 1: and Scarface because really in the world Scarface, where were
Speaker 1: produce on the last MC eight album Scarfacing Mike Dean
Speaker 1: that in a perfect world.
Speaker 3: Yeah, in a perfect world. But you know, and that's
Speaker 3: the thing as an A and R and I really
Speaker 3: feel like that's my job to go get the most
Speaker 3: successful people that's gonna make sense for this, right.
Speaker 2: I will love it.
Speaker 1: It's not your job. Let me tell you your job.
Speaker 1: And I'm glad because now I'm glad we're putting it together.
Speaker 1: The sound crazy we just thought. So your job is
Speaker 1: to figure out how we gonna market it market eights album,
Speaker 1: not not you to figure out. Your job is to
Speaker 1: figure out a marketable angle and you communicate that with
Speaker 1: a product manager so they know which place is to
Speaker 1: put it the audience that's looking for this type of shit.
Speaker 1: And then right if Rob Marcy, let's say he's doing
Speaker 1: the line share of the production is to find the
Speaker 1: marketable pieces to help access the blues feel of what
Speaker 1: it is a do and then incorporate that so the
Speaker 1: product manager has a marketable project product rather and also
Speaker 1: you know edges on the project that is marketable, certain
Speaker 1: features that fit that blues type of space, right that space.
Speaker 1: That's your job, not just to go find a bunch
Speaker 1: of names that kind of don't fit obviously, you know
Speaker 1: this not to fit the thing, but really marketable things
Speaker 1: like maybe it's you know, finding a big blues musician
Speaker 1: and having him play something, and really because you you're
Speaker 1: putting it somewhere where, because you're marketing the features, you're
Speaker 1: marketing the producer, you're marketing all of these these are
Speaker 1: extra marketing edges outside of the MCA ben into.
Speaker 3: Just imagine this man like I just put an email
Speaker 3: off you know, Bob james E is right.
Speaker 2: Of course to do, not onlist.
Speaker 3: Yeah, I put an email out to him because I
Speaker 3: have some because Aid has a certain sound on. When
Speaker 3: he's on that sound, it's really just special. It's something special.
Speaker 3: But I think he has limited himself over the last
Speaker 3: number of years. Ada is a great m C too.
Speaker 1: I don't I don't think he's limited himself. I think
Speaker 1: he kind of played ball. I think he played the
Speaker 1: space that he knew his audience liked.
Speaker 3: And see when I say limiting, I'm not talking about
Speaker 3: his music in the musical space it's like eight has
Speaker 3: a hard time sometimes recognizing who he is in the culture.
Speaker 1: I would imagine, I mean, if you genuinely the Snoop
Speaker 1: is the same way, fucking Snoop Dogg is the same way.
Speaker 1: I remember talking to Snoop and it's funny because I
Speaker 1: had this really deep conversation telling him who he was
Speaker 1: to the culture. And don't get me wrong, Snoop is
Speaker 1: definitely Snoop. He's not some insecure person for the most part,
Speaker 1: but I really don't think he.
Speaker 2: Understood who Snoop was.
Speaker 1: And I remember it was me and Jay Rock shout
Speaker 1: out to Jay Roff, my boyfriend TV. It's one of
Speaker 1: my day ones, and we got to this whole thing,
Speaker 1: and I was telling Snoop what he meant to us,
Speaker 1: like it was a conversation that I think in his
Speaker 1: mind he thought was gonna go totally different and like
Speaker 1: and it went to a space that he wasn't even expected,
Speaker 1: like what you mean to the future of the West
Speaker 1: and culturally what you represent?
Speaker 3: You know what I mean?
Speaker 2: Like that shit, I remember that conversation.
Speaker 1: I'm cussing this nigga out in front of Dash everybody,
Speaker 1: and I'm like, bro, do you know what you mean
Speaker 1: to Nigga's dog, Like, do you this is in two
Speaker 1: thousand and nine. I'm on one crutch with one gun
Speaker 1: and I'm telling this like, you mean the world, bro?
Speaker 1: Do you understand what it means if you just say, hey,
Speaker 1: I see you doing your thing, nephew, That shit will
Speaker 1: make you think you could conquer the world. And I'm like,
Speaker 1: I think he don't get in his Like now I
Speaker 1: think he's getting it, you know what I mean? Because
Speaker 1: he came on club. I was like, you know what,
Speaker 1: and he said, he said, glasses really made me see
Speaker 1: a lot of shit that I never tripped off of.
Speaker 2: And it's hard because he driving the car. He ain't
Speaker 2: really tripping off where he's going. He just driving the motherfucker.
Speaker 2: But look at this motherfucker.
Speaker 1: Not only is he on the super Bowl stage still
Speaker 1: being equipped when most of hip hop, you know, will
Speaker 1: kind of let the culture go to move into another space,
Speaker 1: even something as simple as their name. Snoop Dogg is
Speaker 1: Snoop Dogg right fucking now, like Ice Tea is Iced Tea.
Speaker 1: Ice Tea as a sixty six year old man in
Speaker 1: hip hop. Currently when he does SVU, that screen don't
Speaker 1: say Tracy Morrow. That's that motherfucker, say Ice Tea. It's
Speaker 1: amazing for you, like the people you revere in the
Speaker 1: culture to go and lead, like, hey, you know what
Speaker 1: hip hop can do everything. So you see Snoop doing
Speaker 1: the Olympics and he's the life of the event, you
Speaker 1: know what I mean? That makes it easier for somebody
Speaker 1: to follow in their footprints, you know, take it to
Speaker 1: another place. And I'm I'm a huge fan of that.
Speaker 3: I believe first and foremost you just said something that
Speaker 3: was key. You have to stay a fan of the music.
Speaker 3: So me being a fan, it's almost like you get
Speaker 3: to like coach Brett Fahr from his last game, right
Speaker 3: in one of his last games, you know, this great
Speaker 3: story quarterback that don't have like a Hall of Fame career.
Speaker 3: He's already a Hall of Famer, but you're trying.
Speaker 1: That's a good comparable for West Coast hip hop. Two
Speaker 1: MCA and Brett Fahr.
Speaker 3: You know what I'm saying to where a dude that's
Speaker 3: just back, got the battle scars on him and it's
Speaker 3: like versus just eight just doing another album. I wanted
Speaker 3: him to do an album and have it to where
Speaker 3: to where he got the bells and whistles with it,
Speaker 3: to where he got a marketing budget, to where it's
Speaker 3: everything is in place, you feel what I'm saying, to
Speaker 3: where everything where he's really getting a fair shot.
Speaker 1: So so my opinion if you want minees obviously you've
Speaker 1: been doing hip hop lore your opinion.
Speaker 3: Anyway, little bro, I'm coming to ask you a lot
Speaker 3: of stuff too, like I've been asked.
Speaker 2: You've been doing hip hop longer than me.
Speaker 1: But just the clarity, right, the stream of conscience that
Speaker 1: I've received, what it is MC eight as a blues
Speaker 1: musician is really where it's at. Like nobody does a
Speaker 1: level of blues. Don't get me wrong, you can implement soul,
Speaker 1: you gonna have a little kind of jazz too, But
Speaker 1: man as a blues musician, that's where he's he's like
Speaker 1: ingenious and it makes him that bluesy funk that that
Speaker 1: compon is most wanted is known for.
Speaker 2: Is why they have a unique place in scene today.
Speaker 3: And further, like.
Speaker 1: Making short people understand, hip hop is culture before music.
Speaker 1: It's the one thing that that makes it a little different.
Speaker 1: It's about the culture first. So stamping down on something
Speaker 1: culturally relevant and then making a product around that and
Speaker 1: still you.
Speaker 3: Know what, still having a wisdom. What happens a lot
Speaker 3: of times is that the OG producer get pushed to
Speaker 3: the side for the new cat right, which is crazy.
Speaker 3: We goos really make Slip involved, Like Slip is gonna
Speaker 3: be very involved with this thing. You feel what I'm saying,
Speaker 3: it's gonna be. He's gonna be very involved. And I
Speaker 3: think you almost have to do that in order to
Speaker 3: have that original essence that's the sauce.
Speaker 1: Maybe it's time we call that this time. I call
Speaker 1: it Andre to try to get a fair to get
Speaker 1: them too. Dudes that never did nothing now.
Speaker 3: They never did anything together. I think Dre and Nate
Speaker 3: would be awesome, and that's been my goals. It's like,
Speaker 3: the thing that scared me about eight is when he
Speaker 3: said this is gonna be his last album he did
Speaker 3: as serious, you know, it's like he won't to do
Speaker 3: other things not right. And that's not to say he
Speaker 3: not going ever rap again, not, but as far as
Speaker 3: trying to put the albums out and through all that,
Speaker 3: I think he's kind of done everything it is to
Speaker 3: be done almost, you know, and that would be awesome
Speaker 3: to be able to get a Dray involved. I want
Speaker 3: everybody on the coast of walls in this.
Speaker 2: You know, well I should I want only ebody would
Speaker 2: make sense.
Speaker 1: Yeah, that fit makes sense. I had a crazy conversation
Speaker 1: right with Richie Rich. Shout out to Richie Rich, Smokelan.
Speaker 2: I heard his leg.
Speaker 1: If y'all seen the it's a clip of going around
Speaker 1: where he just fell down and he was still rapping
Speaker 1: his verse. Uh, the injury all familiar with it. I
Speaker 1: had that injury on both legs. It's a torn for
Speaker 1: Teler tended and he had tour his before it tour
Speaker 1: again and you know obviously had the in surgery, but
Speaker 1: he still wrapped this whole verse and it is a
Speaker 1: it is a painful thing, but if you felt it,
Speaker 1: you kind of like know what's going on.
Speaker 2: And but I had a conversation with him before today.
Speaker 1: I had a conversation with him, not before, but today.
Speaker 1: And there was a time when hip hop were classic.
Speaker 1: Hip hop wasn't really getting the credit, like they didn't
Speaker 1: seem like they had the following like short forty Snoop.
Speaker 1: They weren't really being booked in arenas you know. In
Speaker 1: the late two thousands, it was kind of like hip
Speaker 1: hop still had this stigma where if you were not
Speaker 1: you know, if you wasn't Jay Z or you know
Speaker 1: Eminem that, you know, the business wasn't as profitable to
Speaker 1: do it with you. There was a there was a
Speaker 1: bit of agism in the in the in the whole
Speaker 1: entertainment industry for older hip hop acts. I had a
Speaker 1: really dope conversation with ad brother named Adrian. They used
Speaker 1: to run KD and they were working on like a
Speaker 1: summer Jam type of event, and he was trying to
Speaker 1: book Wayne and Wayne with so much money. And I
Speaker 1: remember coming to tell him, like you know, he was
Speaker 1: having a conversation. I'm like, why don't you just get
Speaker 1: all of the heritage acts from the West Coast. He's like, man,
Speaker 1: you know, I don't know if they could sell out
Speaker 1: the forum. I'm like, of course they could. He said,
Speaker 1: why would they? And I said, if you put all
Speaker 1: of the heritage you know, West Coast hip hop acts,
Speaker 1: you have thirty years of fandom right like you have,
Speaker 1: you know, twenty to thirty years of fandom going on
Speaker 1: smash hit records, and it'll make all the audience and
Speaker 1: fans go back into a space to where they remember
Speaker 1: good times in their life. I'm like, hell yeah, you'll
Speaker 1: sell out that arena. He thought it was so crazy,
Speaker 1: but to his credit, shout out to a d because
Speaker 1: he did it.
Speaker 2: He was like, all right, I'm gonna do it, and
Speaker 2: he did it.
Speaker 1: And he puts together this idea called how the West
Speaker 1: was Going and up selling out I think in the
Speaker 1: first five days, and I remember him adding me to
Speaker 1: the show because he was like, this is.
Speaker 2: Dope, you know what I mean.
Speaker 1: And since then they've added another thing that's just like
Speaker 1: that called crush Groove. I say all that to say
Speaker 1: that there are such a huge value in our legends
Speaker 1: of this thing we call hip hop.
Speaker 2: Huge value.
Speaker 1: It's just up to you to understand how to really
Speaker 1: materialize it bring it to life. But there's a huge
Speaker 1: value and you don't it don't got to just be
Speaker 1: jay Z like Buster Rahm's dub C. I mean, those
Speaker 1: guys are valuable, you know I mean, And even if
Speaker 1: if they get confused, because I'm sure as you grow older,
Speaker 1: you know what I mean, you like, oh man, where
Speaker 1: do where's my place in in something?
Speaker 2: Today?
Speaker 1: You know that is definitely few by a youthful energy
Speaker 1: because culture is very much.
Speaker 3: Well, that's the thing with hip hop, g And I'm
Speaker 3: gonna tell you this. When people say that hip hop
Speaker 3: is a young man's game, it's not because the elder
Speaker 3: statesman can't do it a high level. This because hip
Speaker 3: hop has always been built on you for angst and
Speaker 3: youthful aggression. Young angry dude, young angry people.
Speaker 2: But you know it's funny.
Speaker 1: I had a conversation with a Hammy and while I agree,
Speaker 1: I think that's partially true. You know why I disagree,
Speaker 1: and it's not a complete truth. The business of hip
Speaker 1: hop has always been older. The production pop has always
Speaker 1: been older. Sylvia Robinson, who did Rapper's Delight and The Message,
Speaker 1: the producer of both of those songs, This lady is
Speaker 1: forty some years old when this is happening.
Speaker 2: You look at Mally Mal when he had Is Run.
Speaker 2: Molly Mal is thirty years old.
Speaker 1: You know, by the time he start doing all this
Speaker 1: stuff for Heavy D and Kane and the Juice Crew.
Speaker 1: You look at Dre when he finally does the stuff
Speaker 1: for NWA. You know, even as a producer, he's what
Speaker 1: twenty six, twenty seven at that point. By the time
Speaker 1: he does Snoop he's thirty, you know what I mean,
Speaker 1: By the time he got fifty cent, you know, he's
Speaker 1: forty something. Time he does eminem, he's just about forty,
Speaker 1: you know what I mean. By the time he does game.
Speaker 1: You know, we're talking about two thousand and six, he's
Speaker 1: forty three. He got so again, I agree that hip hop,
Speaker 1: it does have a place for the youth to push
Speaker 1: the agenda because you gotta have this kind of.
Speaker 2: That's when you at your most cultured, when you do.
Speaker 3: You know, you always talk about your thorns, you know,
Speaker 3: you always talk about thorns. Well, you're young, you got
Speaker 3: your thorns, and you a lot less like me. Now.
Speaker 3: It's just certain shit I'm not gonna say.
Speaker 1: And the reason that is is because you're an adult,
Speaker 1: right you grew up here just growing up.
Speaker 2: You got kids. Everybody looking at you differently when you
Speaker 2: was a young knucklehead that just moved along beach as
Speaker 2: a teenager. It's different. You don't know to you, and
Speaker 2: hip hop is definitely a lot of I don't care.
Speaker 2: I agree with you.
Speaker 1: And what works for me, even as a forty year
Speaker 1: old man, a forty plus yr old man, you feel
Speaker 1: me is I don't have kids so I still don't
Speaker 1: fucking care.
Speaker 2: So it sounds.
Speaker 1: Extra crazy because it's like, oh, this grown ass nigga
Speaker 1: don't care, So I agree to some measure hip hop is.
Speaker 1: You know, when you at your youngest, you don't give
Speaker 1: a fuck. That's when you when you have your least
Speaker 1: amount of give a fuck. As you get older, you
Speaker 1: you have to give a fuck because now you got
Speaker 1: a daughter. I mean, now you got sons, now you
Speaker 1: got all this. It just changes. The world changes and
Speaker 1: people depend on you. Morally, you have to be in
Speaker 1: a droop. So I do think, you know, the youth
Speaker 1: has always brought the I don't give a fuck, you
Speaker 1: know what I mean when.
Speaker 2: You but when you grow up.
Speaker 1: But I still think the maturation of the mind behind
Speaker 1: the business of hip hop and the maturation behind the
Speaker 1: production of hip hop is what's wrong with hip hop today.
Speaker 1: You know, back when when you first came in the game,
Speaker 1: you know, when you first start fugging around, the producers
Speaker 1: was like battle Cap was thirty. You know what I'm saying, Like,
Speaker 1: you start talking like these dudes was grown. But that's
Speaker 1: why they could produce these young dudes.
Speaker 2: Today.
Speaker 1: The problem is, you know, again, the record business is
Speaker 1: a bunch of knowledge of prior records. It's experience in
Speaker 1: playing music, it's a it's a knowledge of how to
Speaker 1: work equipment. You know who's been working this SB twelve
Speaker 1: hundred the longest. Don't get me wrong, there is a
Speaker 1: brilliance about when somebody makes a mistake or you know,
Speaker 1: a rookie mistake, and then they make some shit. But
Speaker 1: the problem is you can't duplicate it, and that's what
Speaker 1: we witness in hip hop today. You don't there's no
Speaker 1: real methology behind it. It's methodology. It's just like a
Speaker 1: bunch of niggas making mistakes. So you got an eighteen
Speaker 1: year old niggas producer, eighteen year old niggas, well, guess what,
Speaker 1: you probably ain't gonna get five records, not back to back,
Speaker 1: because there's no method That dude is a well.
Speaker 3: That's why a lot of these kids don't have the
Speaker 3: staining prowerb because they may do something that's on accident
Speaker 3: and next thing, you know, in fairness to them, you know,
Speaker 3: you in your bedroom on a little setup and you
Speaker 3: mess around and do something. The next thing you know,
Speaker 3: you look up. You got twenty million views on YouTube
Speaker 3: and people call and trying to get you money and
Speaker 3: this and that. You don't even remember how you did
Speaker 3: that shit the first time, so you like damn, whereas
Speaker 3: if you were the seasoned producer, he knows exactly what
Speaker 3: he was.
Speaker 2: I know what worked there.
Speaker 1: And somebody asked me that I hear that a lot,
Speaker 1: oh glasses, What do you think about somebody like I
Speaker 1: remember peoples asked me what I thought about Blue Face
Speaker 1: when he first came out.
Speaker 2: I'm like blue.
Speaker 1: Face, like Dan Lows's blue Face fifth song, Dotoriannis his
Speaker 1: seventh song.
Speaker 2: Imagine, yes, you know what.
Speaker 3: That's the thing. When I started thinking about it from
Speaker 3: that standpoint, I stopped being a lot less critical of
Speaker 3: these kids, right because that's his fifth song. You're thinking
Speaker 3: about the fourth fifth song. The shit is incredible.
Speaker 2: Yeah, song on was a gold or a platinum or
Speaker 2: devil man.
Speaker 3: It's been hard probably for you to be good.
Speaker 1: So but imagine, like you take a guy, a freshman
Speaker 1: in high school. You know he has a four hundred
Speaker 1: yard Russian game, and they you know what, you fourteen fifteen,
Speaker 1: we're gonna take you out of high school. We're gonna
Speaker 1: put you in the pros. It may look different up here.
Speaker 1: You know, he not gonna have the kind of success.
Speaker 1: He's gonna have to develop into it his adult body.
Speaker 1: He's gonna have to learn so much and he's still
Speaker 1: new at it. And to me, that's what I think.
Speaker 1: That's why I'm a lot more gracious when it comes
Speaker 1: to today's hip hop. You know, modern today, the hip
Speaker 1: hop that's going, it's kids figuring it out. You know,
Speaker 1: they don't have a doctor Dre who you know, produced
Speaker 1: for Lonzo and the world class regging crew and was
Speaker 1: able to develop an understanding.
Speaker 2: They don't have the.
Speaker 1: Yellow or the or the the other guys that have
Speaker 1: the experience to help, you know, how to work this equipment.
Speaker 1: Like it's a little nigga with a laptop that somebody
Speaker 1: stole Becauz and he is just he just making some shit.
Speaker 1: So you have to be really patient with where hip
Speaker 1: hop is going because again, you know, it's a bunch
Speaker 1: of kids coaching kids.
Speaker 3: Together exactly, and that's what it is. I think the
Speaker 3: biggest part too, and then I'm gonna say this too,
Speaker 3: a lot of stuff that's going as the oje's fault
Speaker 3: because they don't really reach back to mess with kids.
Speaker 3: That's why we start, they just kind of step back
Speaker 3: and watch cats fall on the bike instead of just
Speaker 3: kind of, you know, picking the bike up and kind
Speaker 3: of got them a little bit. Man.
Speaker 1: You know, I always say this, bro, it's no way
Speaker 1: I have a million dollar budget and Warren g does
Speaker 1: not grab me.
Speaker 2: Shout out to Warren. That's my big brother. We talk
Speaker 2: all the time. I love Warren.
Speaker 1: There's no way Warren should have come grab me and say, hey, man,
Speaker 1: let me do your album. There's no way battle Cas
Speaker 1: should have got and say I'm finna do your album.
Speaker 3: Do it for free.
Speaker 1: They wouldn't they That's what they wouldn't have. It's a
Speaker 1: million dollars. They would not have do nothing for free.
Speaker 2: It's no way.
Speaker 1: I don't go talk to the people in charge, you know,
Speaker 1: especially as a as a maybe Drake, because Drake got
Speaker 1: a ton of stuff at the time, but Quick don't
Speaker 1: have a ton of stuff at the time. Warren don't
Speaker 1: have a ton of stuff at the time. Kat didn't
Speaker 1: have a ton of stuff at the time. How the
Speaker 1: fuck don't they snatch my young ass up by the
Speaker 1: column like, hey, you know, I'm finna do your album.
Speaker 2: Hey Mike, I'm doing bad Because.
Speaker 3: The thing is we fuck with Glad, We fucked with
Speaker 3: battle Care, fuck with.
Speaker 2: You, not like it's not like that, It's not it's
Speaker 2: not that time.
Speaker 1: No, I had a record with him before that. My
Speaker 1: brother bought for me, that be K bought for me.
Speaker 1: That was dope. But I'm saying it's another thing to
Speaker 1: come grabbing artists and be like, hey, I'm finna do
Speaker 1: your album. Nobody's gonna argue with that type of success.
Speaker 1: But I think at a certain place it's also a
Speaker 1: personality thing because like you know, I was a hustler.
Speaker 2: So like if I'm if I am.
Speaker 1: Battlecat of Warren g and I have that type of
Speaker 1: talented skills and history of success, man, I would have
Speaker 1: all these little dudes they couldn't even get away from me.
Speaker 2: They couldn't get away from me.
Speaker 3: Dog. Yeah, I think, uh, you know, it would have
Speaker 3: been crazy though, because I'm gonna tell you if then
Speaker 3: if we could have ran across a couple of them
Speaker 3: Bay Area cast, they for sure would have did.
Speaker 2: It because they hustlers.
Speaker 3: What I'm saying that Bank got a different hustle to.
Speaker 1: Him, the OG's here hustle, but they also been getting
Speaker 1: rewarded handsomely for hustling.
Speaker 2: I know that's quite hustling. You feel me if if
Speaker 2: if you do a song for mister Grimm and ended
Speaker 2: up being a million more time million dollars song. I'm
Speaker 2: sure Warren got some songs that didn't come out with
Speaker 2: a few guys, but that number. Mac mac ten always
Speaker 2: tells me that he's like, man, g is so hard.
Speaker 2: Man you usual to get so much money, you know.
Speaker 1: And I don't think when matc ten first started rapping
Speaker 1: he thought he could be a millionaire from rapping. I
Speaker 1: don't know if the business had changed in nineteen ninety
Speaker 1: two to where people thought they could be a millionaire
Speaker 1: from rapping.
Speaker 3: Yeah, you know what I think. I don't think nobody
Speaker 3: was everything about tickets back then. I think they was
Speaker 3: just looking at just a better way of life, yeah,
Speaker 3: and being dope and niggas thought it was millions of
Speaker 3: dollars necessarily in it. But I think people thought, you
Speaker 3: know what, I can do this and make me a
Speaker 3: good living.
Speaker 2: Here's a question.
Speaker 3: Remember people used to brag on songs about getting a
Speaker 3: thousand dollars a show.
Speaker 2: Here's here's here's a real question for you.
Speaker 1: Because you are you have been seasoned enough to see it,
Speaker 1: but you may not remember this. When do you remember
Speaker 1: thinking like, oh, rappers can make millions? You know what, Bro,
Speaker 1: Honestly your time, take your time about rappers, because I
Speaker 1: know that wasn't in the eighties.
Speaker 3: No, I'm gonna tell you when I thought about it.
Speaker 3: G to be honest with you, when I started getting
Speaker 3: money with my not mind of music, but with alter
Speaker 3: ego W from London.
Speaker 1: No, No, when did you see it happen in hip hop?
Speaker 1: Were you like, wait a minute, nigga could be a millionaire?
Speaker 3: You know what, Bro? Really, when Easy start doing this
Speaker 3: thing later on, not not not beginning Easy, but like
Speaker 3: around when they start doing the niggas for Life and
Speaker 3: all that stuff, I started looking at it and start
Speaker 3: hearing about the numbers and that really that's really what
Speaker 3: got me really attracted more to the business of music
Speaker 3: and learning about distribution and really learning how to get
Speaker 3: to the money. Because it was a long time I
Speaker 3: didn't think you could get I didn't think you could
Speaker 3: make millions, just as being the artists. I always thought
Speaker 3: the artist was gonna was getting.
Speaker 2: The crumbs better.
Speaker 1: Question, crazier question, what was the first person you thought
Speaker 1: was a millionaire in hip hop. Well, you know what,
Speaker 1: DJA not from with movies rappers, not a rapper.
Speaker 2: He was like they motherfucker back got a million dollars.
Speaker 3: You know what?
Speaker 1: Probably L you thought, And when did you win? When
Speaker 1: would you have thought La had a million dollars?
Speaker 3: You know what? Man? When he was just doing I
Speaker 3: saw L in person before, and he just looked like
Speaker 3: he had a million.
Speaker 2: Dollars, bro, not somebody who did films.
Speaker 3: Not somebody who did films.
Speaker 1: Because I'm sure looking at ice T and LLLL had
Speaker 1: to look different because they was doing films.
Speaker 3: Yeah, ice T and l L was different. That's probably
Speaker 3: not fair.
Speaker 1: Like who was a rapper you thought to yourself the
Speaker 1: first rapper? It couldn't have been in the eighties, because
Speaker 1: I doubt you thought.
Speaker 3: People. I'm gonna tell you something. I saw Cube in
Speaker 3: the nineties and he was driving a Suzuki, so.
Speaker 2: You had Yeah, I think he had dollars, And to fairness,
Speaker 2: he probably wasn't at that time.
Speaker 3: So who I can't thinking nobody from a from the
Speaker 3: rap side that I just thought had millions of dollars bro,
Speaker 3: outside of like them dudes that did movies and stuff.
Speaker 3: I just didn't see it.
Speaker 2: So it was about jay Z.
Speaker 3: Probably about the time say see and them start doing stuff.
Speaker 3: I think, yeah, they was getting paid. But then again
Speaker 3: they came in kind of like on some.
Speaker 2: Independent stuff or they had some dope money too.
Speaker 3: They had some dope money, like I thought P had
Speaker 3: money from dope from you know, slanging and uh like
Speaker 3: P and Hooves and all them them was the millionaires
Speaker 3: to me. And they was independent, and they was selling
Speaker 3: records independently, and I knew what the economics that looked like. Is.
Speaker 3: You gotta remember I had a record store and I
Speaker 3: started kind of putting two and two together, like, man,
Speaker 3: you got to move these people out in the middle.
Speaker 3: They've taken all the money.
Speaker 1: Here's a question for you. This is a hella interesting question.
Speaker 1: I'm glad we had this conversation. Who in gangst the Rap?
Speaker 2: Okay, let me get it right, let me get it.
Speaker 3: Right, Who in gainst the Rap made millians?
Speaker 2: No?
Speaker 1: No, no, no, because that's not a fair question, because
Speaker 1: it's a kind of the same question. I lost my
Speaker 1: train of thought, who in gangsed the Rap? I was thinking,
Speaker 1: who do you think had they first million dollars?
Speaker 2: That wasn't easy.
Speaker 3: Hmmm on the West coast.
Speaker 2: Yeah, like if we had to be sure, couldn't have
Speaker 2: been dre.
Speaker 3: Well. I'm gonna tell you, like this, them a bud,
Speaker 3: them a budd. The log cats had bread, but it
Speaker 3: wasn't for the raps.
Speaker 2: I'm talking about rappers. Not nobody's screwing up, not nobody
Speaker 2: that's living our life. But I'm saying from the street,
Speaker 2: I'm saying rapping.
Speaker 1: He's a gangstrip You like that motherfuck got a million dollars, Bro.
Speaker 3: I'll be honest with you, dog, that that didn't start
Speaker 3: like until I saw yeah, in the two thousands. Bro,
Speaker 3: probably you know what, probably snooping them because you know what,
Speaker 3: dog the thing is, you gotta think about it. When
Speaker 3: Snoop was on death row, he was getting one hundred
Speaker 3: thousand dollars a month.
Speaker 1: Yeah, but he didn't have no million dollars. I'm talking
Speaker 1: about somebody that went to the bank. They took out
Speaker 1: twenty dollars. They at nine hundred.
Speaker 3: Oh you know who? I thought it was rich? You
Speaker 3: knew what I thought they had a million dollars? Too short?
Speaker 3: What year I thought too short had a million dollars?
Speaker 3: Like doing the getting it while of getting this good
Speaker 3: era because I heard about this deal he got with
Speaker 3: JIB and he was independent too. I always thought Short
Speaker 3: Dog was the I thought Short Dog was the richest
Speaker 3: rapper in the game.
Speaker 1: So so now that we're smart enough to know, and
Speaker 1: we had to do the math, who is that person now?
Speaker 2: And what year is it?
Speaker 3: Who is the person? It's a whole bunch of millionaires
Speaker 3: and hip hop? Right?
Speaker 1: No, no, not here, I'm saying, who was the first
Speaker 1: one in gainst the rap that you was like?
Speaker 3: Who was the first one against the kids? On who
Speaker 3: you considered against the rep? Would you considered hood against
Speaker 3: the rapper?
Speaker 1: No, obviously we're talking about West Coast hip hop, so
Speaker 1: let's not even got hip hop.
Speaker 3: Who was the first person in hip hop to probably
Speaker 3: cracking against the rep? Probably Doctor Drake?
Speaker 1: When would he had cracked a million when he went
Speaker 1: off and did after math?
Speaker 3: When he went off and did after math?
Speaker 1: Or is it with death Row because he was getting
Speaker 1: a quarter million dollars a month?
Speaker 3: Yeah, Drake got it when he was with death Row,
Speaker 3: for sure.
Speaker 2: I don't think he had it. I don't think he
Speaker 2: hit a million dollars in one and one man.
Speaker 3: I'm gonna tell you something. And this is what I
Speaker 3: heard about dre Right. I heard that Trey was always
Speaker 3: getting money, but Drey didn't never go get his money,
Speaker 3: like this stuff about him leaving checks and the mail
Speaker 3: and checks going bad and stuff like that.
Speaker 1: Yeah, but if you think about it, he was getting
Speaker 1: a quarter million dollars a month with death row somewhere
Speaker 1: to one hundred and fifty or quarter million dollars a month.
Speaker 2: So he where would he got a million dollars.
Speaker 3: When you figured? Shoot four months ago about here a millionaire?
Speaker 1: But nigga, you know you got some change. You know
Speaker 1: that shit don't stack up. I'm saying, who is a fun?
Speaker 3: I never got no quarter million dollars a month. My
Speaker 3: nigga all made some cheese, but I ain't never got
Speaker 3: two fifty a month. I wish I would.
Speaker 1: Get you this two fifty a month. You ain't gonna
Speaker 1: have four much of a man. You gonna fuck it off.
Speaker 1: Rig gon want all kinds of bags and cars and shit.
Speaker 2: You ain't been that. No, mean, they's gonna take you
Speaker 2: at least a long time. You gonna be finished.
Speaker 3: You're gonna be buying cars and you just ain't Probably
Speaker 3: different cribs and shit, Yo, Morriy's probably gonna be fifty
Speaker 3: thousand a month.
Speaker 2: So I was thinking about it, and I was just
Speaker 2: I'm thinking about it now.
Speaker 1: The first person who probably got a million dollars at
Speaker 1: once would probably have been Nice Cube probably.
Speaker 3: Yeah. I say that because Cube was you know what.
Speaker 3: I look at Cube and short Number as a different
Speaker 3: level kind of man, because Cube was into a lot
Speaker 3: of stuff. Cube was a young executive, you know what
Speaker 3: I mean, he started kind of getting his business right.
Speaker 3: Cube was really the first one outside of Easy in
Speaker 3: them to be like, you know what, I'm gonna go
Speaker 3: get my business right.
Speaker 2: Yeah, but I think it would have been from the
Speaker 2: movie Friday.
Speaker 3: Yeah. I don't know if it came from music necessarily,
Speaker 3: not at first, but he did a lot of fly stuff,
Speaker 3: you know.
Speaker 1: CUBEQ would have got a million dollars from music, probably
Speaker 1: when they did West Side Connection or by the time
Speaker 1: they was doing uh, by the time they.
Speaker 2: Was doing Warren Peace, like a million at once.
Speaker 1: Maybe maybe he got a publishing check for a million
Speaker 1: dollars eventually too, Maybe he could have got that.
Speaker 3: Well, for sure, Cube did a pup deal in I'm
Speaker 3: pretty sure Priorady gave Cube some money remember he had
Speaker 3: a label through there.
Speaker 1: Yeah, but I doubt I don't think No Advances was
Speaker 1: a million even what he was selling.
Speaker 2: I don't. I doubt they would have gave a million
Speaker 2: dollars up top for a record.
Speaker 3: What did you half a million getting back to two
Speaker 3: fifty A half a million?
Speaker 2: Probably half a million.
Speaker 1: Like you know, by the time he got to the
Speaker 1: predatory probably said go follow in a thousand.
Speaker 3: Too, so cue.
Speaker 1: So I think his check would have came his million
Speaker 1: dollar check would have came from Friday.
Speaker 2: When they sold it.
Speaker 3: So put him over a million? Is that when we
Speaker 3: was very successful?
Speaker 1: Though, I mean not even I think you really get
Speaker 1: the back end on that shit. Honestly, probably at that time.
Speaker 1: But what I am thinking is it would have had
Speaker 1: to been around Friday or like easy probably would be
Speaker 1: the first one because I know he got it. But
Speaker 1: if it's just a well, because then qb ain't just
Speaker 1: a rapper. N this is a tough thing. Like I'm
Speaker 1: looking at it, I'm like, shit.
Speaker 3: Well, I'm pretty sure them dudes made some cheese with
Speaker 3: nw jiggas. I'm gonna tell you this, not that being
Speaker 3: m c rihn's business. But I don't see rin doing
Speaker 3: no shows or do nothing. I know he ain't got
Speaker 3: no regularly job, so Rien gotta have some cheese.
Speaker 1: I'm sure he getting a great check, you know, every
Speaker 1: quarterly for publishing. I'm sure his rookie check is DC
Speaker 1: and the longest Tamika is doing the right things, and
Speaker 1: I'm sure he got opportunities. But again I'm saying I
Speaker 1: was thinking about winning the concept of niggas and hip hop,
Speaker 1: thinking or niggas in gangster rap, thinking to be a
Speaker 1: million dollars, like I could be a millionaire from this.
Speaker 3: I think Short, did we should hear Uncle? We should
Speaker 3: hit Short up and ass? I'm like, Short, when did
Speaker 3: you know when you had a million dollars from hip hop?
Speaker 1: I ain't for the ask, but I could ask him
Speaker 1: when did he think the first person he thought got
Speaker 1: a million dollars?
Speaker 3: Well? Hammer, Well he wasn't against the rapper though, I'm
Speaker 3: sure Hammer. Hammer was making a million dollars for show.
Speaker 3: Hammer was the first paid rapper I knew not I
Speaker 3: knew he was paid. He was doing commercials and everything else.
Speaker 3: Hammer had more season than everybody.
Speaker 2: Yeah, but he didn't have the money that they were
Speaker 2: saying dayline on this man.
Speaker 3: Not really though. You gotta remember he kind of overpaid people.
Speaker 3: Had a million people on state remember when short distance
Speaker 3: with a million backup dances.
Speaker 2: Yeah, but even then, as all of them numbers is inflated,
Speaker 2: you know what I mean, Hammer didn't go to those seventy.
Speaker 3: Had like a two million dollar deal with Capital.
Speaker 2: Yeah, but a two million dollar deal don't mean they
Speaker 2: giving you two million dollars.
Speaker 3: Yeah, I mean you both know that. But I think
Speaker 3: he did enough shows, and he was doing commercial stuff.
Speaker 2: Yeah, but how much was they paying for commercials in
Speaker 2: the fucking early nineties?
Speaker 3: Man Hammer had to make some bread, Dug.
Speaker 2: I'm not saying he didn't make. No, that's not what
Speaker 2: I'm saying. I think he made great.
Speaker 3: I think I think run DMC probably made when they
Speaker 3: had to deal with the datas and stuff.
Speaker 2: He'll know.
Speaker 3: They made some bread.
Speaker 2: Thirty forty thousand dollars max for that deal.
Speaker 3: Let me see, MANE Hammer probably had a Hammer probably
Speaker 3: had a million dollars before everybody, dug.
Speaker 1: Well, Hammer not a gagster rapper. He's more of a
Speaker 1: crossover as a hippo.
Speaker 3: Well, you know what he did. He brought twenty thousand
Speaker 3: dollars from from a couple of players from Oakland age
Speaker 3: to start, you know, this record company, and he had
Speaker 3: one hundred employees.
Speaker 1: Yeah, Hammer made some cheese man. Yeah, I know, that's
Speaker 1: for sure. I just don't think it's the money that
Speaker 1: we talking about. I think people thinking that Hammer.
Speaker 3: Contrack with Capitol Records with a one point seven million
Speaker 3: dollar advance. It did not take long for Capitol, so
Speaker 3: Capitol gave him one point seven as an advance.
Speaker 2: I believe that. But Hammer ain't against the rapper.
Speaker 3: Yeah, that's true, but he got a I knew Gamer
Speaker 3: had money. Even if Hammer didn't have money, he looked
Speaker 3: like he had the entourage with him. It's like everybody Hammer,
Speaker 3: It's like everywhere he went it was people dancing. It
Speaker 3: seemed like Ham just show up in a room and
Speaker 3: that these people in the background going and just people
Speaker 3: dancing and stuff.
Speaker 2: Hammer was a different type of hip hop. He was
Speaker 2: doctor rhymes.
Speaker 3: I don't care where you from, make most look silly
Speaker 3: and others look dumb. Yeah, you know.
Speaker 1: That though Hammer is a first generation rapper that didn't
Speaker 1: put out records in the first generation.
Speaker 3: Way.
Speaker 1: Melly Mill short uh dudes from Sugarhell early LLL. He
Speaker 1: rapped like early LL. So remember, Hammer is a little
Speaker 1: bit older than everybody. Ice team might be the oldest,
Speaker 1: might be the oldest rapper in hip hop, the oldest
Speaker 1: rapper in hip hop. I don't think nobody was born
Speaker 1: before fifty eight. That's a rapper.
Speaker 3: Well, you know what when Hammer came out, but you
Speaker 3: can't text this d dune. I'm done and I'm not
Speaker 3: gonna live. Bro. My wife loved him, Maria loved him.
Speaker 2: Didn't love Hammer.
Speaker 3: I thought Hammer was the corniest nigga alive.
Speaker 1: That's because you was fucking old and grown and you
Speaker 1: just didn't get the magic when y'all was young.
Speaker 3: I was a young cat when Hammer came out. I
Speaker 3: was I'm younger.
Speaker 2: Here's twenty.
Speaker 3: No, when Hammer came out, I was like eighteen in nineteen. Bro,
Speaker 3: that's twenty nigga, that's twenty twenty. Eighteen is eighteen.
Speaker 1: She's just speaking like a true old nigga with all
Speaker 1: that dumb shit. Listen to what I'm saying. When you
Speaker 1: rock Kim and Caine and Them and Roy Kim Kane
Speaker 1: and rappers, don't say real rappers.
Speaker 3: With the dirty said the Doctor sus Rhyme's cat in
Speaker 3: the hat.
Speaker 2: Bad like he wrapped like run.
Speaker 3: No run DMC rap better than him.
Speaker 2: No that you just heard them earlier.
Speaker 3: Let me pull up some hammer lyrics. Let me see
Speaker 3: lyrics by heart. I was a kid. Let me see
Speaker 3: you like him because she was a little kid. I said.
Speaker 3: He went everywhere, He had dances behind him everywhere. When
Speaker 3: he the girl watched.
Speaker 1: I've never I've never seen it, so how would I know?
Speaker 1: He was just entertaining and he made really great music.
Speaker 3: Let me see you can't touch this my mi mind.
Speaker 3: Music hits so hard makes me say, oh my lord,
Speaker 3: thank you for blessing me with a mind to rhyme.
Speaker 2: In too good.
Speaker 3: When you know you're down to a homeway from the
Speaker 3: old town and I'm known this and this is the beat.
Speaker 3: You can't touch.
Speaker 1: A't touch you don't got a rhythm, so it stopped doing.
Speaker 1: I told you, homeboy, you can't touch this fresh.
Speaker 3: New kicks and pants. You gotta know like that. Now
Speaker 3: you want to make me dance, So move like you
Speaker 3: see and get a fly girl and kickch this beat
Speaker 3: while it's rolling, Hold on a little bit and know what's.
Speaker 2: Going on like that like that. Let him know then
Speaker 2: he always sounded like he was yelling at somebody. That's
Speaker 2: first generation m cee rhyming skills. That's Melly Mel, that's Run,
Speaker 2: that's early LL. That's fucking uh. The dudes from sugar
Speaker 2: Hill Gain, that's first generation style. You gotta remember, Hammer
Speaker 2: is not like he's older than Rock Kim. Did you
Speaker 2: know that?
Speaker 3: Yeah, he's sixty something.
Speaker 2: Now Hammer was born with sixty two.
Speaker 3: Yeah. But you know what, though, I can't front on
Speaker 3: Hammer now Hammer, I think because of Hammer more money
Speaker 3: came into hip hop. People saw it was you know,
Speaker 3: he was a picture man, thrawing like a lion, no denying.
Speaker 3: I'm in effect, and you suckers are trying to get
Speaker 3: with me. You can't hang doing it like this. I'm
Speaker 3: with a bang going boom like a thunder, and you
Speaker 3: wonder high in the world can the hammock be underneath me?
Speaker 3: You're gonna beat me? Say yes to the master, and
Speaker 3: I would teach thee turn. I was a student, I'm
Speaker 3: the teacher. I was a member. Now I'm the preacher.
Speaker 3: I was a worker and you were the boss. Now
Speaker 3: I'm getting paid and you taking the loss. Why I
Speaker 3: said stop the other say his fleet, No, don't perpetrate.
Speaker 3: MC hammer is the feature step off you Punk no Fear.
Speaker 3: I'm MC hammer and I came here to turn this
Speaker 3: mother out.
Speaker 2: So let me ask you here you go, how do
Speaker 2: you think? How will you do you think? Run was born.
Speaker 3: Shoot Run, DMC run sixty seven, DJ Run.
Speaker 2: Yeah, he's a rappers MC is run is M run?
Speaker 2: What is a DJ run? I'm funny, but okay, camera
Speaker 2: is older than run, ye d huh, Hammer is older
Speaker 2: than Run.
Speaker 3: Here all was even stopping the record thirty Yeah.
Speaker 2: Probably twenty six, twenty seven eight. Well he was born
Speaker 2: in sixty two.
Speaker 1: First record with eighty six eighty seven mm hmm, yeah,
Speaker 1: he probably had been trying.
Speaker 3: What the thing was. Red Round was born in sixty four.
Speaker 2: Yeah, Hammer was born in sixty two.
Speaker 3: And they had more lyrics than Hammer. Did you know
Speaker 3: they didn't? Yes, they did.
Speaker 2: They was way more.
Speaker 3: You was a kid, you know what I'm not.
Speaker 1: Ironically you was almost my age when I was hearing Hammer,
Speaker 1: when you were listening to Run DMC.
Speaker 3: No, I was listening to Run DMC when I was sixteen.
Speaker 1: They had been out for a while. Then, run them
Speaker 1: is what an early eighties group right eighty three to
Speaker 1: the early eighties group. Yeah, I remember when I first
Speaker 1: saw them on MTV only one or seven.
Speaker 3: Yeah, I was. I was over my pop's house I
Speaker 3: saw them. I'm going to seventy one seventy.
Speaker 2: So he was about twelve.
Speaker 3: Yeah, I loved him, love, I love, I loved I
Speaker 3: loved run DMC when I first heard them and walked
Speaker 3: this way when I first heard that in the summer,
Speaker 3: I was walking around with a boom box when MTV
Speaker 3: first came out.
Speaker 1: So what I'm saying is the way you look at
Speaker 1: Hammer is a first generation MC. So he raps like
Speaker 1: first generation MCS. You just heard him when you was older,
Speaker 1: and then you know what I came And you know
Speaker 1: what's crazy is your ears adjusted to the style of
Speaker 1: second gen m CS. Like so the first gen m
Speaker 1: CS iced t too short right on the west, you
Speaker 1: got uh run l ll He's at the back end
Speaker 1: of it, Melly mail. You know the dudes from Sugarhill Gang,
Speaker 1: you know Mo D. They're all mo d n MC.
Speaker 1: Hammer rapped the same. No they don't, Okay, rap rap rap. No,
Speaker 1: he's not wrapped the ll cool J dish right now
Speaker 1: for mo D. Huh wrap the dish?
Speaker 3: Yeah?
Speaker 1: No, the l ll kol j dish that d Did
Speaker 1: you remember the name of the song? Teddy Rodley produced.
Speaker 3: Well d n which his name is What's You don't
Speaker 3: know the song? I do know the song?
Speaker 2: What's never the song so death Blow?
Speaker 1: No, that's I'm telling you the song that Mod dissed
Speaker 1: ll couj with That was a smash hit record.
Speaker 3: How you like Me now?
Speaker 2: Exactly? So rap it?
Speaker 3: Let me see I'm find it right now, just.
Speaker 2: Like em raps, because that's that first movie.
Speaker 3: I throw my tapeone, then I watched it three sections later.
Speaker 3: I got you shaking your head, dancing instead sitting, and
Speaker 3: the rhymes kicked, the beats hitting you just like a
Speaker 3: home run, slamming like a slam dunk, riding away. James
Speaker 3: Brown gave funk happened to James like it happened to me?
Speaker 3: How you think it feel to see another MC get
Speaker 3: paid using my rap style and I'm playing the back round? Meanwhile,
Speaker 3: I ain't with that. You can forget that you took
Speaker 3: my style? Take it back coming back? Like return Pay said,
Speaker 3: I it's only rock rhymes and only rock crowds, but
Speaker 3: never rock records. How you like Me Now?
Speaker 2: That don't sound like mc hammer.
Speaker 3: He a little bit more of.
Speaker 2: Your lines, your line. You are lying, brothers arride me
Speaker 2: like a.
Speaker 3: Pony on no phony. I'm the only real Macarney playing
Speaker 3: a mic like it's supposed to be playing nuke jacks.
Speaker 3: You should all stay out of the business. What is
Speaker 3: this amateur night at the Apollo. Get off the stage.
Speaker 3: I'm in the rags, just like a line trapped in
Speaker 3: the cage. Yeah, this was garbage. That's not jungle.
Speaker 2: No, no, no, no, it's garbage. It's first generation. There's
Speaker 2: nothing to go off of. They created what we built like,
Speaker 2: they created what rock Kim went off of.
Speaker 1: They created what Kine went off of, they created what
Speaker 1: g Rap went off of. They like, you had that
Speaker 1: generation to build from. So so again, when you're hearing Hammer,
Speaker 1: you're hearing Hammer at the same time when you're starting
Speaker 1: to digest k R S one uh g rap your
Speaker 1: digesting rock lyrics. Listen to what I'm saying. Listen, listen
Speaker 1: to get more to put the phone down, cud.
Speaker 3: I'm trying to find rock Kim lyrics.
Speaker 2: They came up.
Speaker 1: The problem is rock Chim is young compared to Hammer.
Speaker 1: Rock Kim is young. Compared to hammer Dog. Rock Kim
Speaker 1: was born in sixty eight. He's six years younger than Hammer.
Speaker 1: You get Do you get what I'm saying is it
Speaker 1: makes sense Like when you hear listen to somebody who
Speaker 1: learned how to wrap first gin, They're not rock Kim.
Speaker 2: They didn't come in with their own developed staff.
Speaker 1: Hammer was already an adult when the message came out
Speaker 1: that just came out.
Speaker 2: He was an adult. He was twenty one.
Speaker 3: Let me see, because rock Kim is fifty six.
Speaker 2: Don't wrap no rock Yim stuff. He was born in
Speaker 2: sixty eight.
Speaker 3: The mid eighties. He came out the mid eighties.
Speaker 1: Came out in like eighty six eighty seven. First gen
Speaker 1: first first n is seventy nine to eighty four. Second
Speaker 1: Gen is eighty five to eighty nine.
Speaker 3: Think about paying in full lyrics versus that that stuff
Speaker 3: we des heard.
Speaker 2: But imagine this.
Speaker 1: It's like it's like, okay, imagine watching basketball, right, you're
Speaker 1: too young to notice, but like, go look at a
Speaker 1: game where Bob Coosey is dribbling the ball, right, somebody
Speaker 1: who came out in the fifties, and then look at
Speaker 1: the guys that came out in the seventies. How they
Speaker 1: dribbled the ball. It changed because they had the evolution
Speaker 1: of the first generation. So the thing with Hammer, you
Speaker 1: was digesting Hammer as a new artist at the same
Speaker 1: time you was digesting KRS one, at the same time
Speaker 1: you was digesting with Rock Kim. These are the guy
Speaker 1: that's closer to your age at the same time.
Speaker 3: Five, this ain't too first went, how you liking me? Now?
Speaker 3: Think enough for master plan?
Speaker 2: Yeah, don't time to do that one.
Speaker 3: He's a second pump, dumb laying in the cage, trapped
Speaker 3: in the rage.
Speaker 1: But you only listen to that because you hear it
Speaker 1: in the same time you hear Rock Kim. You're not
Speaker 1: thinking he learned to rap first Gin he's the first from.
Speaker 3: That Stuffuse them dudes. That was trash. You run DMC
Speaker 3: rap better than than than Hammer did.
Speaker 2: Rap the same rapped exactly the same short raps like Hammer.
Speaker 3: No short got way more style.
Speaker 2: They got me mail raps like Hammer.
Speaker 3: I take my big, she don't complain about ship, she's
Speaker 3: my whole That short way harder.
Speaker 1: Exactly, it's the same thing because that's the original style.
Speaker 2: When they didn't have nothing to go off of, they
Speaker 2: was making what we call.
Speaker 3: Milly Mill had lyrics child is born with no state
Speaker 3: of mind. He was blind to the ways of men
Speaker 3: on you. But he's smiling too, because only guy knows.
Speaker 2: That you go.
Speaker 3: You're wrapping Hammer was talking about the line in the
Speaker 3: cage he and the rage she on stage make the
Speaker 3: front page.
Speaker 2: And I'm dancing is almost the same exact age.
Speaker 3: I'm dancing. Broke man's in the back, pun the thumb
Speaker 3: when the bomb dump thump, good, everybody dancing. Oh in
Speaker 3: the background, Oh oh, can you text? This? Hammer remind
Speaker 3: me of of a black Southern gospel pastor with them
Speaker 3: signy suits on, Jerry curl hairline back way to here
Speaker 3: and he up there dancing with them.
Speaker 2: Stupid class could have been part of his glasses, wasn't stupid.
Speaker 3: If people love that stuff because.
Speaker 2: We like because we got better taste than you. People
Speaker 2: to rock him and y'all was listening to karras One
Speaker 2: and y'all was listening to g rap We was listening
Speaker 2: to the Hammer, me and the rest of the world.
Speaker 2: So y'all wrong, cool?
Speaker 3: She rapping them came You know what, what year did
Speaker 3: the symphony? Because your symphony came out when I was sixteen,
Speaker 3: all them brothers on the spitting I.
Speaker 2: Think the symphony like eighty seven, ain't it?
Speaker 3: Let me see. I'm gonna tell you right now, but
Speaker 3: I know that was.
Speaker 2: Him about them all second gnmc's two.
Speaker 3: What year did that come out? Let me see him
Speaker 3: tell you right now, you Marty, give me your slice.
Speaker 3: I get nice and my voices twice as horrifying as
Speaker 3: Vincy Price, go deep to your fail to spell, to sleep.
Speaker 3: And while I'm counting the money, you count she when
Speaker 3: she wraps strikes to mic peop Believe.
Speaker 2: It was hard, yeah, but they also had the benefit
Speaker 2: of the second gin.
Speaker 3: And then Big Daddy Kane had the harder verse to
Speaker 3: put a quarter in your ass because you plagued yourself.
Speaker 3: Look I put Kane in. Then you got a category
Speaker 3: period in the story. I love the Juice crew did
Speaker 3: no free of rappers. You will evaporate to send the Great,
Speaker 3: the flate to your fate. The Great would dominate straight
Speaker 3: to the state or reign and game. And so put
Speaker 3: Kane in. Man them dudes was hard, and this was long.
Speaker 2: That's second.
Speaker 1: No, that's eighty that came out in eighty eight. First off,
Speaker 1: and that ship was rolling eighty seven it's second generation.
Speaker 1: Rap ice Cube was in that generation of rap. Tupacket's
Speaker 1: third generation.
Speaker 3: M saying, yeah, it came out of eighty eight. You
Speaker 3: know see something. It came up earlier than that.
Speaker 2: I know you just.
Speaker 3: You're nineteen eighty eight. Cold Chilling was recorded in eighty seven,
Speaker 3: No release in eighty eight.
Speaker 1: Second generation. The first generation is guys that was really
Speaker 1: rapping in seventy nine eighty four. I bet you money.
Speaker 1: Hammer was making records in eighty three, eighty four, maybe
Speaker 1: even eighty two.
Speaker 2: Hammer was born in cety two.
Speaker 1: He probably making records in eighty two eighty three, and
Speaker 1: it just worked for him in eighty six eighty seven.
Speaker 3: That was hard right there, all them dudes on their rear.
Speaker 3: Wasn't nobody whack on there either, Nobody the giant defiant
Speaker 3: start a riot. Everybody be quiet.
Speaker 2: Yeah, but that's how, that's how run.
Speaker 3: You didn't even have to write no wraps down. If
Speaker 3: you was Hammer probably didn't have to write none of
Speaker 3: that stuff down. He just came on stage, you said,
Speaker 3: when the studio said whatever.
Speaker 2: Came in his mind, stop rocking, you shaking the mic,
Speaker 2: because it.
Speaker 3: Wasn't nothing about no rap when it was about the
Speaker 3: dancing and wearing them crazy ass looking clothes.
Speaker 2: It was about the rap because he made money.
Speaker 1: Yeah, but you gotta stop acting like Hammer wasn't rapping
Speaker 1: because when you started digested again. Because if you listen
Speaker 1: to it at the same time you heard run dmc
Speaker 1: or or Melly Mill, it's the.
Speaker 2: Same ship, just like Doctor Seuss. I mean, it's the
Speaker 2: first time it happened, and doctor SEUs is brilliant.
Speaker 3: The day is here at time next year, So don
Speaker 3: your head and pressure cat review your rhyme a parody time,
Speaker 3: grab a good book of kid to look and sit
Speaker 3: alone and none looking done, shanning and reading and loving feet,
Speaker 3: and your inner shall be unwild. Let's all let loose
Speaker 3: for doctor Seuss. That could have been a rap for him.
Speaker 2: You know, you know who I call doctor SEUs style Biggie.
Speaker 3: Biggie wasn't no doctor Seusan then you tripping down, ringing
Speaker 3: at the top with short like leper cons. That's our crush,
Speaker 3: so called willie thugs and rapper dons. Get in your
Speaker 3: wass put fast like rama don. It's the referend number.
Speaker 3: Non Don daughter fuck Vampa. You guys to call me
Speaker 3: Francis inmates right and take like to toe Iron, keep
Speaker 3: extra clips for extra shit.
Speaker 2: Who's next out.
Speaker 1: Rap lines is like Lamb on the room.
Speaker 3: Harry, He's the best lyrics as ever. That's the history
Speaker 3: of hip hop.
Speaker 2: That's very doctor Seuss.
Speaker 3: Biggie is the best rapper in the history of hip hop.
Speaker 2: That's very doctor Seuss.
Speaker 3: Biggie had the best lyrics out of everybody, bros.
Speaker 2: No, the most digestible lyrics on everybody.
Speaker 3: He was. Without him, it wouldn't be no.
Speaker 2: Jay Z nigga. He was rapping up ja Z was
Speaker 2: rapping before Big.
Speaker 3: Jay Z was going Biggy, bigger the nigga, the nigga
Speaker 3: that the bigger, the bigger, the bigger, Biggy Before that thing,
Speaker 3: Sean Sean dropped the bomb.
Speaker 1: The boond is uh, Biggie is what a fourth gen?
Speaker 1: M C maybe third or fourth? Maybe fourth? Pak is
Speaker 1: the third gen?
Speaker 3: Who the fuck is this? Pature media? Five forty six
Speaker 3: in the morning, crack of dawn and join it. Wipe
Speaker 3: the cold out my eye.
Speaker 2: You have enough, You have enough podcast This My nicker Pop.
Speaker 3: From the barber shop told me he was at the
Speaker 3: Gambler Spot and heard the niggas want to stick me
Speaker 3: like fly Pepper nighbors, Slow down love, Please remember them
Speaker 3: niggas from the hill. Look at brown steel that you
Speaker 3: throw dice with. Clinton got nice with.
Speaker 1: Yeah, my nigga fame up a prospect. Yeah, but that's
Speaker 1: all really simple. No, I didn't say them exclude me.
Speaker 3: Just the niggas that you knew from back when when
Speaker 3: you was flocking minor figers. Now they hurt you, blowing
Speaker 3: up light Knight drove when they want to stick the
Speaker 3: knife through your wind clothes. Thing. Fancy warning me, because
Speaker 3: now warning you were got the mac nigga, Tell me
Speaker 3: what you want to do. Damn this storytelling. Dog was impeggable.
Speaker 3: His rhymes was in Peggaboa dogg Bro Biggie. He wouldn't
Speaker 3: have died, he'd have been the greatest rapper of all time.
Speaker 3: Possibly Biggie Biggie was ahead of his time. Thog. Biggie
Speaker 3: was hard thog like Doctor Seuss, Biggie was probably the
Speaker 3: greatest of all time. You know who was nice, though,
Speaker 3: I'm gonna tell you Tupac was hard. I don't know
Speaker 3: if Biggie. I don't know if Biggie was better than Tupac.
Speaker 2: They did something different Yeah, they did something different.
Speaker 3: I think Tupac definitely conveyed more emotion and this stuff.
Speaker 3: But Biggie Ryan for rhyme, couldn't nobody mess with him?
Speaker 3: And if he wouldn't passed away, then the Biggie jay
Speaker 3: Z wouldn't have got to the top.
Speaker 2: Thank y'all for listening.
Speaker 3: Everybody would agree with me. Watch sing.
Speaker 1: There looking out for tuning into the No Seller's podcast.
Speaker 1: Please do us a favorite subscribe rate Commonist Share. This
Speaker 1: episode was recorded right here on the West coast of
Speaker 1: the USA and produced bout the Black Effect Podcast Network
Speaker 1: and not hard Radio.
Speaker 2: Yeah.