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Speaker 1: Against the Chronic goals. This is not your average shows.

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Speaker 1: You're now tuned into the rail.

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Speaker 2: The Streets. Welcome to the gainst the Chronicles podcast, the

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Speaker 2: production of iHeart Radio and Black Effect podcast Network. Make

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Speaker 2: sure you download the iHeart app and subscribe to Against

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Speaker 2: the Chronicles. For my Apple users, hit the Purple Michael

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Speaker 2: your front screen subscribed Against the Chronicles, leave a five

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Speaker 2: start rating and comment what.

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Speaker 3: Your father did or you know, I know my father

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Speaker 3: was in the Navy and whatever whatever. Uh, But by

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Speaker 3: the time you know, my generation rolled around, I guess

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Speaker 3: you could say those choices that they presented to your

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Speaker 3: dad's and your grandfathers were looked at in different lights

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Speaker 3: coming from when I first stepped off the porch, You

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Speaker 3: get me right, You know, of course, you know, of

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Speaker 3: course it was sports. You know, our niggas could play

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Speaker 3: sports type of ship. And then you know, I guess

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Speaker 3: in our father's days it was like nigga go to

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Speaker 3: the military.

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Speaker 2: You found me.

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Speaker 1: That was frowned upon when we was coming up as kids.

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Speaker 3: You get uh, right, And and I don't know, you know,

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Speaker 3: some of us probably tried to make those choices. Who knows,

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Speaker 3: Before you know, you got introduced to what we talking

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Speaker 3: about right now, the street life. Once you got introduced

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Speaker 3: as far as our generation is concerned, once the street

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Speaker 3: life was sent it to me, I thought that was

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Speaker 3: the life choice, get me going to the military or

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Speaker 3: trying to play sports. You know, after high school it

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Speaker 3: was like man ship like like like did niggas feel

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Speaker 3: educated enough to try something else? Or was it the

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Speaker 3: was it was it that that life style out back

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Speaker 3: the end of introduction in the eighties and the seventies

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Speaker 3: of the drugs and the life and the money and all.

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Speaker 3: Did that sway of nigga's options. You feel me because

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Speaker 3: I think, you know, I'm a product of that.

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Speaker 4: You know, at the high school played sports, but but.

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Speaker 1: Then the streets too, you feel me.

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Speaker 4: And no, maybe just kind of lean towards the streets

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Speaker 4: too much and couldn't make up that lost time, you

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Speaker 4: know what I'm saying. But yeah, definitely coming out of

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Speaker 4: coming out of out of the low income situations and

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Speaker 4: things like that. You know, we was out there taking chances,

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Speaker 4: and we was trying to get us some money, some

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Speaker 4: immediate money. So a lot of cats went to the

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Speaker 4: streets to get that immediate money.

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Speaker 1: Some cats was patient.

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Speaker 2: You feel me.

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Speaker 4: They saw the school thing through, you know what I mean,

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Speaker 4: stuff whatever recreational situation they was in, whether football, basketball,

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Speaker 4: whatever the arts.

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Speaker 1: But I think it's just a situation.

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Speaker 4: I just think it's about, you know, if your draw

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Speaker 4: to the streets, you feel me, and then just.

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Speaker 1: Being young and making them decisions.

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Speaker 4: On your own like that, were not realizing how young

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Speaker 4: we is in our own head. We think we're grown.

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Speaker 4: You feel me, and it's not making the right choice.

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Speaker 4: And we see that now. But back then, you know,

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Speaker 4: nigga was bro good luck fam.

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Speaker 2: Yeah, you know what you talk about. One time, Me

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Speaker 2: and you was rapping the other day, man, and uh,

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Speaker 2: I think people have this idea that when you were

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Speaker 2: a rapper, when you signed a contract, you riched off

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Speaker 2: the bat and you was telling me a story about

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Speaker 2: how your moms had called you. You was out here

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Speaker 2: in California messing with death Row, and your moms had

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Speaker 2: called you because they was about to kick her off

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Speaker 2: the call the projects and she needed some money.

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Speaker 1: Oh yeah, yeah, definitely.

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Speaker 4: This was on around the time when Men with Me

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Speaker 4: and three two we was we had came out there,

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Speaker 4: We're about to do the thing with death Row. But

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Speaker 4: we had just got there, so business wasn't handled, but

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Speaker 4: nothing like that. We we had probably just arrived, man,

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Speaker 4: I don't know. I think we was there probably about

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Speaker 4: a week or so. And I went to Sugar's office

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Speaker 4: to call my mom. Actually, can I use the phone?

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Speaker 4: He was like, yeah, you know, make the long distance call.

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Speaker 4: So I called my mama and shit, and she.

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Speaker 2: Was on the phone.

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Speaker 1: She was telling me she was she was in distress,

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Speaker 1: and she was like.

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Speaker 4: Man, I need some money right And I'm like, damn,

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Speaker 4: I ain't got no money right now. I just got

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Speaker 4: out here with these folks. We ain't handle no business yet,

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Speaker 4: you feel me. I'm like, what's going on?

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Speaker 2: Yeah?

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Speaker 4: Man, they about the victims out the project. We're standing

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Speaker 4: in the project at the time. I'm the oldest side

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Speaker 4: of nine kids, so the rest of the kids was

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Speaker 4: in the house.

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Speaker 1: I think one of my sisters.

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Speaker 4: My sister was probably in Houston at the time, but

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Speaker 4: this was day my mom was in New Orleans and

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Speaker 4: mal Man, I'm hurt. I can't help my mom, you

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Speaker 4: know what I mean. I'm sharing a few tears. She'll

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Speaker 4: walk back in the office. He seen me on the

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Speaker 4: phone shearing tears.

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Speaker 2: He was like, who that is?

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Speaker 4: I say, man, it's my mama. And he was like

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Speaker 4: he got just got the phone for me, told me

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Speaker 4: to wait outside. Came back outside. He was like, man,

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Speaker 4: we finna get ready to go out. And I was like, well,

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Speaker 4: my mama had. He was like, she's gonna call you tomorrow.

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Speaker 4: Come back up here. She's gonna call you up here tomorrow.

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Speaker 4: So the next day I had came up there, my

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Speaker 4: mom called up there and she was.

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Speaker 1: Like, Hey, tell your friend. I say thank you, I

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Speaker 1: say what happened? She was like, yeah, send me five

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Speaker 1: thousand dollars. We about to move.

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Speaker 2: You feel me?

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Speaker 4: And like, I say, five thousand dollars at that time,

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Speaker 4: that was probably the most money my mamad held in

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Speaker 4: her hand at one time.

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Speaker 1: You feel me right now.

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Speaker 4: It wasn't enough to go buy no house, right but

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Speaker 4: went from the projects to a nice rent house. You

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Speaker 4: did what I'm saying, So I'll never forget that gesture

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Speaker 4: right there.

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Speaker 2: I never get that, you know what. I'm glad you

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Speaker 2: said that, man, because that's one thing I want to say.

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Speaker 2: Everybody always talk about the bad stuff that should did it.

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Speaker 2: Should did a game of that shit too.

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Speaker 4: I can't, at least my testimony, you feel me about

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Speaker 4: that incident. Yeah, that was real right there. That was

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Speaker 4: real right there. You know what I mean. I didn't

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Speaker 4: been in situations you know what I'm saying, Well, a

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Speaker 4: motherfucker would probably try to take advantage of me in

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Speaker 4: that situation. You feel me, right, Let you write a

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Speaker 4: couple of songs, man, and you know what I mean?

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Speaker 4: This and that, this and that you feel me? The

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Speaker 4: man did it. He ain't even asked for it back.

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Speaker 4: I had just got there, So I thought that was real.

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Speaker 4: I thought that was real. That was one of the

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Speaker 4: one of the realist gestures that that that that I

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Speaker 4: was able to have the benefit you know what I mean.

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Speaker 2: The scene, Yeah, that was a crucial period. Man, yo

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Speaker 2: shoot yo was coming up. That was just like the

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Speaker 2: dawn against the rep.

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Speaker 4: The light had already started shining, but it was still

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Speaker 4: kind of early.

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Speaker 2: What year was that? What year was that?

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Speaker 1: I think this was probably like this had to be

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Speaker 1: like ninety one and ninety two, ninety one, Yeah.

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Speaker 3: Yeah, yeah, I remember when y'all first came out this way. Yeah,

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Speaker 3: they was, and she was around all that then. Yeah,

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Speaker 3: I was around then. It was around I had an

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Speaker 3: association and with you know, with through one of the

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Speaker 3: producers unknown Yeah, used to work on our music. He

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Speaker 3: was also in Incahoops with trying to I guess get

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Speaker 3: some work for him and slip over at death Ro,

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Speaker 3: you know, with knowing Dre and the history of Prey

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Speaker 3: and the record crew. A non came from that era,

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Speaker 3: you know know heja techno hop. You know, it's where

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Speaker 3: I got my start. Dudes like King T and so forth.

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Speaker 3: I tea so a known was around me and and

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Speaker 3: uh that's how I sort of like the death Ro

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Speaker 3: name came about, because you know, a known I think

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Speaker 3: should with the name. Whatever the history is about that.

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Speaker 3: We all sat down and thought of the name and

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Speaker 3: it was felt differently and whatever. Anyway, Uh, yeah, he

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Speaker 3: was over there as a producer, and that's how we

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Speaker 3: got to know that big mic and three two came

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Speaker 3: out Texas and Louisiana, uh, and was on Uh it

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Speaker 3: was supposed to be the Fluge project on Death Row

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Speaker 3: if if I'm not mistaken.

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Speaker 1: Right, Yeah, we knew about you, about.

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Speaker 3: The apartment and everything. I knew about all that ship man. Yeah,

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Speaker 3: because like I said, no one used to go up

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Speaker 3: there and uh, you know he's he was supposedly be

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Speaker 3: doing work in music for Sugar and them.

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Speaker 4: So just because he was working on the convicts app

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Speaker 4: him and Big Slip mm hmm, there was. We was

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Speaker 4: we started off grinding with them. Yeah, we had did

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Speaker 4: and we did a handful of songs. I remember Slip

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Speaker 4: had then the first version to own Straight Gangsterism M

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Speaker 4: that wegains I got man. I wish I had a

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Speaker 4: copy of that, but he did. Yeah, and Unknown he

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Speaker 4: was putting it down too.

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Speaker 2: Yeah, it was a record winding records.

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Speaker 1: No, man, we would have to get that Slip for

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Speaker 1: that record right there. Yeah, Slip had that ship man

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Speaker 1: Slip did.

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Speaker 2: Man got out. That's crazy. So you was out here,

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Speaker 2: so that means you was working with Snoop and all them,

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Speaker 2: d o C and all the other cats.

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Speaker 4: Yep, yep, d C was there, Rage who most of

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Speaker 4: the you know, the useful suspects.

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Speaker 2: Uh, it was. It was.

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Speaker 1: It was a heck of experience bro.

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Speaker 4: Us coming out there, being out in California like that

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Speaker 4: for the first time in the presence of people that

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Speaker 4: we was listening to, you know what I mean, Doctor

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Speaker 4: dray d o Ce, you feel me. We wanted we

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Speaker 4: got eight up here We're seeing. It was just like

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Speaker 4: you know, the Texas we fucked with the West Coast

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Speaker 4: heavy back then.

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Speaker 2: You feel me.

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Speaker 4: They go ask youngsters right now, you know they it's

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Speaker 4: really about your location now, you feel me, Jack, Yeah,

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Speaker 4: we've rolled with the West Coast heavy back then. So

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Speaker 4: to be able to come meet these guys, man, it

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Speaker 4: was just like a dream come true. It was it was,

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Speaker 4: it was, it was, it was. It was a hell

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Speaker 4: of a high. I ain't gonna lie it was. It

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Speaker 4: was a time for me in three two.

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Speaker 2: That's crazy, man. So nineteen ninety one, shoot, I don't

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Speaker 2: even know. I'm trying to think who was out she

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Speaker 2: would have drop the record, but then huh by that point,

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Speaker 2: h yeah, yeah, check yeah.

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Speaker 3: I was on my second album around ninety one. Ninety two.

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Speaker 2: Yeah, that's crazy.

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Speaker 1: We'll drop We'll dropped the accomptant thing. And then I just.

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Speaker 3: Dropped ninety two ropped, uh straight checking them with growing up.

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Speaker 1: In the thing in the apartment, man, man, bang it

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Speaker 1: on them trainks smoking that cat, We banging it. But yeah,

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Speaker 1: it was. It was a cool time, man.

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Speaker 4: I wish we would have had the opportunity to see

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Speaker 4: the project all the way through, you feel me. But

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Speaker 4: things happened. I got presented with an opportunity, you know

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Speaker 4: what I mean. And it happened around the time when

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Speaker 4: like production kind of slowed down on the Convicts thing,

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Speaker 4: right because it was other things going on at the label.

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Speaker 4: You feel me, and I had already had responsibilities by then,

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Speaker 4: you feel me. So I was I was like, I

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Speaker 4: was kind of like on the clock. I needed to

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Speaker 4: get get in the situation. I need to release some music,

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Speaker 4: you know what I mean. So another situation, the Ghetto

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Speaker 4: Boys situation had came. It took me a second. I

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Speaker 4: didn't jump on it right away. I pondered it for

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Speaker 4: a while, and you know, decided to go that route

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Speaker 4: kind of worked out from a little bit though I

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Speaker 4: would have thought about it more in hindsight, you did

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Speaker 4: what I'm saying, But yeah, that's what.

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Speaker 2: We were doing.

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Speaker 1: I'm sorry, ahead, Yeah, I'm sorry. Had you and three two?

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Speaker 2: Uh?

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Speaker 1: Had you and three two had done music together?

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Speaker 3: And and how were y'all presented the death row situation?

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Speaker 3: Basically being from being from where y'all were, who convinced

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Speaker 3: y'all to come to Cali and try out the death

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Speaker 3: row situation?

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Speaker 1: Ah Man, So me and three two we had.

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Speaker 4: We was introduced to each other by the label right.

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Speaker 2: Well, yeah, I rapped a lot, right.

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Speaker 4: They had this the the convicts concept right that they

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Speaker 4: was they was putting together. So I was a solo

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Speaker 4: artist and me and Tony Draper, Me and Toni Draper,

250
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Speaker 4: we had worked at restaurant together, right.

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Speaker 2: So.

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Speaker 1: We would go we would go to the studio.

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Speaker 4: Bro he would put he would take money out of

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Speaker 4: his check put getting the studio.

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Speaker 2: I'll do the.

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Speaker 4: Same, and it was gonna be me and him and

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Speaker 4: the demos that we was making.

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Speaker 1: Through Tony. They got over there to rap a lot, right.

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Speaker 2: So once.

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Speaker 4: Once Jay had heard it, he probably wanted to have

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Speaker 4: a meeting and he was like, look, I see what

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Speaker 4: y'all doing. Right, We got this situation over here with

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Speaker 4: the convicts. If you help me with this, then I'm

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Speaker 4: gonna help y'all. You feel me, right, what you're doing,

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Speaker 4: you feel me? So I looked at it, you know,

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Speaker 4: tall about any things, and it led up to us

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Speaker 4: doing that. So that's how me and three two had

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Speaker 4: got into to each other, right, But it was automatic

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Speaker 4: once we had met each other, it was automatic. We

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Speaker 4: just clicked and so we have recorded the convicts album

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Speaker 4: before right before we had came out there, the Convicts

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Speaker 4: album was released. I think it was out. I don't

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Speaker 4: even think it was out a whole year whatnot. But depending,

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Speaker 4: it's all about who you ask. I know, people got

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Speaker 4: different stories. But I one day I know how. I

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Speaker 4: later found out the end the workings of the whole

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Speaker 4: move once I got to California, right, But really it

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Speaker 4: was like one day, man, they just hit us and

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Speaker 4: was like, y'all going to California?

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Speaker 2: Were young? You feel me?

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Speaker 4: Why what I'm saying, let's go? Yeah, I was, man,

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Speaker 4: And it was like the next day we had flew out. Nigga,

283
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Speaker 4: ain't even have no clothes and ship you feel me?

284
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Speaker 4: Motherfucker just caught out. But yeah, it was, it was,

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Speaker 4: it was, it was.

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Speaker 1: It was a few people in off in that in

287
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Speaker 1: that whole move, but I just can't.

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Speaker 2: Here around at that time.

289
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Speaker 4: Tom was here, you are round at the time, but

290
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Speaker 4: we would talk to him on the phone. Why you

291
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Speaker 4: have yo, We would talk to him on the phone.

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Speaker 1: I don't know. I know we was requested. So I'm trying.

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Speaker 1: I'm trying to go back, man and run it all down, right.

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Speaker 2: I know what you're doing.

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Speaker 1: It's a lot to it. Yeah, but it's a lot

296
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Speaker 1: to it. It was a lot to it.

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Speaker 4: But it was a situation with Harry Yo and and

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Speaker 4: Jay m hm. It was a situation with them and

299
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Speaker 4: and that's in in in from my understanding.

300
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Speaker 1: At first, that's what led to us going down there.

301
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Speaker 4: You know, they was doing the death rope thing, and

302
00:16:59,640 --> 00:17:01,960
Speaker 4: they was like the convicts on death Row, they thought

303
00:17:01,960 --> 00:17:04,680
Speaker 4: it'd be a good move, and that's how we had

304
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Speaker 4: wound up going down there. But like I say, it's

305
00:17:07,160 --> 00:17:09,159
Speaker 4: a whole lot of other things that had came to

306
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Speaker 4: light later on, right, and I was able to put

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00:17:13,480 --> 00:17:15,920
Speaker 4: the pieces together and see the whole in the workers

308
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Speaker 4: of it.

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Speaker 1: But it'll take a long ass time.

310
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Speaker 4: But in short, right, it was it was talks between

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Speaker 4: Harry Yo and Jay that that led to it. But

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Speaker 4: I think it was a collective you know, with with

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Speaker 4: with with with with the heads over there at death

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Speaker 4: Row about making a move and and climbering about us, right.

315
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Speaker 4: But I think because Harry Yo and Jay probably had

316
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Speaker 4: a relationship, right, he was the one that instigated it,

317
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Speaker 4: you did.

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Speaker 2: So yeah, yeah, that's crazy, man, That's kind of like

319
00:17:51,000 --> 00:17:53,920
Speaker 2: and that's history. People don't never talk about because you

320
00:17:53,960 --> 00:17:56,160
Speaker 2: would have never thought of you know, Big Michael Lord

321
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Speaker 2: three two was at Death Row.

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Speaker 4: Oh yeah, yeah, yeah, we was. We was there. We

323
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Speaker 4: had man, we was having fun. Man, We was turning

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Speaker 4: on me new people.

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Speaker 2: Man.

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Speaker 1: We learned a lot down there.

327
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Speaker 4: You know, we left, We left our mark down there, right,

328
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Speaker 4: And I just wish that we was able to see

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Speaker 4: it through right and finish the whole thing up. But

330
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Speaker 4: you know, things happened like they happened. You can't you

331
00:18:17,440 --> 00:18:20,080
Speaker 4: can't live with regrets, right. We was able to go

332
00:18:20,160 --> 00:18:22,280
Speaker 4: back home and still put the match down.

333
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Speaker 2: You know.

334
00:18:23,080 --> 00:18:25,879
Speaker 4: But yeah, man, it would have been lovely. We was

335
00:18:25,920 --> 00:18:28,280
Speaker 4: able to release that Convicts record on death Bro. It

336
00:18:28,320 --> 00:18:29,640
Speaker 4: would have been super dope.

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Speaker 2: Yeah.

338
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Speaker 1: Yeah, we had with Warren g one G.

339
00:18:35,600 --> 00:18:36,000
Speaker 2: We had.

340
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Speaker 1: We had the song on that motherful with Snoop.

341
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Speaker 2: Man.

342
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Speaker 1: It was early in the game.

343
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Speaker 4: But I know that that one is released on It's

344
00:18:42,720 --> 00:18:47,760
Speaker 4: it's floating around there on line. It's called playing for Keeps. Yeah,

345
00:18:47,960 --> 00:18:51,760
Speaker 4: we Snooped three two one G on the track. Yeah,

346
00:18:51,880 --> 00:18:54,520
Speaker 4: but it was it was early production though, but that

347
00:18:54,600 --> 00:18:57,720
Speaker 4: one is out came from good to hear it after

348
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Speaker 4: so many years.

349
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Speaker 2: Man. Warren used to do a lot of sampling back then.

350
00:19:06,400 --> 00:19:10,840
Speaker 4: Everybody was sampling back then. Oh yeah, definitely, the just

351
00:19:11,119 --> 00:19:14,840
Speaker 4: sampling back then. It wasn't just samplings. Niggas was able

352
00:19:14,840 --> 00:19:17,119
Speaker 4: to chop them up, you feel me, But niggas was

353
00:19:17,640 --> 00:19:19,360
Speaker 4: sampling was still keen back then.

354
00:19:21,920 --> 00:19:24,480
Speaker 2: Well yeah, like a mother. It seemed like that sh

355
00:19:24,560 --> 00:19:27,480
Speaker 2: it is a lost or. But you know what when

356
00:19:27,520 --> 00:19:31,640
Speaker 2: you went back down there to to wrap a up,

357
00:19:32,400 --> 00:19:35,720
Speaker 2: was the Ghetto Boys offer a life changeing situation.

358
00:19:40,560 --> 00:19:44,480
Speaker 4: In a sense, right, I mean to the point like, Okay,

359
00:19:44,520 --> 00:19:47,960
Speaker 4: the Ghetto Boys had already was making strides, right, they

360
00:19:48,000 --> 00:19:52,520
Speaker 4: had already you know, especially down in age time, right,

361
00:19:53,400 --> 00:19:58,160
Speaker 4: and to come back and pay for the hometown team,

362
00:19:58,200 --> 00:20:01,359
Speaker 4: I guess it would become like the equipment of a

363
00:20:01,440 --> 00:20:04,840
Speaker 4: homegrown product getting drafted and playing for the Texans up

364
00:20:04,840 --> 00:20:06,120
Speaker 4: playing for the Rockets.

365
00:20:06,440 --> 00:20:06,640
Speaker 2: Right.

366
00:20:07,760 --> 00:20:08,880
Speaker 1: That's how That's how I.

367
00:20:08,800 --> 00:20:10,359
Speaker 2: Have felt about it, you know.

368
00:20:11,160 --> 00:20:14,879
Speaker 4: But yeah, it was it was an exciting time, you know,

369
00:20:15,119 --> 00:20:17,160
Speaker 4: the anticipation about it and everything.

370
00:20:18,200 --> 00:20:21,600
Speaker 1: But yeah, that's how that's how I felt about it.

371
00:20:21,960 --> 00:20:24,400
Speaker 4: You know, I try to look at it like that,

372
00:20:24,520 --> 00:20:27,199
Speaker 4: and and you know, I know at home it was

373
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Speaker 4: well received. I don't know, some people say you know,

374
00:20:32,520 --> 00:20:34,639
Speaker 4: you know they like the inner ration that Ghetto Boys

375
00:20:34,680 --> 00:20:37,199
Speaker 4: were just really deep. Wish we can scar face. I

376
00:20:37,240 --> 00:20:41,240
Speaker 4: could dig that too, But the Ghetto Boys was always

377
00:20:40,960 --> 00:20:45,920
Speaker 4: like like like a franchise, right players, players leave you

378
00:20:46,000 --> 00:20:49,120
Speaker 4: bringing more players, you feel me, And it was always

379
00:20:49,280 --> 00:20:52,960
Speaker 4: like that. But for me, I was able to get

380
00:20:53,000 --> 00:20:55,480
Speaker 4: my name out there. It led to me being in

381
00:20:55,520 --> 00:20:58,159
Speaker 4: a position to drop my solo records. You feel me,

382
00:20:58,560 --> 00:21:01,480
Speaker 4: to embark upon my solo career. So I used the

383
00:21:01,520 --> 00:21:03,439
Speaker 4: opportunity to the best.

384
00:21:05,560 --> 00:21:08,760
Speaker 2: So yeah, So at the completion of the Ghetto Boys album,

385
00:21:09,480 --> 00:21:11,040
Speaker 2: you're like, hey, man, I want to offer you a

386
00:21:11,040 --> 00:21:16,920
Speaker 2: solo deal for your services or yeah alreadyod or he came,

387
00:21:17,200 --> 00:21:18,640
Speaker 2: he came, you have to get a boys out.

388
00:21:19,240 --> 00:21:24,119
Speaker 3: And before you answer that question, Jay was behind the

389
00:21:25,400 --> 00:21:29,159
Speaker 3: Death Row record. So what made him go, no, fuck that,

390
00:21:29,359 --> 00:21:31,560
Speaker 3: come over here and do this Ghetto Boys record?

391
00:21:33,040 --> 00:21:33,680
Speaker 1: Say that again.

392
00:21:34,720 --> 00:21:39,159
Speaker 3: So Jay was in support of y'all as the convicts,

393
00:21:39,240 --> 00:21:42,480
Speaker 3: going to get on the row and do a project

394
00:21:42,520 --> 00:21:47,360
Speaker 3: over there. Yeah, why did he turn around and go

395
00:21:47,440 --> 00:21:51,720
Speaker 3: fuck that, come back home and do this Ghetto Boys project?

396
00:21:51,960 --> 00:21:54,919
Speaker 4: He didn't, he is he didn't say, he wasn't like

397
00:21:55,040 --> 00:21:59,000
Speaker 4: fuck that, right, not in that sense, But it was

398
00:21:59,080 --> 00:22:04,720
Speaker 4: separate fe okay, getting it wasn't yeah, continuing on me

399
00:22:05,040 --> 00:22:08,679
Speaker 4: still performing or releasing the project with the convicts?

400
00:22:08,760 --> 00:22:12,359
Speaker 2: Right? But was it was? It?

401
00:22:12,520 --> 00:22:17,160
Speaker 3: Was it the fact that the Convicts project on death

402
00:22:17,280 --> 00:22:23,399
Speaker 3: Row wasn't taken off fast enough? No? No, Is that

403
00:22:23,440 --> 00:22:25,520
Speaker 3: what made you go back home and say fuck that?

404
00:22:25,840 --> 00:22:28,520
Speaker 3: Or was it just I didn't really say for but

405
00:22:28,560 --> 00:22:30,280
Speaker 3: that's what made me go back home? Like I said,

406
00:22:30,280 --> 00:22:32,520
Speaker 3: I had already had had a couple.

407
00:22:32,320 --> 00:22:35,720
Speaker 4: Of children, right, so I had I had responsibilities.

408
00:22:35,760 --> 00:22:36,800
Speaker 1: I didn't, you know, I wasn't.

409
00:22:36,880 --> 00:22:37,480
Speaker 2: I didn't.

410
00:22:37,680 --> 00:22:41,080
Speaker 4: I didn't have the luxury of just hanging around and

411
00:22:41,119 --> 00:22:44,359
Speaker 4: not being productive, you feel me? For a year, a

412
00:22:44,600 --> 00:22:47,040
Speaker 4: year or two or whatnot. You know, I was trying

413
00:22:47,040 --> 00:22:50,159
Speaker 4: to get in motion. So when the opportunity came, I

414
00:22:50,200 --> 00:22:55,919
Speaker 4: guess when Willie D had left the group, and you

415
00:22:55,960 --> 00:23:00,399
Speaker 4: know they probably took self inventory, right honestly, Right, if

416
00:23:00,440 --> 00:23:02,639
Speaker 4: you're a CEO, you're gonna look round the label and

417
00:23:02,720 --> 00:23:05,080
Speaker 4: be like, you know, who else can I get to

418
00:23:05,280 --> 00:23:06,000
Speaker 4: fit the trio?

419
00:23:06,200 --> 00:23:06,400
Speaker 2: Right?

420
00:23:06,680 --> 00:23:11,040
Speaker 4: Because that's how the Ghetto Boys were operated, right? So

421
00:23:13,800 --> 00:23:18,000
Speaker 4: my name, you know, it came to me, you feel me,

422
00:23:18,480 --> 00:23:21,200
Speaker 4: it came to me. They hit me up when we

423
00:23:21,200 --> 00:23:23,520
Speaker 4: was in La. Like I said, I didn't jump on

424
00:23:23,560 --> 00:23:25,439
Speaker 4: it right away. I had thought about it. But then

425
00:23:25,480 --> 00:23:28,840
Speaker 4: when things exactly like you said, when things had to

426
00:23:28,920 --> 00:23:32,480
Speaker 4: when the production slowed down on the basically came to

427
00:23:32,560 --> 00:23:37,239
Speaker 4: a hope on the Convicts project, right, I was like,

428
00:23:37,280 --> 00:23:39,160
Speaker 4: I had to do what I had to do. If

429
00:23:39,200 --> 00:23:43,560
Speaker 4: the Crime Convicts Project was still moving, who knows, who

430
00:23:43,600 --> 00:23:46,399
Speaker 4: knows what I would have done, right, But it wasn't.

431
00:23:46,800 --> 00:23:49,440
Speaker 4: So then I get the opportunity to go back home

432
00:23:49,480 --> 00:23:51,520
Speaker 4: and play with the home team.

433
00:23:51,920 --> 00:23:54,840
Speaker 1: It was, it was, it was, it was, It seemed

434
00:23:54,960 --> 00:23:56,359
Speaker 1: it was the right move at the time.

435
00:23:56,680 --> 00:23:59,480
Speaker 2: You feel me, it was lower three two salty.

436
00:24:02,400 --> 00:24:04,520
Speaker 1: I don't. I don't. I don't. I wouldn't say he

437
00:24:04,640 --> 00:24:06,400
Speaker 1: was Sautsi. He wasn't saut Sea.

438
00:24:08,320 --> 00:24:11,159
Speaker 2: Yeah, think about it like this. He had you know,

439
00:24:11,240 --> 00:24:13,920
Speaker 2: he over a death row and got a situation. Ain't

440
00:24:13,920 --> 00:24:16,120
Speaker 2: nobody called him to come join the group. You feel

441
00:24:16,119 --> 00:24:18,919
Speaker 2: what I'm saying? So you leave that kind of shorten

442
00:24:18,960 --> 00:24:20,280
Speaker 2: his situation out, didn't it.

443
00:24:21,040 --> 00:24:24,399
Speaker 4: Free Too was already gone before I had left some

444
00:24:24,520 --> 00:24:27,639
Speaker 4: three twos. He had already went back went back to

445
00:24:27,720 --> 00:24:29,720
Speaker 4: Houston before I had that.

446
00:24:31,960 --> 00:24:34,040
Speaker 2: Wasn't the same thing. The records was taking too long.

447
00:24:34,560 --> 00:24:37,520
Speaker 4: So it was on that Ghetto Boys album He's on

448
00:24:37,640 --> 00:24:41,040
Speaker 4: straight Gangsterism Altham. He he wasn't South and he was family.

449
00:24:41,680 --> 00:24:43,400
Speaker 4: It was it was it wasn't like that.

450
00:24:43,600 --> 00:24:46,520
Speaker 1: We knew if if one of us get there, then

451
00:24:46,560 --> 00:24:48,760
Speaker 1: all of us get there. He did what I'm saying,

452
00:24:48,840 --> 00:24:51,919
Speaker 1: So it was it wasn't like that whatsoever.

453
00:24:52,840 --> 00:24:54,560
Speaker 2: Yeah, that makes sense. If he was, especially if he

454
00:24:54,640 --> 00:24:56,360
Speaker 2: was gone already, he probably wouldn't.

455
00:24:56,040 --> 00:25:00,239
Speaker 3: Trust there was It was their other work going on

456
00:25:00,400 --> 00:25:04,200
Speaker 3: a death row that was taking precedent over the convicts

457
00:25:04,240 --> 00:25:06,040
Speaker 3: record is why it slowed down.

458
00:25:07,600 --> 00:25:11,280
Speaker 4: So when we got there, of course dra was already

459
00:25:11,320 --> 00:25:15,800
Speaker 4: They was already formulated the chronate, right, So I think

460
00:25:15,960 --> 00:25:20,560
Speaker 4: they had justin did the deep cover soundtrack right, putting

461
00:25:20,560 --> 00:25:21,800
Speaker 4: together the chronic.

462
00:25:24,560 --> 00:25:28,760
Speaker 1: When Slope was able to be on deck right once.

463
00:25:28,600 --> 00:25:33,160
Speaker 4: He was on deck, then I think they just went

464
00:25:33,240 --> 00:25:36,160
Speaker 4: full ahead with that, you know what I mean.

465
00:25:36,240 --> 00:25:40,080
Speaker 1: And that's understandable, right, So I was gonna have a.

466
00:25:40,000 --> 00:25:42,840
Speaker 4: Song of mine gonna be on there anyway, mister Officer

467
00:25:42,960 --> 00:25:46,760
Speaker 4: was gonna be on there. Later I found out Drake

468
00:25:46,880 --> 00:25:50,359
Speaker 4: had wanted to record that straight gangster rhythm, right, But

469
00:25:50,640 --> 00:25:52,960
Speaker 4: I was always I was already in the process of

470
00:25:54,200 --> 00:25:57,000
Speaker 4: recording with the Ghetto Boys, so I had bought those

471
00:25:57,040 --> 00:26:02,800
Speaker 4: songs over there, and but let me see, not to

472
00:26:02,840 --> 00:26:09,680
Speaker 4: get off track, but hit me with that that last

473
00:26:09,680 --> 00:26:13,879
Speaker 4: part of that question again, like like, like I said,

474
00:26:15,000 --> 00:26:19,640
Speaker 4: was there other records that were taking more precedent.

475
00:26:19,240 --> 00:26:24,040
Speaker 3: Over I was, Yeah. How many songs would you say?

476
00:26:24,119 --> 00:26:31,000
Speaker 3: Y'all was deep into the Convicts record? Man, we probably like, like, well, damn,

477
00:26:31,200 --> 00:26:33,800
Speaker 3: like when you start noticing shit was slowing down?

478
00:26:34,760 --> 00:26:40,080
Speaker 1: Mm hmm. Man, we probably had to record it like.

479
00:26:41,800 --> 00:26:45,199
Speaker 4: Maybe like four or five, like five songs between Slip

480
00:26:45,480 --> 00:26:48,560
Speaker 4: and Unknown, right, and then we had the one from

481
00:26:48,600 --> 00:26:51,800
Speaker 4: Warrant g So that's probably like six songs right there, right.

482
00:26:53,680 --> 00:26:56,080
Speaker 4: How many songs was we putting on the album back then,

483
00:26:56,240 --> 00:27:00,399
Speaker 4: ten or twelve? About ten about ten, Yeah, so I

484
00:27:00,400 --> 00:27:02,840
Speaker 4: would say we was half played, right, but it was

485
00:27:02,880 --> 00:27:07,479
Speaker 4: our pre production, right, it was reproduction, and then things

486
00:27:07,520 --> 00:27:10,480
Speaker 4: had kind of slowed down. It was the incident that

487
00:27:10,680 --> 00:27:15,800
Speaker 4: happened after things had slowed down that that Unknown was

488
00:27:15,840 --> 00:27:19,639
Speaker 4: involved in. Yeah, we tried to We went back to

489
00:27:19,640 --> 00:27:21,600
Speaker 4: work with her normal a little bit after that, but

490
00:27:22,000 --> 00:27:24,360
Speaker 4: things had kind of slowed down because.

491
00:27:25,800 --> 00:27:29,200
Speaker 2: What was the incident? Huh, who was the incident?

492
00:27:29,640 --> 00:27:31,040
Speaker 1: He got, he.

493
00:27:31,040 --> 00:27:36,120
Speaker 4: Got touched up, he got he got to Yeah, he

494
00:27:36,200 --> 00:27:39,920
Speaker 4: came to the studio with us one night and it's

495
00:27:40,119 --> 00:27:43,399
Speaker 4: darkest fucking the studio where you know, back then this.

496
00:27:43,720 --> 00:27:48,080
Speaker 1: Bitch black and this like, Nigga, why you got some

497
00:27:48,320 --> 00:27:49,040
Speaker 1: goodnesses on?

498
00:27:49,240 --> 00:27:52,399
Speaker 3: Because we just kept we like, just why is this

499
00:27:52,480 --> 00:27:55,800
Speaker 3: nigga win something like Okay, maybe he like you standing

500
00:27:55,800 --> 00:27:58,160
Speaker 3: there for five minutes or so and you ain't trip,

501
00:27:58,320 --> 00:28:00,760
Speaker 3: but we've been in here for about thirty minutes.

502
00:28:00,840 --> 00:28:03,240
Speaker 1: Nigga, This nigga still got his sunglasses.

503
00:28:03,760 --> 00:28:05,080
Speaker 2: Yeah, nigga, what the.

504
00:28:05,040 --> 00:28:07,960
Speaker 3: Fuck is going on? And Nigga pulled them glasses off.

505
00:28:08,080 --> 00:28:11,200
Speaker 3: Nigga boom.

506
00:28:11,320 --> 00:28:16,400
Speaker 4: Yeah, man, I think it was behind, like the production

507
00:28:16,600 --> 00:28:21,040
Speaker 4: had slowed down. I was, and we were like, hey,

508
00:28:21,080 --> 00:28:22,240
Speaker 4: we ain't been to the studio.

509
00:28:23,560 --> 00:28:29,520
Speaker 3: This is exactly what was was told because Slip was

510
00:28:29,560 --> 00:28:31,160
Speaker 3: a part of that, right.

511
00:28:31,720 --> 00:28:32,280
Speaker 2: Yeah.

512
00:28:32,720 --> 00:28:36,360
Speaker 3: From what I heard was he went and got some

513
00:28:36,480 --> 00:28:41,360
Speaker 3: money from sug to start production on the Compix project.

514
00:28:42,480 --> 00:28:45,800
Speaker 3: But in the midst of that, Slip was working on

515
00:28:46,000 --> 00:28:54,120
Speaker 3: music to drive by with me. So Sugar is requesting

516
00:28:54,200 --> 00:28:59,640
Speaker 3: these beats Nigga even took my money, so where's the beats?

517
00:29:00,440 --> 00:29:04,280
Speaker 3: Anne kept putting it off, like, well, you know, I'm

518
00:29:04,320 --> 00:29:06,480
Speaker 3: busy working on h record.

519
00:29:06,800 --> 00:29:14,959
Speaker 4: And once he heard that, Nigga okay, see I heard yeah,

520
00:29:15,080 --> 00:29:18,480
Speaker 4: you're probably right right because I thought it was because

521
00:29:18,520 --> 00:29:22,280
Speaker 4: the production had slowed down. Because it probably because when

522
00:29:22,320 --> 00:29:24,040
Speaker 4: sug had asked me, I was like, should we ain't

523
00:29:24,080 --> 00:29:25,920
Speaker 4: been to the studio? You know, and he was like,

524
00:29:26,400 --> 00:29:28,080
Speaker 4: on who y'all been working with? I was like, man,

525
00:29:28,120 --> 00:29:30,360
Speaker 4: we was working with Unknown with with slip and he

526
00:29:30,520 --> 00:29:32,560
Speaker 4: was like, don't worry about it. I take care of it.

527
00:29:33,680 --> 00:29:35,120
Speaker 4: Oh yeah, he took care of it.

528
00:29:35,480 --> 00:29:35,880
Speaker 2: Yeah.

529
00:29:35,960 --> 00:29:39,400
Speaker 4: And then one day when Unknown popped up we was

530
00:29:39,440 --> 00:29:43,080
Speaker 4: going to the studio, he had them sunglasses on. Yes, yeah,

531
00:29:43,360 --> 00:29:46,560
Speaker 4: he wearing them sunglasses for a minute, and when he

532
00:29:46,640 --> 00:29:49,360
Speaker 4: got to his house, got to his studio, Bo took

533
00:29:49,360 --> 00:29:53,360
Speaker 4: the sunglasses off. And that's when we found out what

534
00:29:53,480 --> 00:29:55,840
Speaker 4: had happened. I kind of I was like, damn. I

535
00:29:55,880 --> 00:29:58,000
Speaker 4: kind of felt bad because I thought it was because

536
00:29:58,040 --> 00:30:00,920
Speaker 4: I had told him we ain't been to the studio, right, Yeah,

537
00:30:00,960 --> 00:30:10,560
Speaker 4: But Mike, basically because it's one of those things when

538
00:30:11,120 --> 00:30:15,160
Speaker 4: you ride and high, right, you know, we was having

539
00:30:15,160 --> 00:30:19,560
Speaker 4: a little success, and when they was working on that album,

540
00:30:19,720 --> 00:30:23,840
Speaker 4: because it was three two, we would be privy to

541
00:30:23,960 --> 00:30:27,080
Speaker 4: some of the songs I was working on. Remember that intro,

542
00:30:27,240 --> 00:30:30,080
Speaker 4: that figure a intro I came up with that.

543
00:30:30,600 --> 00:30:32,640
Speaker 2: Yeah, yeah, Hey.

544
00:30:32,800 --> 00:30:36,680
Speaker 4: We was like, oh, we couldn't believe we was here

545
00:30:36,760 --> 00:30:37,280
Speaker 4: and this ship.

546
00:30:37,400 --> 00:30:39,840
Speaker 1: You feel me? But shout out the slipped and shot

547
00:30:39,840 --> 00:30:40,560
Speaker 1: out the unknown.

548
00:30:40,560 --> 00:30:43,360
Speaker 4: I wasn't laughing at his situation, right, I was just

549
00:30:43,440 --> 00:30:47,640
Speaker 4: recalling everything. But the brothers were still good brothers, you

550
00:30:47,680 --> 00:30:51,160
Speaker 4: know what I mean. I enjoyed working with them cats.

551
00:30:51,560 --> 00:30:53,880
Speaker 4: You know, I learned from everybody that be around, so

552
00:30:54,320 --> 00:30:56,120
Speaker 4: I was definitely I definitely.

553
00:30:55,800 --> 00:30:58,000
Speaker 1: Picked up on some things and learned some things.

554
00:30:58,040 --> 00:31:01,880
Speaker 4: Man, and getting down over at West Coast Production, that

555
00:31:02,080 --> 00:31:05,240
Speaker 4: really helped my float, You feel me? My float was

556
00:31:05,320 --> 00:31:08,920
Speaker 4: already ready in the right direction, but that really helped

557
00:31:08,960 --> 00:31:10,680
Speaker 4: refine it. You did, know what I'm saying?

558
00:31:10,680 --> 00:31:12,720
Speaker 2: Like you a good nigga dog.

559
00:31:13,680 --> 00:31:16,000
Speaker 4: Even though we didn't get to finish the project and

560
00:31:16,040 --> 00:31:21,440
Speaker 4: stuff out there, I still learned some things right and

561
00:31:22,200 --> 00:31:26,040
Speaker 4: was able to, you know, you know, upgrade my game

562
00:31:26,080 --> 00:31:28,840
Speaker 4: a little bit from being just from being down there.

563
00:31:29,240 --> 00:31:30,240
Speaker 1: You know what I'm saying so.

564
00:31:31,000 --> 00:31:35,880
Speaker 3: But yeah, and sometimes when you're around other you know,

565
00:31:36,200 --> 00:31:39,320
Speaker 3: when you're around other greatness in the make and you know,

566
00:31:39,400 --> 00:31:42,480
Speaker 3: it just makes you refined and polished. Not that shit

567
00:31:42,560 --> 00:31:46,480
Speaker 3: as a competition, but you know, being around motherfuckers who

568
00:31:46,520 --> 00:31:51,200
Speaker 3: you feel have already set the tone for being you

569
00:31:51,240 --> 00:31:55,400
Speaker 3: know great. You know, like, yeah, Dre was one of

570
00:31:55,440 --> 00:31:58,680
Speaker 3: the motherfuckers. You know, Slip was one of the motherfuckers.

571
00:31:58,960 --> 00:32:03,280
Speaker 3: Then being able to able to hang around you know,

572
00:32:03,600 --> 00:32:08,480
Speaker 3: the Snoops in the in the Warren Gee's too, you know.

573
00:32:08,440 --> 00:32:09,480
Speaker 1: You know at the apartment.

574
00:32:10,280 --> 00:32:11,880
Speaker 2: Yeah, over there, you.

575
00:32:11,880 --> 00:32:15,840
Speaker 3: Feel me because y'all already, like I said, y'all were

576
00:32:16,320 --> 00:32:19,960
Speaker 3: y'all were looked upon as some great niggas already so

577
00:32:20,520 --> 00:32:24,240
Speaker 3: being because y'all were the first ones to represent a

578
00:32:24,400 --> 00:32:28,920
Speaker 3: California West Coast label coming from Texas. You know how

579
00:32:29,040 --> 00:32:32,920
Speaker 3: niggas felt about the Convicts early projects. You feel ready

580
00:32:34,200 --> 00:32:39,160
Speaker 3: rest in peace my nigga three too. Funny, motherfucker.

581
00:32:41,800 --> 00:32:44,680
Speaker 2: Mike when they did put when they did put the

582
00:32:44,720 --> 00:32:49,040
Speaker 2: three to the Convicts album out right, did they put

583
00:32:49,040 --> 00:32:50,920
Speaker 2: a lot of promotion on that or was it just

584
00:32:50,960 --> 00:32:52,280
Speaker 2: something that just kind of popped up?

585
00:32:52,920 --> 00:32:56,440
Speaker 4: No? No, no, they just they put it out there.

586
00:32:56,520 --> 00:32:59,960
Speaker 4: We had we had little promotion, you know what I mean,

587
00:33:00,200 --> 00:33:02,440
Speaker 4: But it wasn't like no major roll out or nothing

588
00:33:02,520 --> 00:33:07,360
Speaker 4: like that. You had to be a deep uh rap,

589
00:33:07,400 --> 00:33:11,480
Speaker 4: a lot records connoisseur, you know, as far as the

590
00:33:11,680 --> 00:33:15,960
Speaker 4: convicts is concerned. You have to be a real nigga

591
00:33:16,000 --> 00:33:20,800
Speaker 4: who appreciated underground hip hop. You know what I'm saying, Because,

592
00:33:20,840 --> 00:33:23,400
Speaker 4: like you said, y'all didn't get there, and I felt

593
00:33:23,440 --> 00:33:25,120
Speaker 4: like I was in that same boat.

594
00:33:25,240 --> 00:33:31,240
Speaker 3: A lot of us got mediocre motion because niggas really

595
00:33:31,240 --> 00:33:33,560
Speaker 3: didn't know what to do with us. You feel me,

596
00:33:34,080 --> 00:33:41,600
Speaker 3: you know, you have attention, You feel me. It that's valuable, right,

597
00:33:42,160 --> 00:33:42,800
Speaker 3: motherfucker said.

598
00:33:42,880 --> 00:33:44,720
Speaker 4: Damn, I ain't even putting no money behind this ship,

599
00:33:44,800 --> 00:33:50,880
Speaker 4: but they making noise. Yeah, it's you know, some people

600
00:33:50,920 --> 00:33:53,200
Speaker 4: get it up front. Some people got to grind a

601
00:33:53,200 --> 00:33:54,160
Speaker 4: little bit more.

602
00:33:54,040 --> 00:33:58,200
Speaker 3: Right, But you know, yeah, that's the That's the motto

603
00:33:58,280 --> 00:33:59,800
Speaker 3: I tell my son today.

604
00:34:00,200 --> 00:34:02,440
Speaker 1: Like some some niggas get it like you'd be.

605
00:34:02,440 --> 00:34:05,920
Speaker 3: Like god, damn, like damn, that was fast, and then

606
00:34:06,000 --> 00:34:08,640
Speaker 3: you look at itself and be like, Nigga, I've been

607
00:34:08,680 --> 00:34:12,160
Speaker 3: grinding for a long time, But hey, fuck it. Sometimes

608
00:34:12,160 --> 00:34:14,080
Speaker 3: it's just the way the route you have to go.

609
00:34:14,320 --> 00:34:17,279
Speaker 3: Fuck it sometimes it's just like that, you know.

610
00:34:18,760 --> 00:34:21,120
Speaker 2: Y'all wound up doing a couple hundred thousand copies of

611
00:34:21,160 --> 00:34:22,120
Speaker 2: the album nont you know.

612
00:34:24,320 --> 00:34:30,160
Speaker 1: On the Convicts album. Yeah, yeah, yeah, yeah, the Convince

613
00:34:30,880 --> 00:34:32,000
Speaker 1: getting around.

614
00:34:32,239 --> 00:34:33,120
Speaker 2: Back in the days.

615
00:34:33,160 --> 00:34:37,480
Speaker 3: So that was a pre that was that was appreciated

616
00:34:37,560 --> 00:34:38,680
Speaker 3: back in those days.

617
00:34:38,719 --> 00:34:38,919
Speaker 2: Though.

618
00:34:38,960 --> 00:34:41,480
Speaker 3: In those early hip hop days, you could sell two

619
00:34:41,560 --> 00:34:45,400
Speaker 3: hundred three hundred thousand. Yeah, motherfucker, look at you like

620
00:34:45,560 --> 00:34:49,840
Speaker 3: you know, okay, you know that was that was. You know,

621
00:34:50,040 --> 00:34:56,000
Speaker 3: ship nowadays? Ship you you can't. You ain't pushing triple billion, nigga,

622
00:34:56,040 --> 00:34:56,760
Speaker 3: you ain't ship?

623
00:34:58,400 --> 00:35:01,760
Speaker 1: Yeah, wea nowadays?

624
00:35:02,760 --> 00:35:08,000
Speaker 2: You know, then it's two hundred thousand. And that was

625
00:35:08,040 --> 00:35:10,239
Speaker 2: a lot of money back then, because you gotta remember, man,

626
00:35:10,440 --> 00:35:13,840
Speaker 2: I had a record store. Labels was getting anywhere between

627
00:35:13,880 --> 00:35:17,000
Speaker 2: sixty seven dollars back then. Man, you know, put that

628
00:35:17,120 --> 00:35:19,920
Speaker 2: up man it you know it made about one point

629
00:35:19,960 --> 00:35:23,120
Speaker 2: five two million, yeah off that album, you know what

630
00:35:23,120 --> 00:35:23,560
Speaker 2: I'm saying.

631
00:35:24,000 --> 00:35:27,920
Speaker 3: Yeah, that's been changed now when you're collecting about what

632
00:35:28,160 --> 00:35:32,200
Speaker 3: sixty seventy cents? You know the point then point nigga,

633
00:35:32,239 --> 00:35:35,720
Speaker 3: don't know a point of seven cents and ship. So nigga,

634
00:35:35,880 --> 00:35:39,400
Speaker 3: you getting motherfucking you're getting. You're getting what eighty nine

635
00:35:39,480 --> 00:35:41,960
Speaker 3: points in the album? Nigga, you look up there, that

636
00:35:42,040 --> 00:35:44,640
Speaker 3: ship add up to about a couple of cents. Then

637
00:35:44,640 --> 00:35:48,320
Speaker 3: you're turning around and they charging you for every stamp,

638
00:35:48,560 --> 00:35:54,920
Speaker 3: every phone call, every fucking promo tour. You think like, oh, goddamn,

639
00:35:55,040 --> 00:35:57,920
Speaker 3: I just sold half a million records. Niggat fit to be.

640
00:35:58,400 --> 00:36:01,840
Speaker 3: They like, no, no, no, now they made money. But

641
00:36:01,960 --> 00:36:04,720
Speaker 3: them motherfuckers turn around and go, nigga, oh, your budget

642
00:36:04,920 --> 00:36:08,200
Speaker 3: was what two point fifty? Your videos added up to

643
00:36:08,280 --> 00:36:13,440
Speaker 3: about another two seventy five, your pro one hundred.

644
00:36:13,920 --> 00:36:15,920
Speaker 1: Really you owe us out of that?

645
00:36:16,040 --> 00:36:19,000
Speaker 3: What out of that eighty six cents you getting, you

646
00:36:19,000 --> 00:36:23,239
Speaker 3: owe us about motherfucking eight hundred and something thousands and shit.

647
00:36:23,680 --> 00:36:28,880
Speaker 3: So you like, huh, but it just made thirty million dollars, Nigga,

648
00:36:28,920 --> 00:36:32,200
Speaker 3: you owe us eight hundred and ninety thousand and some

649
00:36:32,440 --> 00:36:39,279
Speaker 3: change out of that seventy two getting clazy nigga never recouping,

650
00:36:40,040 --> 00:36:42,440
Speaker 3: and then the motherfucker turned around next year, go here,

651
00:36:42,480 --> 00:36:46,360
Speaker 3: go another twoft give us another record you got with

652
00:36:46,520 --> 00:36:52,000
Speaker 3: you nicking up advances in that show Gotta eat off that.

653
00:36:52,000 --> 00:36:53,080
Speaker 1: That's how you gotta live.

654
00:36:53,560 --> 00:36:56,799
Speaker 3: You gotta figure right away, like Homa, get my shit recorded,

655
00:36:57,040 --> 00:37:01,400
Speaker 3: beat all that shit with this budget, and put some

656
00:37:01,480 --> 00:37:04,080
Speaker 3: of this money in my pocket because I'm never gonna

657
00:37:04,080 --> 00:37:06,240
Speaker 3: see a royalty check off of this project.

658
00:37:06,440 --> 00:37:06,720
Speaker 1: Never.

659
00:37:07,680 --> 00:37:07,960
Speaker 2: Never.

660
00:37:08,280 --> 00:37:10,760
Speaker 3: I don't give a fuck. I gonna sell two million

661
00:37:10,880 --> 00:37:15,560
Speaker 3: copies and motherfucking make them about forty fifty million. I

662
00:37:15,600 --> 00:37:19,239
Speaker 3: still owe these niggas three millions. I have provided you

663
00:37:19,360 --> 00:37:23,520
Speaker 3: with a real budget. Yeah, I don't put out two records,

664
00:37:23,600 --> 00:37:26,839
Speaker 3: and I'm still in the red three million, and that's

665
00:37:26,880 --> 00:37:29,560
Speaker 3: got to come out of seventy two cents.

666
00:37:29,880 --> 00:37:33,399
Speaker 4: Like like to learn, but you learn not to ask

667
00:37:33,480 --> 00:37:35,120
Speaker 4: for so much shit next time.

668
00:37:35,040 --> 00:37:36,080
Speaker 1: Right, I don't.

669
00:37:37,160 --> 00:37:41,000
Speaker 4: I don't need this this city, going to work with

670
00:37:41,440 --> 00:37:45,960
Speaker 4: producer this and that. Yeah, fucking ads and the magazines,

671
00:37:46,160 --> 00:37:49,440
Speaker 4: fuck all that shit, man. Right about now, I just

672
00:37:49,480 --> 00:37:51,800
Speaker 4: want to go off a world of mouth for the streets,

673
00:37:51,840 --> 00:37:54,560
Speaker 4: fucking because y'all charging a nigga for.

674
00:37:54,880 --> 00:37:59,800
Speaker 1: Every game everything heighty they feel like they got to

675
00:37:59,840 --> 00:38:00,439
Speaker 1: get get back.

676
00:38:01,719 --> 00:38:05,280
Speaker 2: Keep in mind, not only are they connected collecting everything

677
00:38:05,320 --> 00:38:08,040
Speaker 2: back out your seventy two cents, but they probably an't

678
00:38:08,080 --> 00:38:11,000
Speaker 2: already made anywhere for one and a half to seven

679
00:38:11,040 --> 00:38:13,880
Speaker 2: eight million dollars already, just just already, and they still

680
00:38:14,000 --> 00:38:16,120
Speaker 2: charge your game.

681
00:38:16,920 --> 00:38:22,040
Speaker 3: You sell them, You sell the motherfucking million copies for them.

682
00:38:22,440 --> 00:38:25,080
Speaker 3: They they've done made some money because.

683
00:38:24,840 --> 00:38:31,040
Speaker 4: What some of them how many seven dollars album?

684
00:38:31,719 --> 00:38:34,120
Speaker 2: Yeah, that's thirty five million dollars album?

685
00:38:34,480 --> 00:38:36,680
Speaker 1: What some of them flipping? What nine ninety nine?

686
00:38:36,719 --> 00:38:41,520
Speaker 3: At the motherfucking one stops, they sending them up fourteen

687
00:38:41,640 --> 00:38:43,240
Speaker 3: dollars thirteen.

688
00:38:45,920 --> 00:38:46,080
Speaker 2: Up?

689
00:38:46,920 --> 00:38:52,279
Speaker 1: They steal some of that, gangster Yeah, that's straight right there.

690
00:38:53,560 --> 00:38:56,080
Speaker 1: I just do. Going into One Stops, nigga, I'm like,

691
00:38:56,120 --> 00:38:57,400
Speaker 1: who album is out? Oh?

692
00:38:57,440 --> 00:38:59,720
Speaker 3: Yeah, let me get that, Let me get that one,

693
00:39:00,040 --> 00:39:03,720
Speaker 3: Let me get that one, Let me get that one. Yeah,

694
00:39:03,920 --> 00:39:07,439
Speaker 3: go to the label, fucking anybody who was on the label, nigga.

695
00:39:07,440 --> 00:39:10,080
Speaker 3: I'm going shopping, nigga. That's how I get all my music.

696
00:39:10,200 --> 00:39:12,560
Speaker 3: Fuck ghet up the label, going there?

697
00:39:12,560 --> 00:39:13,439
Speaker 1: Whose record out?

698
00:39:13,440 --> 00:39:13,600
Speaker 2: Oh?

699
00:39:13,680 --> 00:39:16,000
Speaker 3: Michael Jackson's record out? Yeah, let me get one of

700
00:39:16,040 --> 00:39:19,399
Speaker 3: them for days? Who else is out?

701
00:39:19,560 --> 00:39:19,640
Speaker 2: So?

702
00:39:20,480 --> 00:39:23,080
Speaker 3: Yeah, because you ain't fing to see nothing, you better

703
00:39:23,120 --> 00:39:27,160
Speaker 3: be smart and be able to budget that motherfucking advance

704
00:39:27,280 --> 00:39:27,960
Speaker 3: they give you.

705
00:39:28,560 --> 00:39:31,239
Speaker 1: Stick some of that, stretch it out.

706
00:39:31,280 --> 00:39:33,200
Speaker 4: But then you know, you was able to get some

707
00:39:33,239 --> 00:39:35,960
Speaker 4: money to get your published in right, and then after

708
00:39:36,000 --> 00:39:38,480
Speaker 4: a while, you know them raw teas to catch up

709
00:39:38,480 --> 00:39:39,240
Speaker 4: a little bit.

710
00:39:39,480 --> 00:39:43,280
Speaker 3: Right, but when you start figuring out the game, because

711
00:39:44,840 --> 00:39:47,720
Speaker 3: just say, yeah, at least some of us as artists

712
00:39:47,760 --> 00:39:53,160
Speaker 3: came in this game young and uh, it's it's fortunate

713
00:39:53,320 --> 00:39:57,279
Speaker 3: now that a lot of artists are able to to

714
00:39:57,480 --> 00:40:00,879
Speaker 3: gain from that having the knowledge of of what we

715
00:40:00,960 --> 00:40:02,960
Speaker 3: had to go through because we was getting.

716
00:40:03,280 --> 00:40:05,799
Speaker 1: The game young, you was gonna get skinned.

717
00:40:05,560 --> 00:40:12,640
Speaker 3: Up published, Nigga, that Nigga published, Nigga, I thought you

718
00:40:12,840 --> 00:40:15,399
Speaker 3: just get a check for I thoughn't you just get

719
00:40:15,440 --> 00:40:16,200
Speaker 3: a check.

720
00:40:18,160 --> 00:40:20,480
Speaker 1: On the album covers?

721
00:40:20,520 --> 00:40:21,000
Speaker 2: And ship?

722
00:40:21,280 --> 00:40:23,959
Speaker 1: I'm like, what about being on the album covered? Check?

723
00:40:24,040 --> 00:40:27,200
Speaker 3: At you know what I'm saying that it's publishing and

724
00:40:27,239 --> 00:40:28,640
Speaker 3: did you get your mechanicals?

725
00:40:28,680 --> 00:40:31,640
Speaker 1: And you're like, what the fuck is that you?

726
00:40:31,680 --> 00:40:33,960
Speaker 3: We didn't. We didn't know that. We weren't able to

727
00:40:33,960 --> 00:40:37,440
Speaker 3: figure that ship out until later on down our lives

728
00:40:37,480 --> 00:40:40,600
Speaker 3: and our careers and shipping. Unfortunately, you know, there's some

729
00:40:40,640 --> 00:40:44,680
Speaker 3: motherfuckers out there still eating off your work because you know,

730
00:40:44,920 --> 00:40:48,600
Speaker 3: you write, you you wrote the songs, you did the music.

731
00:40:48,960 --> 00:40:49,319
Speaker 1: You know.

732
00:40:51,120 --> 00:40:54,880
Speaker 3: It's just that we came from that era that certain

733
00:40:54,960 --> 00:40:58,920
Speaker 3: niggas felt like they deserved that more than you, and

734
00:40:58,960 --> 00:41:02,960
Speaker 3: you the motherfucker who produced that situation. You know, a

735
00:41:03,040 --> 00:41:06,200
Speaker 3: beat you might have undead, or a verse you might

736
00:41:06,239 --> 00:41:08,759
Speaker 3: have wrote. Now youvene wrote every fucking verse on your

737
00:41:08,800 --> 00:41:11,799
Speaker 3: album and you look up in somebody else's claiming the

738
00:41:11,840 --> 00:41:12,719
Speaker 3: publishing on it.

739
00:41:12,880 --> 00:41:16,800
Speaker 1: You know, I should even hit you to the game.

740
00:41:16,920 --> 00:41:20,000
Speaker 2: You feel me I'm a hit you know, But.

741
00:41:21,480 --> 00:41:23,680
Speaker 1: I don't know. Let me ask you this eight.

742
00:41:25,120 --> 00:41:28,400
Speaker 4: If you was in a position back in the days

743
00:41:28,440 --> 00:41:32,239
Speaker 4: to be a CEO, right, you win the head, You

744
00:41:32,360 --> 00:41:34,359
Speaker 4: wasn't behind the mic, right right?

745
00:41:35,640 --> 00:41:35,799
Speaker 2: Right?

746
00:41:36,800 --> 00:41:39,560
Speaker 1: You got young, it's got some talent, you sign them

747
00:41:39,560 --> 00:41:43,080
Speaker 1: on up. You gonna hit him to the game, or

748
00:41:43,120 --> 00:41:47,000
Speaker 1: you're gonna let him learn through trial and error.

749
00:41:47,080 --> 00:41:49,399
Speaker 3: Coming from the era that we came in, I'm gonna

750
00:41:49,440 --> 00:41:54,080
Speaker 3: beat uh the CEO because, like I always tell the motherfucker,

751
00:41:54,200 --> 00:41:57,200
Speaker 3: the object of that situation, as me as a CEO

752
00:41:57,480 --> 00:42:02,680
Speaker 3: is to retain uh most of what we need as

753
00:42:02,680 --> 00:42:05,600
Speaker 3: a company. And I'm gonna feel like in certain some

754
00:42:05,880 --> 00:42:11,319
Speaker 3: situations now it all depends on how knowledgeable the artist is.

755
00:42:11,480 --> 00:42:14,560
Speaker 3: I'm dealing with you get me. If I'm dealing with

756
00:42:14,640 --> 00:42:17,520
Speaker 3: another young nigga and he coming in and we getting

757
00:42:17,560 --> 00:42:20,000
Speaker 3: ready to do a deal, and I want to sign him,

758
00:42:20,320 --> 00:42:24,320
Speaker 3: and he's knowledgeable about the situation and knowing like, Okay,

759
00:42:25,200 --> 00:42:28,920
Speaker 3: my publishing is separate and WOOTI womp and blah blah blah,

760
00:42:29,120 --> 00:42:31,040
Speaker 3: then I'm gonna have to give a young nigga credit

761
00:42:31,200 --> 00:42:32,959
Speaker 3: and we're gonna have to come up with a deal.

762
00:42:33,480 --> 00:42:36,960
Speaker 3: Like I said, the first situations, niggas are just not knowledgeable.

763
00:42:37,200 --> 00:42:41,200
Speaker 3: So those are the situations where we got fucked. Because

764
00:42:41,280 --> 00:42:45,000
Speaker 3: I'm one of those niggas. I wasn't knowledgeable about a

765
00:42:45,040 --> 00:42:48,439
Speaker 3: lot of shit as a young seventeen year old kid

766
00:42:49,040 --> 00:42:50,720
Speaker 3: coming up the neighborhood.

767
00:42:53,200 --> 00:42:54,120
Speaker 1: I didn't have the guy.

768
00:42:54,400 --> 00:42:58,479
Speaker 3: You know, my mom frowned upon that type the shit

769
00:42:58,560 --> 00:42:59,480
Speaker 3: I was trying to do.

770
00:43:00,760 --> 00:43:03,080
Speaker 2: At least you was on a major label, Mike, I

771
00:43:03,440 --> 00:43:06,160
Speaker 2: give you. You didn't get no advance for that Convice album?

772
00:43:06,200 --> 00:43:08,279
Speaker 2: Did you not?

773
00:43:08,400 --> 00:43:09,480
Speaker 1: For that Convicts?

774
00:43:10,760 --> 00:43:12,680
Speaker 4: We was you know, we was able to go in

775
00:43:12,840 --> 00:43:15,560
Speaker 4: there and get fifteen hundred here, you know what I mean.

776
00:43:16,800 --> 00:43:24,480
Speaker 4: One of those situations. Listen, to stay off this corner. Main,

777
00:43:24,800 --> 00:43:27,239
Speaker 4: I need to have some money right, I ain't going

778
00:43:27,320 --> 00:43:27,920
Speaker 4: to finish this.

779
00:43:27,880 --> 00:43:29,680
Speaker 1: Record if I get caught up there on the block

780
00:43:29,800 --> 00:43:32,600
Speaker 1: right now, you know you got to go make that

781
00:43:32,680 --> 00:43:36,080
Speaker 1: kind of stance, right, But yeah, no, it wasn't.

782
00:43:36,160 --> 00:43:36,920
Speaker 2: We didn't. We didn't.

783
00:43:37,040 --> 00:43:37,440
Speaker 1: We didn't.

784
00:43:37,480 --> 00:43:40,680
Speaker 4: We didn't get no no quote unquote advanced for the

785
00:43:40,760 --> 00:43:44,240
Speaker 4: convicts record. But you know, we're hungry, be we was hungry,

786
00:43:44,760 --> 00:43:46,439
Speaker 4: and we were just trying to put in some work

787
00:43:46,520 --> 00:43:48,120
Speaker 4: so that we can get out there.

788
00:43:48,520 --> 00:43:50,560
Speaker 1: Naturally, we don't, we are we are. We come in

789
00:43:50,560 --> 00:43:50,879
Speaker 1: the game.

790
00:43:51,000 --> 00:43:53,399
Speaker 4: Ninety percent of us that come in the game, we're

791
00:43:53,440 --> 00:43:57,520
Speaker 4: not adept to you know, the business side of it, right.

792
00:43:57,920 --> 00:44:03,160
Speaker 4: We just were really being trusted, right, going off, going

793
00:44:03,239 --> 00:44:06,560
Speaker 4: off off. The people that we ride with decided to

794
00:44:06,600 --> 00:44:09,839
Speaker 4: sign with their reputation right in the game, right, were

795
00:44:09,840 --> 00:44:12,520
Speaker 4: looking at their success and were looking at it like, naturally,

796
00:44:12,560 --> 00:44:15,359
Speaker 4: they want the artists to have success, right, they want

797
00:44:15,400 --> 00:44:18,840
Speaker 4: the artists you feel me to to, you know, to

798
00:44:18,920 --> 00:44:19,560
Speaker 4: come up right.

799
00:44:19,640 --> 00:44:22,239
Speaker 1: It's a good look. But you know.

800
00:44:23,760 --> 00:44:26,360
Speaker 4: When it comes to that pin game, man, they whipped

801
00:44:26,360 --> 00:44:28,920
Speaker 4: you with that pen and they make you learn on

802
00:44:29,040 --> 00:44:30,200
Speaker 4: your own right.

803
00:44:32,120 --> 00:44:35,600
Speaker 3: To be just to be uh, not to be biased

804
00:44:35,600 --> 00:44:40,200
Speaker 3: about the situation, but it was no difference between RAPP

805
00:44:40,360 --> 00:44:44,320
Speaker 3: and being on Sony or Big beat Up under Epic

806
00:44:44,560 --> 00:44:45,400
Speaker 3: or whatever.

807
00:44:46,040 --> 00:44:47,359
Speaker 2: Yeah, it wasn't.

808
00:44:47,480 --> 00:44:48,920
Speaker 1: It wasn't even.

809
00:44:48,760 --> 00:44:55,279
Speaker 3: Like like like once I became knowledgeable about situations, but

810
00:44:55,880 --> 00:44:58,880
Speaker 3: now I was on Sony in Capitol and got fucked

811
00:44:58,920 --> 00:45:04,399
Speaker 3: for my first three hour. Nobody felt justifirebowing going this

812
00:45:04,480 --> 00:45:07,840
Speaker 3: dude's writing all this music or whatever nigga I was

813
00:45:07,920 --> 00:45:11,479
Speaker 3: getting somebody is somebody is getting picking up a check

814
00:45:11,560 --> 00:45:15,000
Speaker 3: for two hundred and fifty thousand, and I'm going home

815
00:45:15,400 --> 00:45:17,040
Speaker 3: with five grand in my pocket.

816
00:45:18,200 --> 00:45:18,759
Speaker 1: You get me.

817
00:45:19,040 --> 00:45:22,640
Speaker 3: There was no difference because it was an independent and

818
00:45:22,719 --> 00:45:25,799
Speaker 3: a major. If a nigga could fuck you, they were

819
00:45:25,920 --> 00:45:30,799
Speaker 3: gonna fuck you just period until you took a stand.

820
00:45:31,000 --> 00:45:34,880
Speaker 1: I would say they would definitely take advantage rules. But

821
00:45:35,000 --> 00:45:36,920
Speaker 1: I tell you that all the day.

822
00:45:37,200 --> 00:45:37,719
Speaker 4: You feel me.

823
00:45:38,440 --> 00:45:38,720
Speaker 2: Still.

824
00:45:38,800 --> 00:45:44,000
Speaker 3: We have discussions about nigga's character today and how a

825
00:45:44,120 --> 00:45:48,360
Speaker 3: nigga should be more you know, And I tell you shit,

826
00:45:49,040 --> 00:45:51,880
Speaker 3: in this day and age, if a nigga can fuck you,

827
00:45:51,960 --> 00:45:55,360
Speaker 3: he's gonna fuck you unless you know your business and

828
00:45:55,520 --> 00:45:59,600
Speaker 3: know where you're coming from. If a nigga go, yeah,

829
00:45:59,760 --> 00:46:03,560
Speaker 3: we got five, I should give him two fifty and

830
00:46:03,640 --> 00:46:04,800
Speaker 3: take my two fifty.

831
00:46:05,120 --> 00:46:09,239
Speaker 4: But you a way to give him seventy five and

832
00:46:11,920 --> 00:46:13,760
Speaker 4: that just you know what, man, I'm.

833
00:46:15,120 --> 00:46:19,080
Speaker 1: You get me unless you know I got.

834
00:46:18,880 --> 00:46:20,279
Speaker 2: That this one.

835
00:46:20,400 --> 00:46:25,000
Speaker 4: You don't know that that five I'm gonna figure out

836
00:46:25,080 --> 00:46:29,080
Speaker 4: away now you saying that a nigga should just be

837
00:46:29,239 --> 00:46:30,600
Speaker 4: credible and go, I got.

838
00:46:30,440 --> 00:46:34,880
Speaker 1: This five for us to fifty you to you, but go,

839
00:46:36,040 --> 00:46:37,000
Speaker 1: yeah I said.

840
00:46:36,840 --> 00:46:39,760
Speaker 3: That, But now five is in my hand and it's

841
00:46:39,840 --> 00:46:43,520
Speaker 3: like he don't even know that it's the file, right,

842
00:46:44,360 --> 00:46:44,879
Speaker 3: this all.

843
00:46:44,880 --> 00:46:46,719
Speaker 2: Look at it, this all, look at it. I look

844
00:46:46,719 --> 00:46:49,600
Speaker 2: at it like this. All right, we got that five?

845
00:46:49,960 --> 00:46:53,399
Speaker 2: Unless say I'm the label, right, Okay, I gotta pay

846
00:46:53,440 --> 00:46:55,720
Speaker 2: for his studio time. Let's say, okay, I don't spend

847
00:46:55,840 --> 00:46:58,480
Speaker 2: ten on the studio, right, I don't spend this that

848
00:46:58,560 --> 00:47:00,200
Speaker 2: I don't been giving them money, but.

849
00:47:02,239 --> 00:47:06,319
Speaker 1: Fifty let's say I don't. Let's I don't spend fifty thousand, right.

850
00:47:06,800 --> 00:47:10,600
Speaker 2: Yeah, I'm gonna say, okay, you know what, I'm going

851
00:47:10,680 --> 00:47:12,439
Speaker 2: to take three hundred this because you know, I gotta

852
00:47:12,440 --> 00:47:14,080
Speaker 2: get my little bit of money back and I gotta

853
00:47:14,080 --> 00:47:16,040
Speaker 2: make some money, and I'm gonna give you the other

854
00:47:16,080 --> 00:47:18,440
Speaker 2: two hundred. You know the rest of it, right, you

855
00:47:18,480 --> 00:47:24,000
Speaker 2: know what I'm saying.

856
00:47:21,640 --> 00:47:24,759
Speaker 1: How they gonna give you that seventy five good?

857
00:47:24,920 --> 00:47:25,799
Speaker 2: Not just give a nigga.

858
00:47:28,440 --> 00:47:33,319
Speaker 1: That's kind of like right there, that's just a nigga's mentality.

859
00:47:33,640 --> 00:47:38,040
Speaker 3: That's just it's it's like the bigger, the bigger the prize,

860
00:47:38,600 --> 00:47:42,000
Speaker 3: the lesser nigga want to pay you for your contribution.

861
00:47:42,520 --> 00:47:44,960
Speaker 3: And you could have you done done just as much,

862
00:47:45,320 --> 00:47:49,640
Speaker 3: and and and I don't know why their mentality was

863
00:47:49,719 --> 00:47:50,440
Speaker 3: this way.

864
00:47:50,680 --> 00:47:51,279
Speaker 1: You get me.

865
00:47:51,680 --> 00:47:54,239
Speaker 3: I have no idea when I first came in the

866
00:47:54,400 --> 00:47:57,800
Speaker 3: game and I'm sitting up in the studio late nights

867
00:47:57,840 --> 00:48:01,279
Speaker 3: and not seeing my kid, and not going to the

868
00:48:01,280 --> 00:48:06,200
Speaker 3: hoods and participating in my activities with my my neighborhood,

869
00:48:06,600 --> 00:48:11,200
Speaker 3: and you know, moms is tripping, I'm missing school. I

870
00:48:11,200 --> 00:48:13,759
Speaker 3: didn't do all of that. So a nigga could go,

871
00:48:14,120 --> 00:48:16,360
Speaker 3: he should get this, but I'm.

872
00:48:19,640 --> 00:48:19,719
Speaker 1: Not.

873
00:48:20,040 --> 00:48:23,879
Speaker 3: Just what because you the you, You the nigga who

874
00:48:24,640 --> 00:48:26,880
Speaker 3: found me and walk me through the door.

875
00:48:27,320 --> 00:48:28,840
Speaker 1: I'm still putting in the work.

876
00:48:28,640 --> 00:48:31,920
Speaker 3: Though, it ain't like I'm just sitting here and in

877
00:48:32,160 --> 00:48:36,239
Speaker 3: like like like a put together superstar. Right, were gonna

878
00:48:36,239 --> 00:48:39,799
Speaker 3: get your wardrobe, We're gonna get your songs written. We're

879
00:48:39,800 --> 00:48:43,240
Speaker 3: gonna get your music done, we gonna get your hair done.

880
00:48:43,520 --> 00:48:45,640
Speaker 3: All you gotta do is sit there and when we

881
00:48:45,760 --> 00:48:51,080
Speaker 3: go action, you do no nigga like create. I'm in

882
00:48:51,120 --> 00:48:54,120
Speaker 3: there trying to figure out, Okay, what is gonna what

883
00:48:54,239 --> 00:48:55,200
Speaker 3: is gonna make me?

884
00:48:55,360 --> 00:48:56,200
Speaker 1: Oh you know?

885
00:48:56,520 --> 00:48:57,080
Speaker 2: Oh Damn.

886
00:48:57,080 --> 00:48:59,360
Speaker 1: I listen to this nigga song and his ship is

887
00:48:59,600 --> 00:49:00,960
Speaker 1: all on that. I gotta come up.

888
00:49:01,000 --> 00:49:03,400
Speaker 3: And Nigga's sitting in there at at three o'clock in

889
00:49:03,440 --> 00:49:06,480
Speaker 3: the morning, and I'm missing my kids functions and I

890
00:49:06,520 --> 00:49:08,920
Speaker 3: don't do this and do that all because I'm trying

891
00:49:08,960 --> 00:49:11,680
Speaker 3: to create and be this artist. And when the money

892
00:49:11,760 --> 00:49:16,279
Speaker 3: hit the table, you think you should take eighty five percent.

893
00:49:15,960 --> 00:49:19,719
Speaker 4: Of it, Like God, damn dude, Like I don't like.

894
00:49:20,160 --> 00:49:24,680
Speaker 3: But some niggas mentalities idiots like that. Some niggas is like, Nigga,

895
00:49:24,719 --> 00:49:27,279
Speaker 3: we and this together. We started this shit.

896
00:49:27,440 --> 00:49:31,359
Speaker 1: Nigga sua like that, right, half Familion hits.

897
00:49:31,600 --> 00:49:36,839
Speaker 4: It's like, damn, I got this, just brought in five right,

898
00:49:37,120 --> 00:49:39,440
Speaker 4: But he wasn't even brought in this five if it

899
00:49:39,520 --> 00:49:43,839
Speaker 4: wasn't for me, not like it's a partnership, right. Some

900
00:49:43,920 --> 00:49:46,560
Speaker 4: niggas had that mentality if it wasn't for me, and

901
00:49:46,600 --> 00:49:49,839
Speaker 4: that's how that's how I felt like. Remember that night

902
00:49:49,880 --> 00:49:52,600
Speaker 4: we had the homie on there and he was like figuring,

903
00:49:52,840 --> 00:49:55,880
Speaker 4: he figuring, like, Oh, I'm the label, so without me, nigga,

904
00:49:55,920 --> 00:49:57,200
Speaker 4: you can't get shit done.

905
00:49:57,520 --> 00:50:01,760
Speaker 3: Nigga's gonna write some songs. Yeah, we're gonna getting studio

906
00:50:01,840 --> 00:50:04,800
Speaker 3: and creation. So artist, if I wouldn't a dope, artist

907
00:50:04,840 --> 00:50:08,560
Speaker 3: should not put it out, but guarantee you somebody gonna

908
00:50:08,600 --> 00:50:11,720
Speaker 3: hear this shit and go we gotta do. Don't feel

909
00:50:11,760 --> 00:50:15,279
Speaker 3: like if I didn't have this label, you would never

910
00:50:15,440 --> 00:50:17,200
Speaker 3: be who you are as an artist?

911
00:50:17,280 --> 00:50:17,959
Speaker 1: What do you mean?

912
00:50:18,640 --> 00:50:22,680
Speaker 4: You can't do shit? You can't create a song, you

913
00:50:22,760 --> 00:50:23,960
Speaker 4: can't make a beat.

914
00:50:24,320 --> 00:50:27,239
Speaker 3: All you got is is a motherfucking mouthpiece and a

915
00:50:27,280 --> 00:50:29,759
Speaker 3: little more dollars than I have. And if I was

916
00:50:29,800 --> 00:50:33,920
Speaker 3: smart enough and was knowledgeable, I'd be independent, like you

917
00:50:33,960 --> 00:50:35,320
Speaker 3: would start my own.

918
00:50:35,120 --> 00:50:39,120
Speaker 1: Shit that you got money and you got a mouthpiece.

919
00:50:39,280 --> 00:50:40,640
Speaker 2: Right, but this.

920
00:50:42,920 --> 00:50:47,160
Speaker 3: Right, if you don't like your status as the label

921
00:50:47,680 --> 00:50:51,440
Speaker 3: and as the whatever is where, well I should collect

922
00:50:51,560 --> 00:50:54,640
Speaker 3: ninety percent. What do you mean if you didn't have

923
00:50:54,719 --> 00:50:58,080
Speaker 3: this song, in this beat, in this artist, what would

924
00:50:58,120 --> 00:50:59,000
Speaker 3: you promote?

925
00:50:59,440 --> 00:51:00,919
Speaker 1: What would you mouthpiece.

926
00:51:01,560 --> 00:51:04,160
Speaker 2: Well, you know what the crazy not not to cut

927
00:51:04,160 --> 00:51:06,000
Speaker 2: you off a but you know what the crazy part

928
00:51:06,200 --> 00:51:12,000
Speaker 2: is they almost just they justify all of that, the

929
00:51:12,040 --> 00:51:14,600
Speaker 2: economics and how they do stuff and the structure of

930
00:51:14,640 --> 00:51:18,759
Speaker 2: the deals because probably only one in five artists gonna

931
00:51:18,760 --> 00:51:21,400
Speaker 2: be successful at the label. Think about all them records

932
00:51:21,400 --> 00:51:24,040
Speaker 2: that Wrap a Lot put out? How many of them records? Actually? So, Mike,

933
00:51:24,080 --> 00:51:25,879
Speaker 2: you think a lot of that ship was selling like that?

934
00:51:26,600 --> 00:51:28,960
Speaker 1: Do you? But do you? But do you qualify?

935
00:51:32,560 --> 00:51:32,840
Speaker 2: Huh?

936
00:51:33,600 --> 00:51:34,920
Speaker 1: Rap a Lot had a following?

937
00:51:35,200 --> 00:51:35,399
Speaker 2: Right?

938
00:51:35,880 --> 00:51:40,320
Speaker 1: So the label itself, you know, the labor itself was

939
00:51:40,360 --> 00:51:44,600
Speaker 1: seeing some was seeing some income because we had they

940
00:51:44,600 --> 00:51:47,000
Speaker 1: had a lot. They had It was quite a few

941
00:51:47,120 --> 00:51:49,200
Speaker 1: art this song Rap a Lot, right, and Rap a

942
00:51:49,239 --> 00:51:52,600
Speaker 1: Lot had a following, you feel what I'm saying? So

943
00:51:52,640 --> 00:51:54,719
Speaker 1: they they Rap a Lot ship.

944
00:51:58,920 --> 00:52:01,400
Speaker 2: But like I saw some crazy CDs from him, Like

945
00:52:01,440 --> 00:52:04,080
Speaker 2: I saw a white midget with a snake around his neck.

946
00:52:04,840 --> 00:52:06,760
Speaker 2: Like it was supposed to be like an off brand

947
00:52:06,840 --> 00:52:08,319
Speaker 2: version of the Ghetto Boys or whatever.

948
00:52:11,360 --> 00:52:15,799
Speaker 1: That's why did you try master Pie? Did you try

949
00:52:16,160 --> 00:52:19,359
Speaker 1: the master Piece? It beyond the Ghetto Man?

950
00:52:20,040 --> 00:52:24,640
Speaker 4: And but yeah, yeah there was my homies though, but

951
00:52:24,640 --> 00:52:29,439
Speaker 4: but yeah, yeah, yeah, it was like a spin off

952
00:52:30,360 --> 00:52:32,680
Speaker 4: from the Ghetto Boy exactly.

953
00:52:33,600 --> 00:52:35,920
Speaker 1: But and everybody was.

954
00:52:35,960 --> 00:52:38,160
Speaker 4: But when you meet those guys, they was, they was

955
00:52:38,200 --> 00:52:39,759
Speaker 4: their own original.

956
00:52:40,040 --> 00:52:41,480
Speaker 1: You feel me right.

957
00:52:42,040 --> 00:52:46,600
Speaker 4: That's where the comparisons stopped, just at the the optics

958
00:52:46,640 --> 00:52:50,879
Speaker 4: of it, you feel me, But everybody had. Everybody had

959
00:52:50,960 --> 00:52:54,759
Speaker 4: aspirations and hopes and dreams man as an individual and

960
00:52:54,840 --> 00:52:58,879
Speaker 4: things like that, you know. But unfortunately, just like other

961
00:52:59,000 --> 00:53:01,759
Speaker 4: artists that came be for the hip hop era, right,

962
00:53:02,280 --> 00:53:07,040
Speaker 4: we talk about blues, R and B jazz artists that

963
00:53:07,040 --> 00:53:09,680
Speaker 4: that was dealing with the music industry, you know what

964
00:53:09,719 --> 00:53:17,160
Speaker 4: I mean, getting taken advantage stuff. You know, the white

965
00:53:17,239 --> 00:53:21,319
Speaker 4: white artists just just covering black songs and putting them

966
00:53:21,360 --> 00:53:25,279
Speaker 4: out like it's they songs. You feel me right, You

967
00:53:25,280 --> 00:53:30,399
Speaker 4: would think that blacks in the business, after seeing and

968
00:53:30,440 --> 00:53:33,880
Speaker 4: knowing that this kind of stuff and being a victim

969
00:53:33,920 --> 00:53:36,160
Speaker 4: of this kind of stuff, that we would treat each

970
00:53:36,160 --> 00:53:39,879
Speaker 4: other differently, you feel me right, and treat each other

971
00:53:39,920 --> 00:53:42,080
Speaker 4: a little bit better, with a little bit more respect.

972
00:53:42,239 --> 00:53:42,439
Speaker 2: Right.

973
00:53:42,920 --> 00:53:48,440
Speaker 1: But it's not always like that because that money. You

974
00:53:48,480 --> 00:53:49,920
Speaker 1: feel me when.

975
00:53:49,719 --> 00:53:53,319
Speaker 4: They when a person is on got their own aspirations, right,

976
00:53:53,880 --> 00:53:56,759
Speaker 4: and you're just a byproduct of that, you're just a

977
00:53:56,840 --> 00:54:00,279
Speaker 4: means of you know what I'm saying, to help them

978
00:54:00,320 --> 00:54:03,320
Speaker 4: get to where they want to be. Right. But you're like, okay,

979
00:54:03,360 --> 00:54:05,560
Speaker 4: that's cool, right, because sometimes you got to get with

980
00:54:05,640 --> 00:54:07,160
Speaker 4: somebody to get somewhere.

981
00:54:07,480 --> 00:54:07,680
Speaker 1: Right.

982
00:54:08,120 --> 00:54:10,120
Speaker 4: But at the same time, at the end of the day,

983
00:54:10,520 --> 00:54:12,640
Speaker 4: you want to walk away with something as well.

984
00:54:13,239 --> 00:54:14,680
Speaker 1: You feel me like you say.

985
00:54:14,560 --> 00:54:16,920
Speaker 4: Hey, you don't want to be dedicating all of this time,

986
00:54:17,400 --> 00:54:21,239
Speaker 4: all of this effort, right, all all it because it

987
00:54:21,280 --> 00:54:23,520
Speaker 4: takes a lot of emotions to put them songs down,

988
00:54:23,640 --> 00:54:26,200
Speaker 4: be in the studio, you know what I mean, all

989
00:54:26,239 --> 00:54:29,319
Speaker 4: them hours and and and they do me we do

990
00:54:29,440 --> 00:54:32,799
Speaker 4: music quick these days. And then it wasn't so quick

991
00:54:32,800 --> 00:54:33,640
Speaker 4: to be put together.

992
00:54:33,800 --> 00:54:37,120
Speaker 1: The song you feel Me Niggas is recording on reels

993
00:54:37,160 --> 00:54:40,640
Speaker 1: and everything. But it's it's a learning experience, bro.

994
00:54:41,400 --> 00:54:45,600
Speaker 4: And look we got more knowledge about it now, right.

995
00:54:46,480 --> 00:54:50,239
Speaker 4: Some people came out less gay than others, right, But

996
00:54:51,400 --> 00:54:54,200
Speaker 4: you know, it's just it's just one of them things, man.

997
00:54:54,440 --> 00:54:57,480
Speaker 4: And but look look at them now. You know they

998
00:54:57,520 --> 00:54:59,080
Speaker 4: able to go at least they able to go get

999
00:54:59,080 --> 00:54:59,840
Speaker 4: a larger bag.

1000
00:55:00,480 --> 00:55:00,680
Speaker 2: Right.

1001
00:55:01,080 --> 00:55:03,799
Speaker 4: I wouldn't say workers of the business didn't change it's

1002
00:55:03,920 --> 00:55:06,520
Speaker 4: just enough month, it's just enough money to put bigger

1003
00:55:06,520 --> 00:55:07,279
Speaker 4: bait on the hook.

1004
00:55:07,360 --> 00:55:10,759
Speaker 1: I guess you feel me right real, Mike, let me

1005
00:55:10,800 --> 00:55:15,359
Speaker 1: ask you this, man, So you went on the run.

1006
00:55:15,440 --> 00:55:17,120
Speaker 2: I think a lot of people forget you put all

1007
00:55:17,160 --> 00:55:19,680
Speaker 2: three more records on rap a Up. You put off

1008
00:55:19,760 --> 00:55:23,120
Speaker 2: some serious and on that some serious album. You was

1009
00:55:23,160 --> 00:55:25,640
Speaker 2: the first one to really start fucking with PIMPC.

1010
00:55:27,640 --> 00:55:35,680
Speaker 4: That So I had met pimping them before we had

1011
00:55:35,800 --> 00:55:38,960
Speaker 4: came out to Los Angeles, so we had already knew

1012
00:55:39,000 --> 00:55:40,719
Speaker 4: the matter of fact, I was the one me and

1013
00:55:40,760 --> 00:55:45,120
Speaker 4: three two. We brought their music out there right and

1014
00:55:45,200 --> 00:55:45,799
Speaker 4: stooping them.

1015
00:55:45,840 --> 00:55:46,680
Speaker 1: But I own that ship.

1016
00:55:46,760 --> 00:55:49,520
Speaker 4: You feel me because let me get this tape. You

1017
00:55:49,560 --> 00:55:52,360
Speaker 4: feel me like man gone the niggas and the niggas U

1018
00:55:52,400 --> 00:55:55,759
Speaker 4: gally K. But they was already our homies before we

1019
00:55:55,840 --> 00:56:03,959
Speaker 4: had came out there. But I'm thinking because I had

1020
00:56:04,120 --> 00:56:08,080
Speaker 4: PIMC on the album. He did the hook on Halving Things,

1021
00:56:08,120 --> 00:56:10,919
Speaker 4: and he produced it. He produced the track. I had

1022
00:56:10,920 --> 00:56:16,040
Speaker 4: initially sung the hook, but after we finished the after

1023
00:56:16,080 --> 00:56:19,440
Speaker 4: we finished the song, him talking to me and talking

1024
00:56:19,480 --> 00:56:22,160
Speaker 4: and I'm hearing his voice, and I was like, man,

1025
00:56:22,280 --> 00:56:23,920
Speaker 4: to give the song more texture.

1026
00:56:24,000 --> 00:56:25,960
Speaker 1: You should go off in there and sing that hook.

1027
00:56:26,680 --> 00:56:27,239
Speaker 2: You feel me?

1028
00:56:29,840 --> 00:56:31,279
Speaker 4: Yeah, I said you should go off in there and

1029
00:56:31,360 --> 00:56:34,120
Speaker 4: sing that hook. And then Bun he was on the

1030
00:56:34,160 --> 00:56:39,120
Speaker 4: song car on the one. I should have both of

1031
00:56:39,160 --> 00:56:41,000
Speaker 4: them on the same song. I don't know why I

1032
00:56:41,040 --> 00:56:42,600
Speaker 4: broke it up like that, but it's the way that

1033
00:56:42,640 --> 00:56:45,520
Speaker 4: it had happened. Him had produced to having things we

1034
00:56:45,560 --> 00:56:47,560
Speaker 4: was working on there, and I just got him to

1035
00:56:47,600 --> 00:56:51,839
Speaker 4: do the to do the hook. But I'm just trying

1036
00:56:51,880 --> 00:56:54,200
Speaker 4: to think and make sure. But maybe I'm thinking like

1037
00:56:54,600 --> 00:57:01,200
Speaker 4: I'm probably like the first right Jack other than their

1038
00:57:01,239 --> 00:57:04,480
Speaker 4: own project that they had performed on, probably that they

1039
00:57:04,520 --> 00:57:12,760
Speaker 4: had featured on. Yeah, was out to Bun b Ip PIMC,

1040
00:57:13,880 --> 00:57:19,480
Speaker 4: you feel me? But yeah, man, I think that was

1041
00:57:20,720 --> 00:57:25,800
Speaker 4: I think man, matter of fact, Yeah, yeah, yeah, And

1042
00:57:27,240 --> 00:57:29,400
Speaker 4: we were just I was just looking out because I

1043
00:57:29,440 --> 00:57:31,160
Speaker 4: was I was there was my partners, and I was

1044
00:57:31,200 --> 00:57:33,640
Speaker 4: fans of them. You feel me, I had to have

1045
00:57:33,800 --> 00:57:35,320
Speaker 4: them only I should have had them both on the

1046
00:57:35,360 --> 00:57:39,040
Speaker 4: same song, right, But you know that just looking back

1047
00:57:39,080 --> 00:57:42,640
Speaker 4: in hindsight, but still with a strong showing on both songs.

1048
00:57:42,720 --> 00:57:46,240
Speaker 2: So yeah, well I'll tell you what I think you

1049
00:57:46,360 --> 00:57:49,040
Speaker 2: broke PIMC as a producer with that because I was

1050
00:57:49,120 --> 00:57:51,320
Speaker 2: hit the ug K. And that's how the rap a

1051
00:57:51,400 --> 00:57:53,640
Speaker 2: lot of music. That's how a lot of music got around.

1052
00:57:54,000 --> 00:57:56,480
Speaker 2: You hear one of your homies playing it, especially if

1053
00:57:56,480 --> 00:57:59,760
Speaker 2: they're from somewhere else. My homie Quentinsino, he was from Texas.

1054
00:58:00,120 --> 00:58:04,280
Speaker 2: He's Orange Texas and he was playing a short Texas record.

1055
00:58:04,320 --> 00:58:08,080
Speaker 2: But you GK yeah, back back back, I said, who

1056
00:58:08,200 --> 00:58:11,600
Speaker 2: was that? Man? Who was that? He dubbed me a

1057
00:58:11,640 --> 00:58:14,680
Speaker 2: copy of it. I went. I came back to California.

1058
00:58:15,000 --> 00:58:17,200
Speaker 2: They dubbed the copy for me. That's our music kind

1059
00:58:17,200 --> 00:58:17,840
Speaker 2: of got around.

1060
00:58:18,000 --> 00:58:22,240
Speaker 3: Oh yeah, definitely, some music got it down at a

1061
00:58:22,280 --> 00:58:26,600
Speaker 3: lot of UH, A lot of unknown ship and a

1062
00:58:26,600 --> 00:58:31,720
Speaker 3: lot of what we consider underground UH got promoted just

1063
00:58:31,760 --> 00:58:33,880
Speaker 3: by having word of mouth. And I would go to

1064
00:58:33,920 --> 00:58:38,080
Speaker 3: Mississippi and my cousin would have shipped from the East Coast.

1065
00:58:38,160 --> 00:58:41,360
Speaker 3: I never heard, and so I would dub that ship.

1066
00:58:41,920 --> 00:58:44,680
Speaker 3: Or I would come back to La hit up the

1067
00:58:44,720 --> 00:58:49,400
Speaker 3: Paramount Swap Meet and go digging through their twelve ventures

1068
00:58:49,440 --> 00:58:52,120
Speaker 3: and be like, oh, here this ship is. But you

1069
00:58:52,160 --> 00:58:54,800
Speaker 3: would never know because I didn't know who the fuck

1070
00:58:54,840 --> 00:58:55,680
Speaker 3: the niggas was.

1071
00:58:55,760 --> 00:58:57,280
Speaker 1: You get all the.

1072
00:58:57,240 --> 00:59:02,080
Speaker 3: Good doing them doing their mother fucking family reunion trips

1073
00:59:02,160 --> 00:59:05,520
Speaker 3: back to Mississippi. That's how I was connected because my

1074
00:59:05,680 --> 00:59:09,240
Speaker 3: older cousin he listened to a lot of East Coast music,

1075
00:59:09,360 --> 00:59:11,919
Speaker 3: so I didn't know about it, none of that ship.

1076
00:59:12,240 --> 00:59:15,000
Speaker 3: But I would listen to Ship in his car and

1077
00:59:15,040 --> 00:59:17,960
Speaker 3: then at the house on his record player, and then

1078
00:59:18,000 --> 00:59:20,440
Speaker 3: I would be like, oh, I'm by that ship. When

1079
00:59:20,480 --> 00:59:23,320
Speaker 3: I get home, rush straight to the paramount, schwap me

1080
00:59:24,240 --> 00:59:27,720
Speaker 3: and and and one didn't ask Ship for moms stereo

1081
00:59:27,880 --> 00:59:30,480
Speaker 3: in the living room, but fuck it, I'm finna go

1082
00:59:30,520 --> 00:59:33,560
Speaker 3: to swap me by this record and throw this motherfucking

1083
00:59:34,040 --> 00:59:39,600
Speaker 3: radio active on or that motherfucking the roof is on

1084
00:59:39,760 --> 00:59:43,240
Speaker 3: fire or some shit like that, and be like, Mars,

1085
00:59:43,320 --> 00:59:45,240
Speaker 3: be like, what the fuck is that ship?

1086
00:59:45,280 --> 00:59:49,600
Speaker 1: But that's how I got store. You ain't got to

1087
00:59:49,640 --> 00:59:51,840
Speaker 1: get the record, but you're going to see if it's

1088
00:59:51,840 --> 00:59:59,320
Speaker 1: there country music section, and come back and get my ship,

1089
00:59:59,360 --> 01:00:01,920
Speaker 1: because I know fucker they go taking the country music

1090
01:00:04,400 --> 01:00:07,760
Speaker 1: this motherfucker this record, come back.

1091
01:00:07,600 --> 01:00:09,480
Speaker 2: And get my and all.

1092
01:00:09,760 --> 01:00:11,840
Speaker 1: But yeah, man, that tape game was serious.

1093
01:00:11,840 --> 01:00:14,160
Speaker 4: Back then, boys used to have trash bags for the

1094
01:00:14,200 --> 01:00:18,200
Speaker 4: motherfucker cossets. You hear me, mother didn't, but you knew

1095
01:00:18,200 --> 01:00:21,040
Speaker 4: which was on each one of them motherfuckers, you know.

1096
01:00:21,280 --> 01:00:25,280
Speaker 4: But yeah, those those those those were simpler times back then.

1097
01:00:25,360 --> 01:00:30,600
Speaker 2: But you know, for a minute though, Mike, you was

1098
01:00:30,600 --> 01:00:34,040
Speaker 2: probably rapized big as artist for a minute for for

1099
01:00:34,040 --> 01:00:37,760
Speaker 2: for a second there, because some Serious went platinum, didn't it.

1100
01:00:39,000 --> 01:00:40,560
Speaker 1: Some Serious did some numbers.

1101
01:00:40,640 --> 01:00:46,840
Speaker 2: Yeah, some Serious went big because because Scarface hadn't dropped

1102
01:00:46,840 --> 01:00:49,640
Speaker 2: no ships yet, and you was like they maind for

1103
01:00:49,680 --> 01:00:51,320
Speaker 2: a moment, I bet they was treating you different as

1104
01:00:51,360 --> 01:00:52,400
Speaker 2: a motherfucker.

1105
01:00:51,920 --> 01:00:57,040
Speaker 4: With scar Face was already established. Yeah, Face was already

1106
01:00:57,160 --> 01:01:01,720
Speaker 4: established face Face Face was he was the flagship artist there,

1107
01:01:02,480 --> 01:01:03,760
Speaker 4: he was, sure.

1108
01:01:04,360 --> 01:01:06,800
Speaker 2: But you know what I'm saying, when you dropped some Serious,

1109
01:01:07,040 --> 01:01:10,120
Speaker 2: he hadn't dropped nothing. You were kind of dropped both.

1110
01:01:12,200 --> 01:01:15,240
Speaker 1: What you mean he had he had, he had solo

1111
01:01:15,360 --> 01:01:16,280
Speaker 1: albums already.

1112
01:01:16,840 --> 01:01:20,200
Speaker 2: Yeah. But when some Serious dropped Scarface and ever album

1113
01:01:20,200 --> 01:01:22,960
Speaker 2: all at that time, I don't think not a new one.

1114
01:01:24,280 --> 01:01:25,560
Speaker 1: He probably was working on it.

1115
01:01:26,200 --> 01:01:28,040
Speaker 2: Yeah, That's what I'm saying.

1116
01:01:28,240 --> 01:01:31,440
Speaker 3: Well, you as a you, as a label at in

1117
01:01:31,480 --> 01:01:36,680
Speaker 3: that position, you probably wouldn't want to have uh two

1118
01:01:36,800 --> 01:01:40,880
Speaker 3: of your big artists uh out at the same time,

1119
01:01:41,480 --> 01:01:46,600
Speaker 3: because it's really gonna contradict sales because for those for

1120
01:01:46,720 --> 01:01:51,360
Speaker 3: those niggas who you know are unable to uh have

1121
01:01:51,480 --> 01:01:55,560
Speaker 3: the benefit of purchasing both rock chatter time. Now I

1122
01:01:55,600 --> 01:01:58,040
Speaker 3: have to make a decision of what I want to

1123
01:01:58,160 --> 01:02:03,760
Speaker 3: saying until my next check you get being out at

1124
01:02:03,800 --> 01:02:08,320
Speaker 3: the same time, is gonna really contradict the label and sale.

1125
01:02:08,520 --> 01:02:11,720
Speaker 3: So if I drop a big Mic record, I'm knowing

1126
01:02:11,800 --> 01:02:14,320
Speaker 3: I'm not gonna put out the Scarface record for at

1127
01:02:14,400 --> 01:02:18,280
Speaker 3: least six months to the next year, and vice versa,

1128
01:02:18,800 --> 01:02:23,000
Speaker 3: because especially when I got two prominent projects coming out,

1129
01:02:23,240 --> 01:02:26,840
Speaker 3: you know, like even though I was signing to Sony,

1130
01:02:27,320 --> 01:02:30,640
Speaker 3: Sony would never put out my record, you know, in

1131
01:02:30,720 --> 01:02:34,760
Speaker 3: the vicinity of another Sony hip hop artist, like you

1132
01:02:34,840 --> 01:02:38,480
Speaker 3: don't want team with each exactly like we want all

1133
01:02:38,520 --> 01:02:41,080
Speaker 3: the sales. We don't want the fuckers to have to

1134
01:02:41,120 --> 01:02:44,640
Speaker 3: have a decision. Now, you couldn't do that for other

1135
01:02:44,760 --> 01:02:48,959
Speaker 3: labels who were figuring out were fuck it, if Big

1136
01:02:49,040 --> 01:02:51,920
Speaker 3: Mic gonna come out on the twelfth, We're gonna drop

1137
01:02:52,000 --> 01:02:55,480
Speaker 3: motherfucking so and so on the thirteenth. You know, that's

1138
01:02:55,520 --> 01:02:58,440
Speaker 3: how other labels with they artists would do. The Piggy

1139
01:02:58,520 --> 01:03:01,080
Speaker 3: back off or whatever was I'm in it at the time.

1140
01:03:01,240 --> 01:03:01,680
Speaker 2: You get me.

1141
01:03:02,880 --> 01:03:06,760
Speaker 3: You couldn't stop that competition. You just hope that fans

1142
01:03:06,760 --> 01:03:09,840
Speaker 3: would gravitate to your ship more than the next party.

1143
01:03:10,360 --> 01:03:13,640
Speaker 3: But if y'all both on my label, hell no, I'm

1144
01:03:13,640 --> 01:03:17,280
Speaker 3: gonna keep y'all releases at least six months apart.

1145
01:03:21,240 --> 01:03:24,200
Speaker 2: Yeah, Mike, I got one more question for you, man.

1146
01:03:25,120 --> 01:03:29,280
Speaker 2: So hard to hit? Was your last album on rap

1147
01:03:29,280 --> 01:03:34,640
Speaker 2: A Up, wasn't it? Yeah? Hard to hit? After that?

1148
01:03:34,680 --> 01:03:36,640
Speaker 2: You didn't have a lot of other ladys trying to

1149
01:03:36,720 --> 01:03:39,640
Speaker 2: come and get your procure your services.

1150
01:03:40,640 --> 01:03:44,280
Speaker 1: Well, I got hard to hit. That's when I got locked.

1151
01:03:47,000 --> 01:03:50,919
Speaker 1: I got locked around that time. But it was interest right,

1152
01:03:51,560 --> 01:03:55,360
Speaker 1: some other labels right looking to pick me up, you

1153
01:03:55,360 --> 01:03:58,840
Speaker 1: feel me? But after right after I lived with that,

1154
01:03:58,960 --> 01:04:03,560
Speaker 1: I got when I got my rap a Lot, that's

1155
01:04:03,680 --> 01:04:12,439
Speaker 1: my locks. I was on the run. But why they're

1156
01:04:12,480 --> 01:04:13,160
Speaker 1: catching up with me?

1157
01:04:13,200 --> 01:04:15,680
Speaker 4: But but yeah, I had got locked around that time,

1158
01:04:15,800 --> 01:04:20,400
Speaker 4: so it couldn't make no deals happened feeling from behind

1159
01:04:20,400 --> 01:04:21,280
Speaker 4: the balls.

1160
01:04:21,960 --> 01:04:24,840
Speaker 2: How many years did you do? I did? I did?

1161
01:04:25,040 --> 01:04:25,760
Speaker 2: I did? Folk?

1162
01:04:27,320 --> 01:04:33,720
Speaker 3: Yeah, was your situation? Was your situation of getting locked up?

1163
01:04:33,960 --> 01:04:38,840
Speaker 3: Was a result of the decline in music, or was

1164
01:04:38,880 --> 01:04:41,400
Speaker 3: it just some other ship that you had already had

1165
01:04:41,520 --> 01:04:46,440
Speaker 3: done and it finally called up to you? The reason

1166
01:04:46,480 --> 01:04:51,400
Speaker 3: why I got locked right, was it something that was

1167
01:04:51,520 --> 01:04:55,760
Speaker 3: already you know, something that was already present that you

1168
01:04:55,800 --> 01:04:58,600
Speaker 3: had already did, or you had to go back to

1169
01:04:58,720 --> 01:05:02,480
Speaker 3: doing a situation because of the decline and hip hop

1170
01:05:02,960 --> 01:05:06,680
Speaker 3: of your situation of not being able to you know,

1171
01:05:07,240 --> 01:05:09,360
Speaker 3: after you put our records would rap a lot and

1172
01:05:09,400 --> 01:05:12,960
Speaker 3: they started declining and then whatever whatever, you know what

1173
01:05:13,000 --> 01:05:15,480
Speaker 3: I'm saying. Was it something that you already had hanging

1174
01:05:15,560 --> 01:05:18,000
Speaker 3: over your head, or it was something that you had

1175
01:05:18,040 --> 01:05:23,240
Speaker 3: decided to do. It's what got you locked up. It

1176
01:05:23,280 --> 01:05:25,320
Speaker 3: was a situation, right.

1177
01:05:25,960 --> 01:05:29,320
Speaker 4: It was a situation that kind of like a rose right,

1178
01:05:30,600 --> 01:05:35,240
Speaker 4: just some typical shit contractual talks, you feel me, right?

1179
01:05:36,040 --> 01:05:39,080
Speaker 4: And it was a situation that it caught me by surprise.

1180
01:05:40,080 --> 01:05:43,520
Speaker 1: Do you feel me? The situation caught me by surprise,

1181
01:05:44,200 --> 01:05:48,720
Speaker 1: and and I had to react.

1182
01:05:50,040 --> 01:05:50,240
Speaker 2: Right.

1183
01:05:50,680 --> 01:05:52,640
Speaker 4: When I come sit down with y'all, then we can

1184
01:05:52,680 --> 01:05:54,960
Speaker 4: go more in depth. But if I was putting a

1185
01:05:55,000 --> 01:05:58,720
Speaker 4: situation where I had to react, right, you feel me?

1186
01:05:59,360 --> 01:06:02,360
Speaker 4: I was dealing with a grizzly bell, grizzly bear, attacked

1187
01:06:02,440 --> 01:06:05,840
Speaker 4: me right right, there's the bell gonna come back.

1188
01:06:06,480 --> 01:06:08,000
Speaker 1: You feel me if I.

1189
01:06:07,880 --> 01:06:12,720
Speaker 3: Don't, don't make against the grizzly bear.

1190
01:06:13,920 --> 01:06:16,400
Speaker 4: And you did, right, But like I said, we'll go

1191
01:06:16,440 --> 01:06:19,000
Speaker 4: in to detail about it. But yeah, it was a

1192
01:06:19,040 --> 01:06:22,880
Speaker 4: situation me and the label it had got ugly. You

1193
01:06:22,920 --> 01:06:26,960
Speaker 4: feel me slid into some gangster ship and you know

1194
01:06:29,000 --> 01:06:34,480
Speaker 4: that's what that's what eventually led to my my incarceration. Yeah,

1195
01:06:35,360 --> 01:06:38,640
Speaker 4: my part in it, you feel me.

1196
01:06:39,240 --> 01:06:41,840
Speaker 2: Yeah, you got up for retel you know, some ship.

1197
01:06:43,240 --> 01:06:48,800
Speaker 1: Basically, Yeah, but it's all good. I took my leak. Yeah,

1198
01:06:49,160 --> 01:06:50,040
Speaker 1: especially when.

1199
01:06:51,680 --> 01:06:54,040
Speaker 3: When you're put in a situation to where it's either

1200
01:06:54,080 --> 01:07:00,640
Speaker 3: put up or shut up, and you're feeling like, you know, hey,

1201
01:07:00,800 --> 01:07:03,520
Speaker 3: this is what has to happen. Ship, you give me like,

1202
01:07:03,840 --> 01:07:05,840
Speaker 3: ain't no if if it ain't no infens or but

1203
01:07:06,080 --> 01:07:08,080
Speaker 3: about it, I'm just this is just the way it

1204
01:07:08,200 --> 01:07:10,680
Speaker 3: go down, fucking and I might have to take my

1205
01:07:10,760 --> 01:07:13,080
Speaker 3: liquor whenever it comes to it, you have to take

1206
01:07:13,160 --> 01:07:16,200
Speaker 3: especially in the case like that, right, And I'm just

1207
01:07:16,200 --> 01:07:19,600
Speaker 3: gonna have to deal with it. But you know, you know,

1208
01:07:19,840 --> 01:07:22,480
Speaker 3: sometimes you put put in a situation where you feel

1209
01:07:22,520 --> 01:07:24,080
Speaker 3: like you have to do what you have to do.

1210
01:07:24,000 --> 01:07:30,040
Speaker 4: Now me thinking about it now, right, maybe I could

1211
01:07:30,080 --> 01:07:35,760
Speaker 4: have finessed the situation, right, but I'm a young man, right,

1212
01:07:35,840 --> 01:07:39,840
Speaker 4: stay different. Yeah, my mind stayed different. I'm a young man.

1213
01:07:40,120 --> 01:07:45,680
Speaker 4: I'm hurt, I'm in baddis right, I'm looking at I survive,

1214
01:07:46,160 --> 01:07:47,000
Speaker 4: thank God.

1215
01:07:47,400 --> 01:07:49,120
Speaker 2: Right, But.

1216
01:07:51,280 --> 01:07:54,520
Speaker 1: It was the chance that I might not have survived.

1217
01:07:56,360 --> 01:07:56,520
Speaker 2: Right.

1218
01:07:58,600 --> 01:08:02,160
Speaker 4: But but the Lord Jesus Christ, he had something else

1219
01:08:02,200 --> 01:08:02,920
Speaker 4: in store for me.

1220
01:08:03,400 --> 01:08:04,280
Speaker 2: Right, So.

1221
01:08:06,640 --> 01:08:10,560
Speaker 4: But still I even with that, I didn't realize that

1222
01:08:10,840 --> 01:08:15,120
Speaker 4: till later. I didn't realize God's hand in it till later. Right,

1223
01:08:15,520 --> 01:08:18,400
Speaker 4: I was going to strictly off the emotion. You feel me,

1224
01:08:19,040 --> 01:08:24,480
Speaker 4: and I'm retaligating it on the streets. My move is justified.

1225
01:08:25,040 --> 01:08:30,479
Speaker 4: Exactly on the streets, my move is justified. You did

1226
01:08:30,560 --> 01:08:32,880
Speaker 4: what I'm saying. You gonna tell any other care you

1227
01:08:32,880 --> 01:08:34,760
Speaker 4: put it that, nigga, be like man, I would have

1228
01:08:34,760 --> 01:08:35,960
Speaker 4: had to do what I had to do.

1229
01:08:36,080 --> 01:08:36,600
Speaker 2: You feel me?

1230
01:08:37,120 --> 01:08:39,200
Speaker 1: So on the street, move was justified.

1231
01:08:39,280 --> 01:08:43,160
Speaker 4: And that's that's the rules I was playing by coming

1232
01:08:43,200 --> 01:08:44,240
Speaker 4: from the streets.

1233
01:08:44,520 --> 01:08:47,800
Speaker 1: You feel me, People think about your career. You an'y

1234
01:08:47,800 --> 01:08:48,439
Speaker 1: think bro?

1235
01:08:50,240 --> 01:08:53,720
Speaker 4: Hell now yeah, like you feel me? You understand I

1236
01:08:53,720 --> 01:08:55,360
Speaker 4: ain't thinking about none of that. I got to get

1237
01:08:55,360 --> 01:08:56,680
Speaker 4: these motherfuckers off of me.

1238
01:08:57,040 --> 01:09:00,640
Speaker 2: I think people get a man before you anything else.

1239
01:09:00,840 --> 01:09:04,880
Speaker 1: Exactly, you know. But like I say, you know, I

1240
01:09:04,920 --> 01:09:06,920
Speaker 1: took my knee here.

1241
01:09:07,520 --> 01:09:11,240
Speaker 4: You feel me still living my life getting older, and

1242
01:09:11,680 --> 01:09:14,280
Speaker 4: that itself, that too was the experience as well.

1243
01:09:14,479 --> 01:09:14,639
Speaker 2: Right.

1244
01:09:14,960 --> 01:09:17,040
Speaker 4: So I got I got, I got, I got, I

1245
01:09:17,080 --> 01:09:23,240
Speaker 4: got real time testimony, right, And I'm just being short

1246
01:09:23,320 --> 01:09:26,360
Speaker 4: with everything because I am working on I'm working on

1247
01:09:26,400 --> 01:09:29,640
Speaker 4: a memoir. You feel me, and I want to just

1248
01:09:29,800 --> 01:09:32,519
Speaker 4: sitting there, so I do want to leave some things,

1249
01:09:32,640 --> 01:09:32,880
Speaker 4: you know.

1250
01:09:33,880 --> 01:09:35,880
Speaker 1: That's why I'm being shot like that. I know y'all

1251
01:09:36,000 --> 01:09:37,240
Speaker 1: kind of tell I'm being short.

1252
01:09:37,720 --> 01:09:40,400
Speaker 4: Still still be trying to hit you with questions to

1253
01:09:40,520 --> 01:09:42,720
Speaker 4: kind of like, but I got to be short with

1254
01:09:42,840 --> 01:09:43,360
Speaker 4: you right now.

1255
01:09:43,479 --> 01:09:48,360
Speaker 1: Still we'll talk. I gotta be something for the literature.

1256
01:09:50,960 --> 01:09:53,720
Speaker 4: But yeah, man, people you know, people basically got an

1257
01:09:53,760 --> 01:09:54,679
Speaker 4: idea of.

1258
01:09:54,600 --> 01:09:56,080
Speaker 1: What happened and things like that.

1259
01:09:56,640 --> 01:09:56,880
Speaker 2: You know.

1260
01:09:58,800 --> 01:10:00,799
Speaker 1: Yeah, man, end up going.

1261
01:10:00,640 --> 01:10:04,559
Speaker 4: To the penitential, getting back out, having go through the

1262
01:10:04,560 --> 01:10:09,360
Speaker 4: whole struggle of reiterating myself back in society, getting back

1263
01:10:09,400 --> 01:10:10,120
Speaker 4: on my feet.

1264
01:10:10,200 --> 01:10:14,120
Speaker 1: You feel me, I won't even say unfortunately, but for.

1265
01:10:14,080 --> 01:10:18,880
Speaker 4: Me, I didn't have that fan fare waiting for me

1266
01:10:19,040 --> 01:10:21,920
Speaker 4: like that, Like some rappers go to jail and then

1267
01:10:22,040 --> 01:10:23,599
Speaker 4: niggas get out hey waiting for them.

1268
01:10:24,439 --> 01:10:25,400
Speaker 2: It wasn't like that.

1269
01:10:25,680 --> 01:10:28,200
Speaker 4: It wasn't like that for me, right, I think because

1270
01:10:28,320 --> 01:10:31,559
Speaker 4: why I was locked up, and this was pre social media, right,

1271
01:10:31,960 --> 01:10:36,559
Speaker 4: So motherfucker locked up, and you don't have homeboys that

1272
01:10:36,720 --> 01:10:40,400
Speaker 4: have access to the media, right, You had to have

1273
01:10:40,479 --> 01:10:44,200
Speaker 4: somebody that had access to the media to keep your

1274
01:10:44,720 --> 01:10:47,160
Speaker 4: TV shouting you out, you feel me, to even be

1275
01:10:47,200 --> 01:10:49,759
Speaker 4: able to go to the radio station, have a reason

1276
01:10:49,760 --> 01:10:51,840
Speaker 4: to be at the radio station where they can shout

1277
01:10:51,880 --> 01:10:53,360
Speaker 4: you out and things like that.

1278
01:10:53,640 --> 01:10:56,200
Speaker 1: You did what I'm saying. So my niggas was in

1279
01:10:56,240 --> 01:10:57,200
Speaker 1: the streets.

1280
01:10:58,160 --> 01:11:01,439
Speaker 4: They wasn't rappers and things like that, so they didn't

1281
01:11:01,479 --> 01:11:04,519
Speaker 4: have access to the media. You did what I'm saying, Right,

1282
01:11:04,760 --> 01:11:07,240
Speaker 4: I'm getting all of this through letters and pictures. That's

1283
01:11:07,240 --> 01:11:09,240
Speaker 4: how I'm getting my support, you feel me.

1284
01:11:09,560 --> 01:11:09,760
Speaker 2: Right.

1285
01:11:12,400 --> 01:11:16,120
Speaker 4: At the time, the source had reached out to me, right,

1286
01:11:17,080 --> 01:11:19,040
Speaker 4: and I was locked up in their paths, so and

1287
01:11:19,080 --> 01:11:22,040
Speaker 4: they wanted to they wanted to come interview me, but

1288
01:11:23,320 --> 01:11:26,120
Speaker 4: I didn't see how it would help my situation because

1289
01:11:26,160 --> 01:11:29,479
Speaker 4: I was going through a real situation at the time, right,

1290
01:11:29,680 --> 01:11:30,600
Speaker 4: and it was it was.

1291
01:11:30,640 --> 01:11:33,639
Speaker 1: It was a real trial for myself and for my family.

1292
01:11:34,160 --> 01:11:35,640
Speaker 4: You did what I'm saying, and I just wanted to

1293
01:11:35,680 --> 01:11:38,640
Speaker 4: go through it and get it done right, So I

1294
01:11:38,680 --> 01:11:41,719
Speaker 4: didn't see the benefit of sitting there being interviewed from behind.

1295
01:11:41,760 --> 01:11:45,880
Speaker 4: Boy and listen, I'm a studio head. I love to

1296
01:11:45,920 --> 01:11:49,759
Speaker 4: be in the studio creating recording. You did what I'm saying,

1297
01:11:50,200 --> 01:11:52,440
Speaker 4: even though I was in the I'm in the business

1298
01:11:52,520 --> 01:11:55,000
Speaker 4: to where we have to be in front of the camera,

1299
01:11:55,120 --> 01:11:58,679
Speaker 4: right and make ourselves accessible to the media and things

1300
01:11:58,760 --> 01:12:02,040
Speaker 4: like that. I was never Listen, I'll be shooting videos.

1301
01:12:02,040 --> 01:12:05,559
Speaker 4: I'll be sweating profusely at my own video shoot. It

1302
01:12:05,640 --> 01:12:08,519
Speaker 4: could be cold outside because I just was never like

1303
01:12:08,640 --> 01:12:11,120
Speaker 4: comfortable in front the camera.

1304
01:12:10,800 --> 01:12:12,160
Speaker 2: And things like that. Right.

1305
01:12:12,560 --> 01:12:14,800
Speaker 4: I can get on staging through my thing, but all

1306
01:12:14,800 --> 01:12:16,439
Speaker 4: of that revolved around the music.

1307
01:12:16,600 --> 01:12:18,080
Speaker 1: You feel what I'm saying, Right.

1308
01:12:18,200 --> 01:12:20,679
Speaker 4: I could eventually get in there and get my mind

1309
01:12:20,760 --> 01:12:22,879
Speaker 4: right to do the videos, and I had got.

1310
01:12:22,720 --> 01:12:25,080
Speaker 1: Better with it, but I was never that kind of cat.

1311
01:12:25,400 --> 01:12:25,559
Speaker 2: Right.

1312
01:12:25,680 --> 01:12:28,000
Speaker 4: That's why I'm a little bit behind with the social media,

1313
01:12:28,160 --> 01:12:31,400
Speaker 4: not because when it was happening, I wasn't. I didn't

1314
01:12:31,400 --> 01:12:33,439
Speaker 4: gravitate towards it like that, you did, you know what

1315
01:12:33,479 --> 01:12:39,080
Speaker 4: I'm saying. So geez, So we got to ease into it, right,

1316
01:12:39,400 --> 01:12:42,599
Speaker 4: and then we were gonna we're gonna perfect where we're

1317
01:12:42,600 --> 01:12:43,840
Speaker 4: getting our bread at.

1318
01:12:44,120 --> 01:12:45,400
Speaker 1: Oh, this is what we gotta do.

1319
01:12:45,960 --> 01:12:46,280
Speaker 2: Damn.

1320
01:12:46,400 --> 01:12:47,040
Speaker 1: You know what I'm saying.

1321
01:12:47,040 --> 01:12:50,679
Speaker 4: The motherfucker go from there. But yeah, so I didn't.

1322
01:12:50,760 --> 01:12:53,960
Speaker 4: I didn't seek out the media or nothing like that. Right,

1323
01:12:54,120 --> 01:12:56,479
Speaker 4: people be like, you know, man, come down here and

1324
01:12:56,560 --> 01:12:59,600
Speaker 4: interview me. I just wanted to get through that. We

1325
01:12:59,760 --> 01:13:03,080
Speaker 4: got with my family, you know what I mean? And

1326
01:13:03,080 --> 01:13:06,000
Speaker 4: and I did. I wanted seven year sentence and I

1327
01:13:06,000 --> 01:13:08,280
Speaker 4: didn't have to stay the whole seven, right, I did

1328
01:13:08,280 --> 01:13:09,280
Speaker 4: the rest in the streets.

1329
01:13:09,360 --> 01:13:11,800
Speaker 1: So that was a blessing. And I learned a lot

1330
01:13:11,880 --> 01:13:12,240
Speaker 1: down there.

1331
01:13:12,360 --> 01:13:15,479
Speaker 4: My relationship with the Lord crew, right, I'm sure that

1332
01:13:15,560 --> 01:13:18,640
Speaker 4: he didn't want me behind bars, right, but it was

1333
01:13:18,720 --> 01:13:22,840
Speaker 4: other things in my life, right. I was undisciplined, right,

1334
01:13:22,960 --> 01:13:25,719
Speaker 4: and he was giving me time on my own to

1335
01:13:25,720 --> 01:13:29,200
Speaker 4: to to correct that, right. And then sometimes you got

1336
01:13:29,200 --> 01:13:31,479
Speaker 4: to sit down, right, you got to suit you down

1337
01:13:31,520 --> 01:13:33,960
Speaker 4: so he can isolate you. You didn't know what I'm saying,

1338
01:13:34,000 --> 01:13:37,240
Speaker 4: but the you know, like I said, that's what I

1339
01:13:37,400 --> 01:13:41,280
Speaker 4: gained from from the whole situation, right, I gained a

1340
01:13:41,760 --> 01:13:43,559
Speaker 4: situation from my relationship with God.

1341
01:13:43,600 --> 01:13:45,000
Speaker 1: I saw him moving my life in.

1342
01:13:44,920 --> 01:13:47,720
Speaker 4: A real way, and and and and that's part of

1343
01:13:47,760 --> 01:13:51,000
Speaker 4: my testimony. And maybe that's why I was placed in

1344
01:13:51,000 --> 01:13:53,719
Speaker 4: the line of fire like that. Right, Maybe it's bigger

1345
01:13:53,760 --> 01:13:57,400
Speaker 4: than all the pieces on the board, right, all the

1346
01:13:57,439 --> 01:13:58,320
Speaker 4: people involved.

1347
01:13:58,320 --> 01:13:59,720
Speaker 1: Maybe it's bigger than all of that.

1348
01:13:59,880 --> 01:14:00,200
Speaker 2: Right.

1349
01:14:00,400 --> 01:14:02,679
Speaker 4: So I'm able to do that now now that I'm

1350
01:14:02,760 --> 01:14:08,360
Speaker 4: past the the letdown of it, the anger of it all. Right,

1351
01:14:08,800 --> 01:14:10,720
Speaker 4: now I'm able to you know what I mean, to

1352
01:14:10,840 --> 01:14:15,800
Speaker 4: really see the workings of it and pull the positive

1353
01:14:15,960 --> 01:14:16,719
Speaker 4: up out of it.

1354
01:14:17,200 --> 01:14:19,879
Speaker 2: You know. But yeah, it had gotten.

1355
01:14:19,640 --> 01:14:25,320
Speaker 4: Into some gangster ship. It was real, dope, it was real,

1356
01:14:25,400 --> 01:14:26,639
Speaker 4: do you know what I mean?

1357
01:14:27,439 --> 01:14:31,519
Speaker 2: So you know, yeah, Man, we go ahead, this sit

1358
01:14:31,640 --> 01:14:35,400
Speaker 2: down in person, man, like we talked about this. This

1359
01:14:35,439 --> 01:14:36,599
Speaker 2: is a precursor of that.

1360
01:14:36,680 --> 01:14:43,120
Speaker 1: Man, it's crazy, right, I'm gonna get out there.

1361
01:14:43,479 --> 01:14:46,040
Speaker 4: I'm gonna get out there and fuck with y'all. Man, Definitely,

1362
01:14:46,080 --> 01:14:48,920
Speaker 4: we're gonna sit down. And by then, man, I've been

1363
01:14:49,120 --> 01:14:51,599
Speaker 4: had had this music that I've been working on, so

1364
01:14:51,960 --> 01:14:54,400
Speaker 4: I could lay on y'all and we could talk about

1365
01:14:54,479 --> 01:14:55,080
Speaker 4: that as well.

1366
01:14:56,000 --> 01:15:00,799
Speaker 2: Yeah, Mike, you gotta get Mike on a new album though, Yo, you.

1367
01:15:00,680 --> 01:15:02,800
Speaker 1: Already know, you know, I ain't.

1368
01:15:03,439 --> 01:15:05,840
Speaker 4: I know when the time is right, it's gonna happen.

1369
01:15:06,320 --> 01:15:08,800
Speaker 4: You feel I know when the time is right, it's

1370
01:15:08,800 --> 01:15:12,519
Speaker 4: gonna happen. But maybe the time is coming. Though it's coming.

1371
01:15:15,680 --> 01:15:20,679
Speaker 2: That's easy right there, for sure, Mike, Man, he said, Man,

1372
01:15:20,800 --> 01:15:23,120
Speaker 2: we gonna get back together and do this. Person. Man,

1373
01:15:23,680 --> 01:15:26,240
Speaker 2: we don't have you in here for hours some change, y'all.

1374
01:15:26,240 --> 01:15:27,920
Speaker 2: I only asked you to give me our You gave

1375
01:15:27,960 --> 01:15:30,120
Speaker 2: me so much more. I feel like if we don't stop,

1376
01:15:30,120 --> 01:15:31,160
Speaker 2: we're gonna keep on going.

1377
01:15:31,400 --> 01:15:33,960
Speaker 1: And I got to get back to these playoffs lame.

1378
01:15:38,200 --> 01:15:38,679
Speaker 2: Right quick.

1379
01:15:39,960 --> 01:15:42,960
Speaker 4: This salute man, Love y'all brothers, man, and I see

1380
01:15:43,000 --> 01:15:46,719
Speaker 4: y'all on the other side all ready.

1381
01:15:47,360 --> 01:15:51,679
Speaker 2: You know we got here all reck